|
Showing 1 - 21 of
21 matches in All Departments
Don DeLillo after the Millennium: Currents and Currencies examines
all the author's work published in the 21st century: The Body
Artist, Cosmopolis, Falling Man, Point Omega, and Zero K, the plays
Love-Lies-Bleeding and The Word for Snow, and the short stories in
The Angel Esmeralda. What topic doesn't DeLillo tackle?
Cyber-capital and currency markets, ontology and intelligence,
global warming and cryogenics, Don DeLillo continues to ponder the
significance of present cultural currents and to anticipate the
waves of the future. Performance art and ethics, drama and
euthanasia, space studies and the constrictions of time, DeLillo
perspicaciously reads our culture, giving voice to the rhythms of
our vernacular and diction. Rich and resonant, his work is so
multifaceted in its attention that it accommodates a wide variety
of critical approaches while its fine and filigreed prose commends
him to a poetic appreciation as well. Don DeLillo After the
Millennium brings together an international cast of scholars who
examine DeLillo's work from many critical perspectives, exploring
the astonishing output of an author who continues to tell our
stories and show us ourselves.
Don DeLillo after the Millennium: Currents and Currencies examines
all the author's work published in the 21st century: The Body
Artist, Cosmopolis, Falling Man, Point Omega, and Zero K, the plays
Love-Lies-Bleeding and The Word for Snow, and the short stories in
The Angel Esmeralda. What topic doesn't DeLillo tackle?
Cyber-capital and currency markets, ontology and intelligence,
global warming and cryogenics, Don DeLillo continues to ponder the
significance of present cultural currents and to anticipate the
waves of the future. Performance art and ethics, drama and
euthanasia, space studies and the constrictions of time, DeLillo
perspicaciously reads our culture, giving voice to the rhythms of
our vernacular and diction. Rich and resonant, his work is so
multifaceted in its attention that it accommodates a wide variety
of critical approaches while its fine and filigreed prose commends
him to a poetic appreciation as well. Don DeLillo after the
Millennium brings together an international cast of scholars who
examine DeLillo's work from many critical perspectives, exploring
the astonishing output of an author who continues to tell our
stories and show us ourselves.
For the Beatles, 1967 marks a signal crossroads that would both
transform the group's career and place them on a trajectory towards
their eventual disbandment. It was a year in which they exploded
prevailing rock music demographics through the global onslaught and
international success of Sgt. Pepper's Lonely Hearts Club Band
beginning in June 1967. Yet it was also a period that saw them in a
precarious state of flux throughout the summer and fall months, as
the band attempted to recapture their artistic direction in the
wake of Sgt. Pepper and the untimely death of manager Brian
Epstein. The Beatles, Sgt. Pepper, and the Summer of Love draws
readers into that pivotal year in the life of the band. For the Fab
Four, 1967 would see the band members part ways with psychedelia
and the avant-garde through the trials and tribulations of the
Magical Mystery Tour, a project that resulted in a series of
classic recordings, while at the same time revealing the bandmates'
aesthetic vulnerabilities and failings as would-be filmmakers and
auteurs.
From early silent features like The Lodger and Easy Virtue to his
final film, Family Plot, in 1976, most of Alfred Hitchcock s movies
were adapted from plays, novels, and short stories. Hitchcock
always took care to collaborate with those who would not just
execute his vision but shape it, and many of the screenwriters he
enlisted including Eliot Stannard, Charles Bennett, John Michael
Hayes, and Ernest Lehman worked with the director more than once.
And of course Hitchcock s wife, Alma Reville, his most constant
collaborator, was with him from the 1920s until his death. In
Hitchcock and Adaptation: On the Page and Screen, Mark Osteen has
assembled a wide-ranging collection of essays that explore how
Hitchcock and his screenwriters transformed literary and theatrical
source material into masterpieces of cinema. Some of these essays
look at adaptations through a specific lens, such as queer
aesthetics applied to Rope, Strangers on a Train, and Psycho, while
others tackle the issue of Hitchcock as author, auteur, adaptor,
and, for the first time, present Hitchcock as a literary source.
