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'[I] wonder how we have managed without such a text.' -Rita Raley,
UCSB, USA Globalization has had a huge impact on thinking across
the humanities, redefining the understanding of fields such as
communication, culture, politics, and literature. This
groundbreaking Reader is the first to chart significant moments in
the emergence of contemporary thinking about globalization and
explore their significance for and impact on literary studies. The
book's three sections look in turn at: an overview of globalization
theory and influential works in the field the impact of
globalization on literature and our understanding of the 'literary'
how issues in globalization can be used to read specific literary
texts. Containing essays by leading critics including Arjun
Appadurai, Jacques Derrida, Simon Gikandi, Ursula K. Heise, Graham
Huggan, Franco Moretti, Bruce Robbins and Anna Tsing, this volume
outlines the relationship between globalization and literature,
offering a key sourcebook for and introduction to an exciting,
emerging field.
'[I] wonder how we have managed without such a text.' -Rita Raley,
UCSB, USA Globalization has had a huge impact on thinking across
the humanities, redefining the understanding of fields such as
communication, culture, politics, and literature. This
groundbreaking Reader is the first to chart significant moments in
the emergence of contemporary thinking about globalization and
explore their significance for and impact on literary studies. The
book's three sections look in turn at: an overview of globalization
theory and influential works in the field the impact of
globalization on literature and our understanding of the 'literary'
how issues in globalization can be used to read specific literary
texts. Containing essays by leading critics including Arjun
Appadurai, Jacques Derrida, Simon Gikandi, Ursula K. Heise, Graham
Huggan, Franco Moretti, Bruce Robbins and Anna Tsing, this volume
outlines the relationship between globalization and literature,
offering a key sourcebook for and introduction to an exciting,
emerging field.
Invested examines the perennial and nefarious appeal of financial
advice manuals. Who hasn't wished for a surefire formula for riches
and a ticket to the good life? For three centuries, investment
advisers of all kinds, legit and otherwise, have guaranteed that
they alone can illuminate the golden pathway to prosperity-despite
strong evidence to the contrary. In fact, too often, they are
singing a siren song of devastation. And yet we keep listening.
Invested tells the story of how the genre of investment advice
developed and grew in the United Kingdom and the United States,
from its origins in the eighteenth century through today, as it
saturates our world. The authors analyze centuries of books, TV
shows, blogs, and more, all promising techniques for amateur
investors to master the ways of the market: from Thomas Mortimer's
pathbreaking 1761 work, Every Man His Own Broker, through the
Gilded Age explosion of sensationalist investment manuals, the
early twentieth-century emergence of a vernacular financial
science, and the more recent convergence of self-help and personal
finance. Invested asks why, in the absence of evidence that such
advice reliably works, guides to the stock market have remained
perennially popular. The authors argue that the appeal of popular
investment advice lies in its promise to level the playing field,
giving outsiders the privileged information of insiders. As
Invested persuasively shows, the fantasies sold by these writings
are damaging and deceptive, peddling unrealistic visions of easy
profits and the certainty of success, while trying to hide the fact
that there is no formula for avoiding life's economic uncertainties
and calamities.
What does money really stand for? How can the abstractions of high
finance be made visible? Show me the money documents how the
financial world has been imagined in art, illustration, photography
and other visual media over the last three centuries in Britain and
the United States. It tells the story of how artists have grappled
with the increasingly intangible and self-referential nature of
money, from the South Sea Bubble to our current crisis. Show me the
money sets out the history and politics of representations of
finance through five essays by academic experts and curators, and
is interspersed with provocative think pieces by notable public
commentators on finance and art. The book, and the exhibition on
which it is based, explore a wide range of images, from satirical
eighteenth-century prints by William Hogarth and James Gillray to
works by celebrated contemporary artists such as Andreas Gursky and
Molly Crabapple. It also charts the development of an array of
financial visualisations, including stock tickers and charts,
newspaper illustrations, bank adverts and electronic trading
systems. -- .
Invested examines the perennial and nefarious appeal of financial
advice manuals. Who hasn't wished for a surefire formula for riches
and a ticket to the good life? For three centuries, investment
advisers of all kinds, legit and otherwise, have guaranteed that
they alone can illuminate the golden pathway to prosperity-despite
strong evidence to the contrary. In fact, too often, they are
singing a siren song of devastation. And yet we keep listening.
