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The Poetics of Genre in the Contemporary Novel investigates the
role of genre in the contemporary novel: taking its departure from
the observation that numerous contemporary novelists make use of
popular genre influences in what are still widely considered to be
literary novels, it sketches the uses, the work, and the value of
genre. It suggests the value of a critical look at texts' genre use
for an analysis of the contemporary moment. From this, it develops
a broader perspective, suggesting the value of genre criticism and
taking into view traditional genres such as the bildungsroman and
the metafictional novel as well as the kinds of amalgamated forms
which have recently come to prominence. In essays discussing a wide
range of authors from Steven Hall to Bret Easton Ellis to Colson
Whitehead, the contributors to the volume develop their own
readings of genre's work and valence in the contemporary novel.
Encompassing a broad definition of the topic, this Companion
provides a survey of the literary magazine from its earliest days
to the contemporary moment. It offers a comprehensive theorization
of the literary magazine in the wake of developments in periodical
studies in the last decade, bringing together a wide variety of
approaches and concerns. With its distinctive chronological and
geographical scope, this volume sheds new light on the
possibilities and difficulties of the concept of the literary
magazine, balancing a comprehensive overview of key themes and
examples with greater attention to new approaches to magazine
research. Divided into three main sections, this book offers: *
Theory-it investigates definitions and limits of what a literary
magazine is and what it does. * History and regionalism-a very
broad historical and geographic sweep draws new connections and
offers expanded definitions. * Case studies-these range from key
modernist little magazines and the popular middlebrow to pulp
fiction, comics, and digital ventures, widening the ambit of the
literary magazine. The Routledge Companion to the British and North
American Literary Magazine offers new and unforeseen
cross-connections across the long history of literary periodicals,
highlighting the ways in which it allows us to trace such ideas as
the "literary" as well as notions of what magazines do in a
culture.
The Poetics of Genre in the Contemporary Novel investigates the
role of genre in the contemporary novel: taking its departure from
the observation that numerous contemporary novelists make use of
popular genre influences in what are still widely considered to be
literary novels, it sketches the uses, the work, and the value of
genre. It suggests the value of a critical look at texts' genre use
for an analysis of the contemporary moment. From this, it develops
a broader perspective, suggesting the value of genre criticism and
taking into view traditional genres such as the bildungsroman and
the metafictional novel as well as the kinds of amalgamated forms
which have recently come to prominence. In essays discussing a wide
range of authors from Steven Hall to Bret Easton Ellis to Colson
Whitehead, the contributors to the volume develop their own
readings of genre's work and valence in the contemporary novel.
The Novel as Network: Forms, Ideas, Commodities engages with the
contemporary Anglophone novel and its derivatives and by-products
such as graphic novels, comics, podcasts, and Quality TV. This
collection investigates the meaning of the novel in the larger
system of contemporary media production and (post-)print culture,
viewing the novel through the lens of actor network theory as a
node in the novel network. Chapters underscore the deep
interconnection between all the aspects of the novel, between the
novel as a (literary) form, as an idea, and as a commodity.
Bringing together experts from American, British, and Postcolonial
Studies, as well as Book, Publishing, and Media Studies, this
collection offers a new vantage point to view the novel in its
multifaceted expressions today.
The Novel as Network: Forms, Ideas, Commodities engages with the
contemporary Anglophone novel and its derivatives and by-products
such as graphic novels, comics, podcasts, and Quality TV. This
collection investigates the meaning of the novel in the larger
system of contemporary media production and (post-)print culture,
viewing the novel through the lens of actor network theory as a
node in the novel network. Chapters underscore the deep
interconnection between all the aspects of the novel, between the
novel as a (literary) form, as an idea, and as a commodity.
Bringing together experts from American, British, and Postcolonial
Studies, as well as Book, Publishing, and Media Studies, this
collection offers a new vantage point to view the novel in its
multifaceted expressions today.
Medial Afterlives of H.P. Lovecraft brings together essays on the
theory and practice of adapting H.P. Lovecraft's fiction and the
Lovecraftian. It draws on recent adaptation theory as well as
broader discourses around media affordances to give an overview
over the presence of Lovecraft in contemporary media as well as the
importance of contemporary media in shaping what we take
Lovecraft's legacy to be. Discussing a wide array of medial forms,
from film and TV to comics, podcasts, and video and board games,
and bringing together an international group of scholars, the
volume analyzes individual instances of adaptation as well as the
larger concern of what it is possible to learn about adaptation
from the example of H.P. Lovecraft, and how we construct Lovecraft
and the Lovecraftian today in adaptation. Medial Afterlives of H.P.
Lovecraft is focused on an academic audience, but it will
nonetheless hold interest for all readers interested in Lovecraft
today.
The zombie has cropped up in many forms-in film, in television, and
as a cultural phenomenon in zombie walks and zombie awareness
months-but few books have looked at what the zombie means in
fiction. Tim Lanzendoerfer fills this gap by looking at a number of
zombie novels, short stories, and comics, and probing what the
zombie represents in contemporary literature. Lanzendoerfer brings
together the most recent critical discussion of zombies and applies
it to a selection of key texts including Max Brooks's World War Z,
Colson Whitehead's Zone One, Junot Diaz's short story ""Monstro, ""
Robert Kirkman's comic series The Walking Dead, and Seth
Grahame-Smith's Pride and Prejudice and Zombies. Within the context
of broader literary culture, Lanzendoerfer makes the case for
reading these texts with care and openness in their own right.
Lanzendoerfer contends that what zombies do is less important than
what becomes possible when they are around. Indeed, they seem less
interesting as metaphors for the various ways the world could end
than they do as vehicles for how the world might exist in a
different and often better form.
The zombie has cropped up in many forms-in film, in television, and
as a cultural phenomenon in zombie walks and zombie awareness
months-but few books have looked at what the zombie means in
fiction. Tim Lanzendoerfer fills this gap by looking at a number of
zombie novels, short stories, and comics, and probing what the
zombie represents in contemporary literature. Lanzendoerfer brings
together the most recent critical discussion of zombies and applies
it to a selection of key texts including Max Brooks's World War Z,
Colson Whitehead's Zone One, Junot Diaz's short story ""Monstro, ""
Robert Kirkman's comic series The Walking Dead, and Seth
Grahame-Smith's Pride and Prejudice and Zombies. Within the context
of broader literary culture, Lanzendoerfer makes the case for
reading these texts with care and openness in their own right.
Lanzendoerfer contends that what zombies do is less important than
what becomes possible when they are around. Indeed, they seem less
interesting as metaphors for the various ways the world could end
than they do as vehicles for how the world might exist in a
different and often better form.
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