Film adaptations discussed in this volume include The 39 Steps,
Shadow of a Doubt, Lifeboat, Rear Window, Vertigo, Marnie, and
Frenzy. Additional essays analyze Hitchcock-inspired works by W. G.
Sebald, Don DeLillo, Bret Easton Ellis, and others. These close
examinations of Alfred Hitchcock and the creative process
illuminate the significance of the material he turned to for
inspiration, celebrate the men and women who helped bring his
artistic vision from the printed word to the screen, and explore
how the director has influenced contemporary writers. A fascinating
look into an underexplored aspect of the director s working
methods, Hitchcock and Adaptation will be of interest to film
scholars and fans of cinema s most gifted auteur."
Autism, a neuro-developmental disability, has received wide but
often sensationalistic treatment in the popular media. A great deal
of clinical and medical research has been devoted to autism, but
the traditional humanities disciplines and the new field of
Disability Studies have yet to explore it. This volume, the first
scholarly book on autism in the humanities, brings scholars from
several disciplines together with adults on the autism spectrum to
investigate the diverse ways that autism has been represented in
novels, poems, autobiographies, films, and clinical discourses, and
to explore the connections and demarcations between autistic and
"neurotypical" creativity. Using an empathetic scholarship that
unites professional rigor with experiential knowledge derived from
the contributors' lives with or as autistic people, the essays
address such questions as: In what novel forms does autistic
creativity appear, and what unusual strengths does it possess? How
do autistic representations--whether by or about autistic
people--revise conventional ideas of cognition, creativity,
language, (dis)ability and sociability? This timely and important
collection breaks new ground in literary and film criticism,
aesthetics, psychology, and Disability Studies.
The Question of the Gift is the first collection of new interdisciplinary essays on the gift. Bringing together scholars from a variety of fields, including anthropology, literary criticism, economics, philosophy and classics, it provides new paradigms and poses new questions concerning the theory and practice of gift exchange. In addressing these questions, contributors not only challenge the conventions of their fields, but also combine ideas and methods from both the social sciences and humanities to forge innovative ways of confronting this universal phenomenon.
This collection brings together twenty-seven essays by influential literary and cultural historians, as well as representatives of the vanguard of postmodernist economics. Contributors include: Jean-Joseph Goux, Marc Shell. This is a pathbreaking work which develops a new form of economic analysis. It will appeal to economists and literary theorists with an interest beyond the narrower confines of their subject.
Series Information: Economics as Social Theory
Autism, a neuro-developmental disability, has received wide but
often sensationalistic treatment in the popular media. A great deal
of clinical and medical research has been devoted to autism, but
the traditional humanities disciplines and the new field of
Disability Studies have yet to explore it. This volume, the first
scholarly book on autism in the humanities, brings scholars from
several disciplines together with adults on the autism spectrum to
investigate the diverse ways that autism has been represented in
novels, poems, autobiographies, films, and clinical discourses, and
to explore the connections and demarcations between autistic and
"neurotypical" creativity. Using an empathetic scholarship that
unites professional rigor with experiential knowledge derived from
the contributors' lives with or as autistic people, the essays
address such questions as: In what novel forms does autistic
creativity appear, and what unusual strengths does it possess? How
do autistic representations--whether by or about autistic
people--revise conventional ideas of cognition, creativity,
language, (dis)ability and sociability? This timely and important
collection breaks new ground in literary and film criticism,
aesthetics, psychology, and Disability Studies.
The Question of the Gift is the first collection of new
interdisciplinary essays on the gift. Bringing together scholars
from a variety of fields, including anthropology, literary
criticism, economics, philosophy and classics, it provides new
paradigms and poses new questions concerning the theory and
practice of gift exchange. In addressing these questions,
contributors not only challenge the conventions of their fields,
but also combine ideas and methods from both the social sciences
and humanities to forge innovative ways of confronting this
universal phenomenon.