Invested tells the story of how the genre of investment advice
developed and grew in the United Kingdom and the United States,
from its origins in the eighteenth century through today, as it
saturates our world. The authors analyze centuries of books, TV
shows, blogs, and more, all promising techniques for amateur
investors to master the ways of the market: from Thomas Mortimer's
pathbreaking 1761 work, Every Man His Own Broker, through the
Gilded Age explosion of sensationalist investment manuals, the
early twentieth-century emergence of a vernacular financial
science, and the more recent convergence of self-help and personal
finance. Invested asks why, in the absence of evidence that such
advice reliably works, guides to the stock market have remained
perennially popular. The authors argue that the appeal of popular
investment advice lies in its promise to level the playing field,
giving outsiders the privileged information of insiders. As
Invested persuasively shows, the fantasies sold by these writings
are damaging and deceptive, peddling unrealistic visions of easy
profits and the certainty of success, while trying to hide the fact
that there is no formula for avoiding life's economic uncertainties
and calamities.
This is a key monograph surveying the portrayal of finance and
money in British fiction over the last thirty years.Fiction has
become increasingly concerned with the political and imaginative
significance of finance, speculation and the money markets - from
Ian Fleming's "Goldfinger" to Jonathan Coe's "What a Carve Up" and
Martin Amis' "Money". This book argues that recent British fiction
demystifies the 'weightless' economy of contemporary money and
critiques the popular sense of money as being everywhere but
nowhere. The monograph provides a comprehensive survey of a large
body of fictional texts that have striven to represent and
understand the formative significance of finance capital on
contemporary culture. In these novels, the implications of finance
capitalism for political identity, for class politics, for the
sovereignty of the nation state and a new global order are all
explored, dramatised and critiqued. Authors covered include
Margaret Drabble, Ian McEwan, Jonathan Coe, Alan Hollinghurst,
Martin Amis and Malcolm Bradbury.
In recent years, money, finance, and the economy have emerged as
central topics in literary studies. The Cambridge Companion to
Literature and Economics explains the innovative critical methods
that scholars have developed to explore the economic concerns of
texts ranging from the medieval period to the present. Across
seventeen chapters by field-leading experts, the book highlights
how, throughout literary history, economic matters have intersected
with crucial topics including race, gender, sexuality, nation,
empire, and the environment. It also explores how researchers in
other disciplines are turning to literature and literary theory for
insights into economic questions. Combining thorough historical
coverage with attention to emerging issues and approaches, this
Companion will appeal to literary scholars and to historians and
social scientists interested in the literary and cultural
dimensions of economics.
In recent years, money, finance, and the economy have emerged as
central topics in literary studies. The Cambridge Companion to
Literature and Economics explains the innovative critical methods
that scholars have developed to explore the economic concerns of
texts ranging from the medieval period to the present. Across
seventeen chapters by field-leading experts, the book highlights
how, throughout literary history, economic matters have intersected
with crucial topics including race, gender, sexuality, nation,
empire, and the environment. It also explores how researchers in
other disciplines are turning to literature and literary theory for
insights into economic questions. Combining thorough historical
coverage with attention to emerging issues and approaches, this
Companion will appeal to literary scholars and to historians and
social scientists interested in the literary and cultural
dimensions of economics.
This book offers a new reading of the relationship between money,
culture and literature in America in the 1970s. The gold standard
ended at the start of this decade, a moment which is routinely
treated as a catalyst for the era of postmodern abstraction. This
book provides an alternative narrative, one that traces the
racialized and gendered histories of credit offered by the
intertextual narratives of writers such as E.L Doctorow, Toni
Morrison, Marilyn French, William Gaddis, Thomas Pynchon and Don De
Lillo. It argues that money in the 1970s is better read through a
narrative of political consolidation than formal rupture as these
histories foreground the closing down, rather than opening up, of
serious debates about what American money should be and who it
should serve. These novels and this moment remain important because
they alert us to imagine the alternative histories of credit that
were imaginatively proposed but never realized.
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