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Books > Language & Literature > Literature: history & criticism > Literary studies > General
The Trash Phenomenon looks at how writers of the late twentieth century not only have integrated the events, artifacts, and theories of popular culture into their works but also have used those works as windows into popular culture's role in the process of nation building. Taking her cue from Donald Barthelme's 1967 portrayal of popular culture as ""trash"" and Don DeLillo's 1997 description of it as a subversive ""people's history,"" Stacey Olster explores how literature recycles American popular culture so as to change the nationalistic imperative behind its inception. The Trash Phenomenon begins with a look at the mass media's role in the United States' emergence as the twentieth century's dominant power. Olster discusses the works of three authors who collectively span the century bounded by the Spanish-American War (1898) and the Persian Gulf War (1991): Gore Vidal's American Chronicle series, John Updike's Rabbit tetralogy, and Larry Beinhart's American Hero. Olster then turns her attention to three non-American writers whose works explore the imperial sway of American popular culture on their nation's value systems: hierarchical class structure in Dennis Potter's England, Peronism in Manuel Puig's Argentina, and Nihonjinron consensus in Haruki Murakami's Japan. Finally, Olster returns to American literature to look at the contemporary media spectacle and the representative figure as potential sources of national consolidation after November 1963. Olster first focuses on autobiographical, historical, and fictional accounts of three spectacles in which the formulae of popular culture are shown to bypass differences of class, gender, and race: the John F. Kennedy assassination, the Scarsdale Diet Doctor murder, and the O. J. Simpson trial. She concludes with some thoughts about the nature of American consolidation after 9/11.
In the wake of apartheid, South African culture conveys the sense of being lost in time and space. The Truth Commission provided an opportunity for South Africans to find their bearings in a nation changing at a bewildering pace. The Truth Commission also marked the beginning of a long process of remapping space, place and memory. In this title, Shane Graham investigates how post-apartheid theatre-makers and writers of fiction, poetry and memoir have taken this project forward, using their art to come to terms with South Africa's violent past and rapidly changing present.
The police don't show up on Easy Rawlins's doorstep until the third girl dies. It's Los Angeles, 1956, and it takes more than one murdered black girl before the cops get interested. Now they need Easy. As he says: "I was worth a precinct full of detectives when the cops needed the word in the ghetto." But Easy turns them down. He's married now, a father -- and his detective days are over. Then a white college coed dies the same brutal death, and the cops put the heat on Easy: If he doesn't help, his best friend is headed for jail. So Easy's back, walking the midnight streets of Watts and the darker, twisted avenues of a cunning killer's mind....
If nineteenth-century Britain witnessed the rise of medical
professionalism, it also witnessed rampant quackery. It is tempting
to categorize historical practices as either orthodox or quack, but
what did these terms really signify in medical and public circles
at the time? How did they develop and evolve? What do they tell us
about actual medical practices?
Contributions by Lauren R. Carmacci, Keridiana Chez, Kate Glassman, John Granger, Marie Schilling Grogan, Beatrice Groves, Tolonda Henderson, Nusaiba Imady, Cecilia Konchar Farr, Juliana Valadao Lopes, Amy Mars, Christina Phillips-Mattson, Patrick McCauley, Jennifer M. Reeher, Jonathan A. Rose, and Emily Strand Despite their decades-long, phenomenal success, the Harry Potter novels have attracted relatively little attention from literary critics and scholars. While popular books, articles, blogs, and fan sites for general readers proliferate, and while philosophers, historians, theologians, sociologists, psychologists, and even business professors have taken on book-length studies and edited essay collections about Harry Potter, literature scholars, outside of the children's books community, have paid few serious visits to the Potterverse. Could it be that scholars are still reluctant to recognize popular novels, especially those with genre labels "children's literature" or "fantasy," as worthy subjects for academic study? This book challenges that oversight, assembling and foregrounding some of the best literary critical work by scholars trying to move the needle on these novels to reflect their importance to twenty-first-century literate culture. In Open at the Close, contributors consciously address Harry Potter primarily as a literary phenomenon rather than a cultural one. They interrogate the novels on many levels, from multiple perspectives, and with various conclusions, but they come together around the overarching question: What is it about these books? At their heart, what is it that makes the Harry Potter novels so exceptionally compelling, so irresistible to their readers, and so relevant in our time?