American Magic and Dread Don DeLillo's Dialogue with Culture Mark
Osteen "Osteen's wide-ranging knowledge of media history and theory
and ability to draw upon a variety of theoretical approaches with
great clarity convincingly links DeLillo to the major intellectual
currents of our times. This is just the sort of book to generate a
livelier discussion of DeLillo's place in the postmodern
canon."--David Cowart, University of South Carolina "A strongly
argued analysis and close reading of Delillo's works. . . . There
is much here in the methodology and discussion of postmodern themes
and techniques that will have relevance to American studies and
cultural studies more widely."--"Forum for Modern Language Studies"
Don DeLillo once remarked to an interviewer that his intention is
to use "the whole picture, the whole culture," of America. Since
the publication of his first novel Americana in 1971, DeLillo has
explored modern American culture through a series of acclaimed
novels, including White Noise (1985; winner of the American Book
Award), Libra (1988), and Underworld (1997). For Mark Osteen, the
most bracing and unsettling feature of DeLillo's work is that,
although his fiction may satirize cultural forms, it never does so
from a privileged position outside the culture. His work
brilliantly mimics the argots of the very phenomena it dissects:
violent thrillers and conspiracy theories, pop music, advertising,
science fiction, film, and television. As a result, DeLillo has
been read both as a denouncer and as a defender of contemporary
culture; in fact, Osteen argues, neither description is adequate.
DeLillo's dialogue with modern institutions, such as chemical
companies, the CIA, and the media, respects their power and
ingenuity while criticizing their dangerous consequences. Even as
DeLillo borrows from their discourses, he maintains a tenaciously
opposing stance toward the sources of collective power. Mark Osteen
is Associate Professor of English at Loyola College. He is the
editor of "DeLillo's White Noise: Text and Criticism," and author
of "The Economy of Ulysses: Making Both Ends Meet." Penn Studies in
Contemporary American Fiction 2000 304 pages 6 x 9 ISBN
978-0-8122-3551-7 Cloth $65.00s 42.50 World Rights Literature Short
copy: "A strongly argued analysis and close reading of Delillo's
works. . . . There is much here in the methodology and discussion
of postmodern themes and techniques that will have relevance to
American studies and cultural studies more widely."--"Forum for
Modern Language Studies"
Desperate young lovers on the lam (They Live by Night), a cynical
con man making a fortune as a mentalist (Nightmare Alley), a
penniless pregnant girl mistaken for a wealthy heiress (No Man of
Her Own), a wounded veteran who has forgotten his own name
(Somewhere in the Night)-this gallery of film noir characters
challenges the stereotypes of the wise-cracking detective and the
alluring femme fatale. Despite their differences, they all have
something in common: a belief in self-reinvention. Nightmare Alley
is a thorough examination of how film noir disputes this notion at
the heart of the American Dream. Central to many of these films,
Mark Osteen argues, is the story of an individual trying, by dint
of hard work or, more often, illicit enterprises, to overcome his
or her origins and achieve material success. In the wake of World
War II, the noir genre tested the dream of upward mobility and the
ideas of individualism, liberty, equality, and free enterprise that
accompany it. Employing an impressive array of theoretical
perspectives (including psychoanalysis, art history, feminism, and
music theory) and combining close reading with original primary
source research, Nightmare Alley proves both the diversity of
classic noir and its potency. This provocative and wide-ranging
study revises and refreshes our understanding of noir's characters,
themes, and cultural significance.
The first book to analyze and celebrate Baltimore's
underappreciated jazz tradition, Music at the Crossroads shines new
light on legends such as Eubie Blake and Cab Calloway, honors
neglected figures such as Ellis Larkins, Hank Levy, and Ethel
Ennis, pays tribute to the legacies of Pennsylvania Avenue and the
Left Bank Jazz Society, and analyzes the current Baltimore jazz
scene.
The first book to analyze and celebrate Baltimore's
underappreciated jazz tradition, Music at the Crossroads shines new
light on legends such as Eubie Blake and Cab Calloway, honors
neglected figures such as Ellis Larkins, Hank Levy, and Ethel
Ennis, pays tribute to the legacies of Pennsylvania Avenue and the
Left Bank Jazz Society, and analyzes the current Baltimore jazz
scene.
