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This book analyzes the discourse generated by pundits, politicians,
and artists to examine how poverty and the income gap is framed
through specific modes of representation. Set against the dichotomy
of the structural narrative of poverty and the opportunity
narrative, Lemke's modified concept of precarity reveals new
insights into the American situation as well as into the textuality
of contemporary demands for equity. Her acute study of a vast range
of artistic and journalistic texts brings attention to a mode of
representation that is itself precarious, both in the modern and
etymological sense, denoting both insecurity and entreaty. With the
keen eye of a cultural studies scholar her innovative book makes a
necessary contribution to academic and popular critiques of the
social effects of neoliberal capitalism.
This book brings the emergent interest in social class and
inequality to the field of television studies. It reveals how the
new visibility of class matters in serial television functions
aesthetically and examines the cultural class politics articulated
in these programmes. This ground-breaking volume argues that
reality and quality TV's intricate politics of class entices
viewers not only to grapple with previously invisible
socio-economic realities but also to reconsider their class
alignment. The stereotypical ways of framing class are now
supplemented by those dedicated to exposing the economic and
socio-psychological burdens of the (lower) middle class. The case
studies in this book demonstrate how sophisticated narrative
techniques coincide with equally complex ways of exposing class
divisions in contemporary American life and how the examined shows
disrupt the hegemonic order of class. The volume therefore also
invites a rethinking of conventional models of social
stratification.
Lemke's book proffers a bold new account of the origins of modernism. By focusing upon cubism, primitivist-modernism, jazz, and Josephine Baker's performance, Lemke demonstrates that black art exerted a crucial if masked presence in both Euro-American high art and popular culture. American and European modernism each owes much of its symbolic capital to its black cultural other.
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