Joe R. Lansdale (b. 1951), the award-winning author of such novels as Cold in July (1989) and The Bottoms (2000), as well as the popular Hap and Leonard series, has been publishing novels since 1981. Lansdale has developed a tremendous cult audience willing to follow him into any genre he chooses to write in, including horror, western, crime, adventure, and fantasy. Within these genres, his stories, novels, and novellas explore friendship, race, and life in East Texas. His distinctive voice is often funny and always unique, as characterized by such works as Bubba Ho-Tep (1994), a novella that centers on Elvis Presley, his friend who believes himself to be John F. Kennedy, and a soul-sucking ancient mummy. This same novella won a Bram Stoker Award, one of the ten Bram Stoker Awards given to Lansdale thus far in his illustrious career. Wielding a talent that extends beyond the page to the screen, Landsdale has also written episodes for Batman: The Animated Series and Superman: The Animated Series. Conversations with Joe R. Lansdale brings together interviews from newspapers, magazines, and podcasts conducted throughout the prolific author's career. The collection includes conversations between Lansdale and other noted peers like Robert McCammon and James Grady; two podcast transcripts that have never before appeared in print; and a brand-new interview, exclusive to the volume. In addition to shedding light on his body of literary work and process as a writer, this collection also shares Lansdale's thoughts on comics, atheism, and martial arts.
This book deals with letters in Anglophone Canadian short stories of the late twentieth and the early twenty-first century in the context of liminality. It argues that in the course of the epistolary renaissance, the letter - which has often been deemed to be obsolete in literature - has not only enjoyed an upsurge in novels but also migrated to the short story, thus constituting the genre of the epistolary short story. .
The small town has become a national icon that circulates widely in literature, culture, and politics as an authentic American space and community. Yet there are surprisingly few critical studies that analyze the small town's centrality to the United States' identity and imagination. In Main Street and Empire, Ryan Poll addresses this need, arguing that the small town, as evoked by the image of "Main Street," is not a relic of the past but rather a metaphorical screen upon which America's "everyday" stories and subjects are projected on both a national and global scale. Bringing together a broad selection of texts-from Thornton Wilder's Our Town, Grace Metalious's Peyton Place, and Peter Weir's The Truman Show to the speeches of William McKinley, Ronald Reagan, Sarah Palin, and Barack Obama-Poll examines how the small town is used to imagine and reproduce the nation throughout the twentieth and into the twenty-first century. He contends that the dominant small town, despite its innocent, nostalgic appearance, is central to the development of the U.S. empire and global capitalism.
Narrative Faith engages with the dynamics of doubt and faith to consider how literary works with complex structures explore different moral visions. The study describes a literary petite histoire that problematizes faith in two ways-both in the themes presented in the story, and the strategies used to tell that story-leading readers to doubt the narrators and their narratives. Starting with Dostoevsky's Demons (1872), a literary work that has captivated and confounded critics and readers for well over a century, the study examines Albert Camus's The Plague (1947) and Isaac Bashevis Singer's The Penitent (1973/83), works by twentieth-century authors who similarly intensify questions of faith through narrators that generate doubt. The two postwar novelists share parallel preoccupations with Dostoevsky's art and similar personal philosophies, while their works constitute two literary responses to the cataclysm of the Second World War-extending questions of faith into the current era. The book's last section looks beyond narrative inquiry to consider themes of confession and revision that appear in all three novels and open onto horizons beyond faith and doubt-to hope.
Recent years have seen a wealth of new scholarship on the history of photography, cinema, digital media, and video games, yet less attention has been devoted to earlier forms of visual culture. The nineteenth century witnessed a dramatic proliferation of new technologies, devices, and print processes, which provided growing audiences with access to more visual material than ever before. This volume brings together the best aspects of interdisciplinary scholarship to enhance our understanding of the production, dissemination, and consumption of visual media prior to the predominance of photographic reproduction. By setting these examples against the backdrop of demographic, educational, political, commercial, scientific, and industrial shifts in Central Europe, these essays reveal the diverse ways that innovation in visual culture affected literature, philosophy, journalism, the history of perception, exhibition culture, and the representation of nature and human life in both print and material culture in local, national, transnational, and global contexts.