This original and wide-ranging study explores the "economies" of
Ulysses using a number of different critical and theoretical
methods. Not only do the economic circumstances of the characters
form a significant part of the novel's realistic subject matter but
the relationships between characters are also based upon modes of
economic exchange. Moreover, the narrative itself is filled with
economic terms that serve as tropes for its themes, events, and
techniques. Some of the subjects and topics covered include Joyce's
own "spendthrift" background, gift exchanges and reciprocity as a
fundamental means of reader/author relationship in the novel, money
and language, Bloom as an "economic man," the "narrative economy"
of "Wandering Rocks," the relationship between commerce and
eroticism, the function of sacrifice in the creation of value,
counterfeiting, forgery, and other crimes of writing, and a
demonstration of how the encounter between Stephen and Bloom "makes
both ends meet." The book brings together not only the opposed
economic impulses in Joyce but also the conflicting strains of
regulation and excess in the novel's structural economy.
How many layers of artifice can one artwork contain? How does
forgery unsettle our notions of originality and creativity? Looking
at both the literary and art worlds, Fake It investigates a set of
fictional forgeries and hoaxes alongside their real-life
inspirations and parallels. Mark Osteen shows how any forgery or
hoax is only as good as its authenticating story-and demonstrates
how forgeries foster fresh authorial identities while being deeply
intertextual and frequently quite original. From fakes of the late
eighteenth century, such as Thomas Chatterton's Rowley poems and
the notorious "Shakespearean" documents fabricated by William-Henry
Ireland, to hoaxes of the modern period, such as Clifford Irving's
fake autobiography of Howard Hughes, the infamous Ern Malley
forgeries, and the audacious authorial masquerades of Percival
Everett, Osteen lays bare provocative truths about the conflicts
between aesthetic and economic value. In doing so he illuminates
the process of artistic creation, which emerges as collaborative
and imitative rather than individual and inspired, revealing that
authorship is, to some degree, always forged.
The Beatles, the 1968 double LP more commonly known as the White
Album, has always been viewed as an oddity in the group's oeuvre.
Many have found it to be inconsistent, sprawling, and
self-indulgent. The Beatles through a Glass Onion is the first-ever
scholarly volume to explore this seminal recording at length,
bringing together contributions by some of the most eminent
scholars of rock music writing today. It marks a reconsideration of
this iconic but under-appreciated recording and reaffirms the White
Album's significance in the Beatles' career and in rock history.
This volume treats the White Album as a whole, with essays
scrutinizing it from a wide range of perspectives. These essays
place the album within the social and political context of a
turbulent historical moment; locate it within the Beatles' lives
and careers, taking into consideration the complex personal forces
at play during the recording sessions; investigate the musical as
well as pharmaceutical influences on the record; reveal how it
reflects new developments in the Beatles' songwriting and
arranging; revisit the question of its alleged disunity; and
finally, track its legacy and the breadth of its influence on later
rock, pop, and hip-hop artists. The Beatles through a Glass Onion
features the scholarship of Adam Bradley, Vincent Benitez, Lori
Burns, John Covach, Walter Everett, Michael Frontani, Steve
Hamelman, Ian Inglis, John Kimsey, Mark Osteen, Russell Reising,
Stephen Valdez, Anthony D. Villa, Kenneth Womack, and Alyssa Woods.
John Covach's Afterword summarizes the White Album's lasting impact
and value. The Beatles through a Glass Onion represents a landmark
work of rock music scholarship. It will prove to be an essential
and enduring contribution to the field.
