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This volume addresses the relationship between irony and popular
culture and the role of the consumer in determining and
disseminating meaning. Arguing that in a cultural climate largely
characterised by fractious communications and perilous linguistic
exchanges, the very role of irony in popular culture needs to come
under greater scrutiny, it focuses on the many uses, abuses, and
misunderstandings of irony in contemporary popular culture, and
explores the troubling political populism at the heart of many
supposedly satirical and (apparently) non-satirical texts. In an
environment in which irony is frequently claimed as a defence for
material and behaviour judged controversial, how do we, as a
society entrenched in forms of popular culture and media, interpret
work that is intended as satire but which reads as unironic? How do
we accurately decode works of popular film, literature, television,
music, and other cultural forms which sell themselves as bitingly
ironic commentaries on current society, but which are also
problematic celebrations of the very issues they purport to
critique? And what happens when texts intended and received in one
manner are themselves ironically recontextualised in another?
Bringing together studies across a range of cultural texts
including popular music, film and television, Isn't it Ironic? will
appeal to scholars of the social sciences and humanities with
interests in cultural studies, media studies, popular culture,
literary studies and sociology.
This volume addresses the relationship between irony and popular
culture and the role of the consumer in determining and
disseminating meaning. Arguing that in a cultural climate largely
characterised by fractious communications and perilous linguistic
exchanges, the very role of irony in popular culture needs to come
under greater scrutiny, it focuses on the many uses, abuses, and
misunderstandings of irony in contemporary popular culture, and
explores the troubling political populism at the heart of many
supposedly satirical and (apparently) non-satirical texts. In an
environment in which irony is frequently claimed as a defence for
material and behaviour judged controversial, how do we, as a
society entrenched in forms of popular culture and media, interpret
work that is intended as satire but which reads as unironic? How do
we accurately decode works of popular film, literature, television,
music, and other cultural forms which sell themselves as bitingly
ironic commentaries on current society, but which are also
problematic celebrations of the very issues they purport to
critique? And what happens when texts intended and received in one
manner are themselves ironically recontextualised in another?
Bringing together studies across a range of cultural texts
including popular music, film and television, Isn't it Ironic? will
appeal to scholars of the social sciences and humanities with
interests in cultural studies, media studies, popular culture,
literary studies and sociology.
Didactics and the Modern Robinsonade examines modern and
contemporary Robinsonade texts written for young readers, looking
specifically at the ways in which later adaptations of the Robinson
Crusoe story subvert both traditional narrative structures and
particular ideological codes within the genre. This collection
redresses both the gender and geopolitical biases that have
characterized most writings within the Robinsonade genre since its
inception, and includes chapters on little-known works of fiction
by female authors, as well as works from outside the mainstream of
Anglo-American culture.
Didactics and the Modern Robinsonade examines modern and
contemporary Robinsonade texts written for young readers, looking
specifically at the ways in which later adaptations of the Robinson
Crusoe story subvert both traditional narrative structures and
particular ideological codes within the genre. This collection
redresses both the gender and geopolitical biases that have
characterized most writings within the Robinsonade genre since its
inception, and includes chapters on little-known works of fiction
by female authors, as well as works from outside the mainstream of
Anglo-American culture.
Previously considered an avowed nationalist, this book explores how
Ian Fleming's writings and his representational politics contain an
implicit resistance to imperial rhetoric. Through an examination of
Fleming's Jamaica-set novels Live and Let Die, Dr. No, and The Man
with the Golden Gun, as well as the later film adaptations of these
novels, Ian Kinane reveals Fleming's deep ambivalence to British
decolonisation and to wider Anglo-Caribbean relations. Offered here
is a crucial insight into the public imagination during the birth
of modern British multiculturalism that encompasses broader links
between Fleming's writings on race and the representation of early
British-Jamaican cultural relations. By exploring the effects of
racial representation in these popular works, Kinane connects the
novels to more contemporary concerns regarding migration and the
ways in which the misrepresentation of cultures, races, and peoples
has led to fraught and contentious global geo-political relations
as figured in the fictional icon, James Bond.
Previously considered an avowed nationalist, this book explores how
Ian Fleming's writings and his representational politics contain an
implicit resistance to imperial rhetoric. Through an examination of
Fleming's Jamaica-set novels Live and Let Die, Dr. No, and The Man
with the Golden Gun, as well as the later film adaptations of these
novels, Ian Kinane reveals Fleming's deep ambivalence to British
decolonisation and to wider Anglo-Caribbean relations. Offered here
is a crucial insight into the public imagination during the birth
of modern British multiculturalism that encompasses broader links
between Fleming's writings on race and the representation of early
British-Jamaican cultural relations. By exploring the effects of
racial representation in these popular works, Kinane connects the
novels to more contemporary concerns regarding migration and the
ways in which the misrepresentation of cultures, races, and peoples
has led to fraught and contentious global geo-political relations
as figured in the fictional icon, James Bond.
Theorising Literary Islands is a literary and cultural study of
both how and why the trope of the island functions within
contemporary popular Robinsonade narratives. It traces the
development of Western "islomania" - or our obsession with islands
- from its origins in Daniel Defoe's Robinson Crusoe right up to
contemporary Robinsonade texts, focusing predominantly on American
and European representations of fictionalized Pacific Island
topographies in contemporary literature, film, television, and
other media. Theorising Literary Islands argues that the ubiquity
of island landscapes within the popular imagination belies certain
ideological and cultural anxieties, and posits that the emergence
of a Western popular culture tradition can largely be traced
through the development of the Robinsonade genre, and through early
European and American fascination with the Pacific region.
Theorising Literary Islands is a literary and cultural study of
both how and why the trope of the island functions within
contemporary popular Robinsonade narratives. It traces the
development of Western "islomania" - or our obsession with islands
- from its origins in Daniel Defoe's Robinson Crusoe right up to
contemporary Robinsonade texts, focusing predominantly on American
and European representations of fictionalized Pacific Island
topographies in contemporary literature, film, television, and
other media. Theorising Literary Islands argues that the ubiquity
of island landscapes within the popular imagination belies certain
ideological and cultural anxieties, and posits that the emergence
of a Western popular culture tradition can largely be traced
through the development of the Robinsonade genre, and through early
European and American fascination with the Pacific region.
Landscapes of Liminality expands upon existing notions of spatial
practice and spatial theory, and examines more intricately the
contingent notion of "liminality" as a space of "in-between-ness"
that avoids either essentialism or stasis. It capitalises on the
extensive research that has already been undertaken in this area,
and elaborates on the increasingly important and interrelated
notion of liminality within contemporary discussions of spatial
practice and theories of place. Bringing together international
scholarship, the book offers a broad range of cross-disciplinary
approaches to theories of liminality including literary studies,
cultural studies, human geography, social studies, and art and
design. The volume offers a timely and fascinating intervention
which will help in shaping current debates concerning landscape
theory, spatial practice, and discussions of liminality.
Landscapes of Liminality expands upon existing notions of spatial
practice and spatial theory, and examines more intricately the
contingent notion of "liminality" as a space of "in-between-ness"
that avoids either essentialism or stasis. It capitalises on the
extensive research that has already been undertaken in this area,
and elaborates on the increasingly important and interrelated
notion of liminality within contemporary discussions of spatial
practice and theories of place. Bringing together international
scholarship, the book offers a broad range of cross-disciplinary
approaches to theories of liminality including literary studies,
cultural studies, human geography, social studies, and art and
design. The volume offers a timely and fascinating intervention
which will help in shaping current debates concerning landscape
theory, spatial practice, and discussions of liminality.
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