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A Short Story Exposes Huge Gaps In The New Universe Of Literary Criticism

In this case, the media has been thrust in the position of the literary critic, drawing lines between the artwork and the broader culture. This isn’t a bad development, exactly—it’s great that a short story is making headlines. But it is also worth noting that the boundaries of literary criticism, at least as they are traditionally conceived, are being exceeded across the internet. The response to “Cat Person” is the latest evidence that we have entered new territory for online criticism, and no one quite knows what to make of it.

The Double Agent Classical Music Critic Inside The New York Times

John G. Briggs Jr. was a respected classical music critic and cultural reporter for the Times. But he had a second professional life that he hid from his bosses in New York. Writing under a pseudonym for a prominent South Carolina newspaper, the Times journalist delivered fire-breathing, race-baiting and occasionally anti-Semitic screeds attacking the “liberal” press and its alleged communist ties.

The Neuroscience Of Changing Your Mind

“Scientists have long accepted that our ability to abruptly stop or modify a planned behavior is controlled via a single region within the brain’s prefrontal cortex, an area involved in planning and other higher mental functions.” Now it seems that this consensus among scientists was, if not wrong, greatly oversimplified.

Why Are The Met’s Biggest Stars Dropping Out Of The New “Tosca” Production?

Since the Met first announced the new “Tosca” 10 months ago, the David McVicar production has lost its star tenor, Jonas Kaufmann; the soprano singing the title role, Kristine Opolais; its conductor, Andris Nelsons, who is married to Ms. Opolais; and his replacement, James Levine, who was suspended this month after being accused of sexual misconduct. Now the last remaining star of the originally-announced cast has withdrawn.

The Advisors Who Help The IRS Value Art

To be accurately taxed, an artwork needs to be accurately valued, and the owner who has to pay the tax can’t be expected to provide the last word. When an artwork is sold outright, the Internal Revenue Service needs no help in determining how much to tax; it has the purchase price and the sale price and it knows how to subtract. (The maximum federal tax rate on profits from the sale of art and collectibles is 28 percent, higher than the 15 to 20 percent for stocks.) Things get trickier, however, when an artwork passes to an heir or is given to a museum. The agency still needs to know, as of the date of death or donation, how much the art is worth, but without a current sale price that figure can be debatable.