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The etymological affinity between 'criticism' and 'crisis' has
never been more resonant than it is today, when social life is
increasingly understood as defined by a succession of overlapping
global crises: financial and economic crises; environmental crises;
geopolitical crises; terrorist crises; public health crises. But
what is the role of literary and cultural criticism in
conceptualizing this atmosphere of perpetual crisis? If, as Paul de
Man maintained, criticism necessarily exists in a state of crisis,
in what ways is this condition intensified at a time when the
social formations within which criticism operates and the cultural
artefacts that it takes as its objects are themselves pervaded by
actual and imagined states of emergency? This book, the first
sustained response to these questions, demonstrates the capacity of
critical thought, working in dialogue with key narrative texts, to
provide penetrating insights into a contemporary landscape of
global, manufactured risk. Written by an international team of
specialist scholars, the essays in the collection draw on a wide
variety of contemporary theoretical, fictional, and cinematic
sources, ranging from Giorgio Agamben, Jacques Derrida, and Fredric
Jameson to Cormac McCarthy, Ian McEwan, and Lauren Beukes to Ghost
and the James Bond and National Treasure series. Appearing in the
midst of a phase of extraordinary turbulence in the fabric of our
interconnected and interdependent world, the book makes a landmark
intervention in debates concerning the cultural ramifications of
globalization.
The etymological affinity between criticism and crisis has never
been more resonant than it is today, when social life is
increasingly understood as defined by a succession of overlapping
global crises: financial and economic crises; environmental crises;
geopolitical crises; terrorist crises; public health crises. But
what is the role of literary and cultural criticism in
conceptualizing this atmosphere of perpetual crisis? If, as Paul de
Man maintained, criticism necessarily exists in a state of crisis,
in what ways is this condition intensified at a time when the
social formations within which criticism operates and the cultural
artefacts that it takes as its objects are themselves pervaded by
actual and imagined states of emergency? This book, the first
sustained response to these questions, demonstrates the capacity of
critical thought, working in dialogue with key narrative texts, to
provide penetrating insights into a contemporary landscape of
global, manufactured risk. Written by an international team of
specialist scholars, the essays in the collection draw on a wide
variety of contemporary theoretical, fictional, and cinematic
sources, ranging from Giorgio Agamben, Jacques Derrida, and Fredric
Jameson to Cormac McCarthy, Ian McEwan, and Lauren Beukes to Ghost
and the James Bond and National Treasure series. Appearing in the
midst of a phase of extraordinary turbulence in the fabric of our
interconnected and interdependent world, the book makes a landmark
intervention in debates concerning the cultural ramifications of
globalization."
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.
In the twenty-first century, leading publishers are under intense
pressure from their conglomerate owners and shareholders to
generate growth and profits. This book shows how these pressures
have transformed the contemporary novel. Paul Crosthwaite argues
that recent British and American authors have internalized the
market logics of the financial sector and book trade, resulting in
the production of works of 'market metafiction' in which authors
reflect obsessively on their writing's positioning in the literary
marketplace. The Market Logics of Contemporary Fiction reveals the
entanglement of fictional narrative and market dynamics to be the
central phenomenon of contemporary literary culture. It engages
with work by key authors including Iain Sinclair, Don DeLillo,
Kathy Acker, Bret Easton Ellis, Chris Kraus, Percival Everett,
David Foster Wallace, Colson Whitehead, Anne Billson, Hari Kunzru,
Barbara Browning, Teju Cole, Ben Lerner, Tao Lin, Nell Zink, Joshua
Cohen, Sheila Heti, and Garth Risk Hallberg.
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.
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