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This edited collection examines the effects that macrosystems have
on the figuration of our everyday-of microdystopias-and argues that
microdystopic narratives are part of a genre that has emerged in
contract to classic dystopic manifestations of world-shattering
events. From different methodological and theoretical positions in
fieldworks ranging from literary works and young adult series to
concrete places and games, the contributors in Microdystopias:
Aesthetics and Ideologies in a Broken Moment sound the depths of an
existential sense of shrinking horizons - spatially, temporally,
emotionally, and politically. The everyday encroachment on our
sense of spatial orientation that gradually and discreetly shrinks
the horizons of possibilities is demonstrated by examining what the
form of the microdystopic look like when they are aesthetically
configured. Contributors analyze the aesthetics that play a
particularly central and complex role in mediating, as well as
disrupting, the parameters of dystopian emergences and emergencies,
reflecting an increasingly uneasy relationship between the
fictional, the cautionary, and the real. Scholars of media studies,
sociology, and philosophy will find this book of particular
interest.
Horizons of Enchantment is about the peculiar power and exceptional
pull of the imaginary in American culture. Johannessen's subject
here is the almost mystical American belief in the promise and
potential of the individual, or the reliance on a kind of "modern
magic" that can loosely be characterized as a fundamental and
unwavering faith in the secular sanctity of the American project of
modernity. Among the diverse topics and cultural artifacts she
examines are the Norwegian American novel A Saloonkeeper's Daughter
by Drude Krog Janson, Walt Whitman's Song of Myself, Rodolfo
Gonzales's I Am Joaquin, Richard Ford's The Sportwriter, Ana
Menendez's In Cuba I Was a German Shepherd, essays by Samuel
Huntington and Richard Rodriquez, and the 2009 film Sugar, about a
Dominican baseball player trying to make it in the big leagues. In
both her subject matter and perspective, Johannessen reconfigures
and enriches questions of the transnational and exceptional in
American studies.
Aesthetic Apprehensions: Silences and Absences in False
Familiarities is a scholarly conversation about encounters between
habitual customs of reading and seeing and their ruptures and
ossifications. In closely connected discourses, the thirteen essays
collected here set out to carefully probe the ways our aesthetic
immersions are obfuscated by deep-seated epistemological and
ideological apprehensions by focusing on how the tropology carried
by silence, absence, and false familarity crystallize to define the
gaps that open up. As they figure in the subtitle of this volume,
the tropes may seem straightforward enough, but a closer
examination of their function in relation to social, cultural, and
political assumptions and gestalts reveal troubling oversights.
Aesthetic Apprehensions comes to name the attempt at capturing the
outlier meanings residing in habituated receptions as well as the
uneasy relations that result from aesthetic practices already in
place, emphasizing the kinds of thresholds of sense and sensation
which occasion rupture and creativity. Such, after all, is the
promise of the threshold, of the liminal: to encourage our leap
into otherness, for then to find ourselves and our sensing again,
and anew in novel comprehensions.
Emerging Aesthetic Imaginaries considers aesthetic imaginaries as
they constitute and are constituted by and in our shared realities.
With contributions from twelve scholars working in the fields of
literary studies, visual studies, anthropology, cultural studies,
and digital culture, this book takes a multidisciplinary approach
to "aesthetic imaginaries," which tests the conceptual potential
from an array of perspectives and methodologies. It probes into the
continuous creation and re-creation of figures for the future that
invariably nod to their pasts, whether with a spirit of respect,
disgust, hope, or play. It is particularly in the intersections
between ideas and formations of "shared realities" and what Ranjan
Ghosh has called "entangled figurations" that the full and
intricate promise of the aesthetic imaginary as analytic and
conceptual prism comes into its own. As the chapters in this
collection demonstrate, "knots" of various aesthetic imaginaries
disseminate and manifest variously across place and time, to weave
and interweave again, and to offer themselves in each instance as
contours-so-far of cultural and aesthetic histories.
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