Oh, how the French love love! For hundreds of years, they have championed themselves as guides to the art de l'amour through their literature, paintings, songs, and cinema. A French man or woman without amorous desire is considered defective, like someone missing the sense of smell or taste. Now revered scholar Marilyn Yalom intimately examines the tenets of this culture's enduring gospel of romance. Basing her delightfully erudite findings on her extensive readings of French literature, as well as memories of her personal experiences in la belle France, Yalom explores the many nuances of love as it has evolved over the centuries, from the Middle Ages to the present. Following along, step-by-step, on her romance-tinged literary detective hunt, the reader discovers how the French invented love, how they have kept it vibrant for more than nine centuries, what is unique in the French love experience, and what is universal.
Reading Contemporary African American Literature focuses on the subject of contemporary African American popular fiction by women. Bragg's study addresses why such work should be the subject of scholarly examination, describes the events and attitudes which account for the critical neglect of this body of work, and models a critical approach to such narratives that demonstrates the distinctive ways in which this literature captures the complexities of post-civil rights era black experiences. In making her arguments regarding the value of popular writing, Bragg argues that black women's popular fiction foregrounds gender in ways that are frequently missing from other modes of narrative production. They exhibit a responsiveness and timeliness to the shifting social terrain which is reflected in the rapidly shifting styles and themes which characterize popular fiction. In doing so, they extend the historical function of African American literature by continuing to engage the black body as a symbol of political meaning in the social context of the United States. In popular literature Beauty Bragg locates a space from which black women engage a variety of public discourses.
The concept of home has been changing for more than a century. This change began with colonialism and the movement of people across the globe, often within a set power dynamic. Since people now move with greater frequency, the question of where home is and what home means is more relevant than ever before.Meticulously researched, "Transformations of the Liminal Self" addresses the formation of home and identity and the ways in which the latter depends on the former. Using the postcolonial Muslim characters in the literary works of British authors Salman Rushdie, Hanif Kureishi, Zadie Smith, Monica Ali, and Fadia Faqir, author Alaa Alghamdi shows how home and identity are profoundly impacted by the power dynamics of the colonial relationship, the individual immigrant's experience, and the subject's multicultural setting. Drawing upon the theoretical work of Homi Bhabha, Rosemary Marangoly George, Gayatri Chakrovorty Spivak, and Edward Said, the conception of home and the formation of hybrid identities is examined and connected to larger cultural manifestations of Muslim-Western relationships. More specifically, Alghamdi explores how these characters define their home.Bold and challenging, Alghamdi's work offers a rigorous and well-articulated contribution to the ongoing academic conversation about identity and postcolonial literature.
The advances of book history and editorial theory remind us that it is vital to look behind the text we read. In this book Sukanta Chaudhuri explores, at a very fundamental level, how texts are constituted and how they work. He applies insights from many lines of study not brought together so closely before: theories of language, signification and reception alongside bibliography, textual criticism, editorial theory and book history. Blending case studies with general observation and theory, he considers the implications of the physical form of the text; the relation between oral and written language, and between language and other media; the new territory opened up by electronic texts; and special categories like play-books and translations. Drawing on an exceptionally wide range of material, both Western literature and Indian works from Sanskrit aesthetics to the poetry of Rabindranath Tagore, Chaudhuri sets a new agenda for the study of texts.
Shakespeare in Cuba: Caliban's Books explores how Shakespeare is consumed and appropriated in Cuba. It contributes to the underrepresented field of Latin American Shakespeares by applying the lens of cultural anthropophagy, a theory with Latin American roots, to explore how Cuban artists ingest and transform Shakespeare's plays. By consuming these works and incorporating them into Cuban culture and literature, Cuban writers make the plays their own while also nourishing the source texts and giving Shakespeare a new afterlife.
The aim of this book is to orchestrate "a generic reconstitution of literary studies" based on a comprehensive theory of genre and generic transformation. Taking "An Excellent Ballad of George Barnwel," a seventeenth-century broadside of sex and greed, Ralph Cohen analyzes the generic transformations-including Addison's ballad criticism in The Spectator, The London Merchant, Percy's ballad editing in Reliques, and Barnwell. A Novel-in which this particular ballad exhibits remarkable continuity over the next four centuries, culminating with his personal re-formation; what was considered non-literary criticism becomes literary. This unique literary history reconceives narrative as a component of genre rather than a genre itself, demonstrates the ineluctably mixed nature of genres and the literary nature of our humanness, and analyzes the shifting generic contexts for interpretation and gender relations. Incorporating theory consciousness into the literary genre he is regenerating, Cohen offers a brilliant example of how future literary histories might be written. |
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