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Are homecoming games and freshman composition, Twitter feeds and
scholarly monographs really mortal enemies? Media U presents a
provocative rethinking of the development of American higher
education centered on the insight that universities are media
institutions. Tracing over a century of media history and the
academy, Mark Garrett Cooper and John Marx argue that the
fundamental goal of the American research university has been to
cultivate audiences and convince them of its value. Media U shows
how universities have appropriated new media technologies to convey
their message about higher education, the aims of research, and
campus life. The need to create an audience stamps each of the
university's steadily proliferating disciplines, shapes its
structure, and determines its division of labor. Cooper and Marx
examine how the research university has sought to inform publics
and convince them of its value to American society, from the rise
of football and Great Books programs in the early twentieth century
through a midcentury communications complex linking big science,
New Criticism, and design, from the co-option of 1960s student
activist media through the early-twenty-first-century reception of
MOOCs and the latest promises of technological disruption. The book
considers the ways in which universities have used media platforms
to reconcile national commitments to equal opportunity with
corporate capitalism as well as the vexed relationship of democracy
and hierarchy. By exploring how media engagement brought the
American university into being and continues to shape academic
labor, Media U presents essential questions and resources for
reimagining the university and confronting its future.
How has the form of the novel responded to the conditions now
grouped under the term "neoliberalism"? These conditions have
generated an explosion of narrative forms that make the past two
decades one of the two or three most significant periods in the
history of the novel. The contributors ask whether these formal
innovations can be understood as an unprecedented break from the
past or the latest chapter in a process that has been playing out
over the past three centuries. In response to this question, they
use a range of contemporary novels to consider whether conditions
of multinational capitalism limit the novel's ability to imagine a
future beyond the limits of that world. Do novels that reject the
option of an alternative world nevertheless reimagine the limits of
multinational capitalism as the precondition for such a future?
With these concerns in mind, contributors demonstrate how major
contemporary novelists challenge national traditions of the novel
both in the Anglophone West and across the Global South. This
collective inquiry begins with a new essay by and interview with
British novelist Tom McCarthy. Contributors Nancy Armstrong, Jane
Elliott, Matthew Hart, Nathan Hensley, Nicholas Huber, Jeanne-Marie
Jackson, John Marx, Tom McCarthy, Vaughn Rasberry, Deisdra Reber,
Lily Saint, Emilio Sauri, Rachel Greenwald Smith, Paul Stasi
John Marx's watercolours, first published in the Architectural
Review, are a captivating example of an architect's way of
thinking. Subtle and quiet they are nonetheless compelling works in
how they tackle a sense of place, of inhabiting space and time all
the while resonating with the core of one's inner being. There is
an existential quality to these watercolours that is rare to be
found in this medium. Something akin to the psychologically
piercing observational quality of artists like De Chirico or
Hopper. As architects strive to communicate their ideas, it is
interesting to explore the world of Marx's watercolours as an
example of a humane approach to conveying emotional meaning in
relation to our environment. Marx's subject matter read like"built
landscape" heightening the role of the manmade yet wholly in
balance with the natural world. This is a message and sentiment
that is perhaps more important than ever to relay to audiences.
Literary fiction is a powerful cultural tool for criticizing
governments and for imagining how better governance and better
states would work. Combining political theory with strong readings
of a vast range of novels, John Marx shows that fiction over the
long twentieth century has often envisioned good government not in
Utopian but in pragmatic terms. Early-twentieth-century novels by
Joseph Conrad, E. M. Forster and Rabindrananth Tagore helped
forecast world government after European imperialism.
Twenty-first-century novelists such as Monica Ali, Chimamanda Ngozi
Adichie, Michael Ondaatje and Amitav Ghosh have inherited that
legacy and continue to criticize existing policies in order to
formulate best practices on a global scale. Marx shows how
literature can make an important contribution to political and
social sciences by creating a space to imagine and experiment with
social organization.
In the early twentieth century, subjects of the British Empire
ceased to rely on a model of centre and periphery in imagining
their world and came instead to view it as an interconnected
network of cosmopolitan people and places. English language and
literature were promoted as essential components of a commercial,
cultural, and linguistic network that spanned the globe. John Marx
argues that the early twentieth century was a key moment in the
emergence of modern globalization, rather than simply a period of
British imperial decline. Modernist fiction was actively engaged in
this transformation of society on an international scale. The very
stylistic abstraction that seemed to remove modernism from social
reality, in fact internationalized the English language. Rather
than mapping the decline of Empire, modernist novelists such as
Conrad and Woolf celebrated the shared culture of the English
language as more important than the waning imperial structures of
Britain.
In the early twentieth century, subjects of the British Empire
ceased to rely on a model of centre and periphery in imagining
their world and came instead to view it as an interconnected
network of cosmopolitan people and places. English language and
literature were promoted as essential components of a commercial,
cultural, and linguistic network that spanned the globe. John Marx
argues that the early twentieth century was a key moment in the
emergence of modern globalization, rather than simply a period of
British imperial decline. Modernist fiction was actively engaged in
this transformation of society on an international scale. The very
stylistic abstraction that seemed to remove modernism from social
reality, in fact internationalized the English language. Rather
than mapping the decline of Empire, modernist novelists such as
Conrad and Woolf celebrated the shared culture of the English
language as more important than the waning imperial structures of
Britain.
Are homecoming games and freshman composition, Twitter feeds and
scholarly monographs really mortal enemies? Media U presents a
provocative rethinking of the development of American higher
education centered on the insight that universities are media
institutions. Tracing over a century of media history and the
academy, Mark Garrett Cooper and John Marx argue that the
fundamental goal of the American research university has been to
cultivate audiences and convince them of its value. Media U shows
how universities have appropriated new media technologies to convey
their message about higher education, the aims of research, and
campus life. The need to create an audience stamps each of the
university's steadily proliferating disciplines, shapes its
structure, and determines its division of labor. Cooper and Marx
examine how the research university has sought to inform publics
and convince them of its value to American society, from the rise
of football and Great Books programs in the early twentieth century
through a midcentury communications complex linking big science,
New Criticism, and design, from the co-option of 1960s student
activist media through the early-twenty-first-century reception of
MOOCs and the latest promises of technological disruption. The book
considers the ways in which universities have used media platforms
to reconcile national commitments to equal opportunity with
corporate capitalism as well as the vexed relationship of democracy
and hierarchy. By exploring how media engagement brought the
American university into being and continues to shape academic
labor, Media U presents essential questions and resources for
reimagining the university and confronting its future.
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