Consider the usual view of film noir: endless rainy nights
populated by down-at-the-heel boxers, writers, and private eyes
stumbling toward inescapable doom while stalked by crooked cops and
cheating wives in a neon-lit urban jungle. But a new generation of
writers is pushing aside the fog of cigarette smoke surrounding
classic noir scholarship. In Kiss the Blood Off My Hands: On
Classic Film Noir, Robert Miklitsch curates a bold collection of
essays that reassesses the genre's iconic style, history, and
themes. Contributors analyze the oft-overlooked female detective
and little-examined aspects of filmmaking like love songs and radio
aesthetics, discuss the significance of the producer and women's
pulp fiction, and investigate topics as disparate as Disney noir
and the Fifties heist film, B-movie back projection and blacklisted
British directors. At the same time the writers' collective
reconsideration shows the impact of race and gender, history and
sexuality, technology and transnationality on the genre. As bracing
as a stiff drink, Kiss the Blood Off My Hands writes the future of
noir scholarship in lipstick and chalk lines for film fans and
scholars alike. Contributors: Krin Gabbard, Philippa Gates, Julie
Grossman, Robert Miklitsch, Robert Murphy, Mark Osteen, Vivian
Sobchack, Andrew Spicer, J. P. Telotte, and Neil Verma.
How many layers of artifice can one artwork contain? How does
forgery unsettle our notions of originality and creativity? Looking
at both the literary and art worlds, Fake It investigates a set of
fictional forgeries and hoaxes alongside their real-life
inspirations and parallels. Mark Osteen shows how any forgery or
hoax is only as good as its authenticating story-and demonstrates
how forgeries foster fresh authorial identities while being deeply
intertextual and frequently quite original. From fakes of the late
eighteenth century, such as Thomas Chatterton's Rowley poems and
the notorious "Shakespearean" documents fabricated by William-Henry
Ireland, to hoaxes of the modern period, such as Clifford Irving's
fake autobiography of Howard Hughes, the infamous Ern Malley
forgeries, and the audacious authorial masquerades of Percival
Everett, Osteen lays bare provocative truths about the conflicts
between aesthetic and economic value. In doing so he illuminates
the process of artistic creation, which emerges as collaborative
and imitative rather than individual and inspired, revealing that
authorship is, to some degree, always forged.
In 1991, Mark Osteen and his wife, Leslie, were struggling to
understand why their son, Cameron, was so different from other
kids. At age one, Cam had little interest in toys and was
surprisingly fixated on books. He didn't make baby sounds; he
ignored other children. As he grew older, he failed to grasp
language, remaining unresponsive even when his parents called his
name. When Cam started having screaming anxiety attacks, Mark and
Leslie began to grasp that Cam was developmentally delayed. But
when Leslie raised the possibility of an autism diagnosis, Mark
balked. Autism is so rare, he thought. Might as well worry about
being struck by lightning. Since that time, awareness of autism has
grown monumentally. Autism has received extensive coverage in the
news media, and it has become a popular subject for film,
television, and literature, but the disorder is frequently
portrayed and perceived as a set of eccentricities that can be
corrected with proper treatment. In reality, autism permanently
wrecks many children's chances for typical lives. Plenty of recent
bestsellers have described the hardships of autism, but those
memoirs usually focus on the recovery of people who overcome some
or all of the challenges of the disorder. And while that plot is
uplifting, it's rare in real life, as few autistic children fully
recover. The territory of severe autism-of the child who is
debilitated by the condition, who will never be cured-has been
largely neglected. One of Us: A Family's Life with Autism tells
that story. In this book, Mark Osteen chronicles the experience of
raising Cam, whose autism causes him aggression, insomnia,
compulsions, and physical sickness. In a powerful, deeply personal
narrative, Osteen recounts the struggles he and his wife endured in
diagnosing, treating, and understanding Cam's disability, following
the family through the years of medical difficulties and emotional
wrangling. One of Us thrusts the reader into the life of a child
who exists in his own world and describes the immense hardships
faced by those who love and care for him. Leslie and Mark's
marriage is sorely tested by their son's condition, and the book
follows their progress from denial to acceptance while they fight
to save their own relationship. By embracing the little victories
of their life with Cam and by learning to love him as he is, Mark
takes the reader down a road just as gratifying, and perhaps more
moving, than one to recovery. One of Us is not a book about a child
who overcomes autism. Instead, it's the story of a different but
equally rare sort of victory-the triumph of love over tremendous
adversity.
|
You may like...
Gloria
Sam Smith
CD
R238
R195
Discovery Miles 1 950
|