Contemporary cultural style boosts transparency and instantaneity. These are values absorbed from our current economic conditions of "disintermediation": cutting out the middleman. Like Uber, but for art. Immediacy names this style to make sense of what we lose when the contradictions of twenty-first-century capitalism demand that aesthetics negate mediation. Surging realness as an aesthetic program synchs with the economic imperative to intensify circulation when production stagnates. "Flow" is the ultimate twenty-first-century buzzword, but speedy circulation grinds art down to the nub. And the bad news is that political turmoil and social challenges require more mediation. Collective will, inspiring ideas, and deliberate construction are the only way out, but our dominant style forgoes them. Considering original streaming TV, popular literature, artworld trends, and academic theories, Immediacy explains the recent obsession with immersion and today's intolerance of representation, and points to alternative forms in photography, TV, novels, and constructive theory that prioritize distance, impersonality, and big ideas instead.
2019 James Beard Foundation Book Award winner: Reference, History, and Scholarship A century and a half ago, when the food industry was first taking root, few consumers trusted packaged foods. Americans had just begun to shift away from eating foods that they grew themselves or purchased from neighbors. With the advent of canning, consumers were introduced to foods produced by unknown hands and packed in corrodible metal that seemed to defy the laws of nature by resisting decay. Since that unpromising beginning, the American food supply has undergone a revolution, moving away from a system based on fresh, locally grown goods to one dominated by packaged foods. How did this come to be? How did we learn to trust that food preserved within an opaque can was safe and desirable to eat? Anna Zeide reveals the answers through the story of the canning industry, taking us on a journey to understand how food industry leaders leveraged the powers of science, marketing, and politics to win over a reluctant public, even as consumers resisted at every turn.
Stories of murder and mayhem from the first lady of American mystery Masterpieces of Mystery is a scintillating collection of suspenseful tales from pioneering author Anna Katharine Green, one of the first female writers of detective fiction. Tantalizingly tangled plots and unpredictable revelations abound: A young housewife left home alone on Christmas Eve worries about the threat of robbery when a stranger knocks at her door; a daughter checks in to Three Forks Tavern with her mother, only to awaken to find her mother missing and declared dead in the nearby woods; a valuable jewel is stolen at a society ball filled with duplicitous debutantes and dashing gentlemen; and a specter that haunts the apartment of a husband and wife, which may be a good spirit or a harbinger of doom. This collection includes the classic stories “Room No. 3,” “The Staircase at Heart’s Delight,” “The Grey Lady,” “The House in the Mist,” and more. This ebook has been professionally proofread to ensure accuracy and readability on all devices.
A timely, unbiased look at the positive and negative effects of school-sponsored sports on the American education system. At a time when sports coverage inundates the airwaves, when coaches are routinely among the highest-paid school employees, and when professional sports recruiters are increasingly focusing on high school students, Sports and Education offers a balanced, thought-provoking look at a deep-cutting issue. Is it time for the United States to mirror a number of other industrialized countries and remove sports from educational settings, as many education and athletic professionals have suggested? Sports and Education challenges many long-held assumptions and examines all viewpoints surrounding this question. The result is a clear-eyed, research-supported look at both the positive and the negative impact of school-sponsored athletics on the participants, their nonparticipating classmates, parents, coaches, fans, educators, and school boards.
Figural and non-figural supports are a ubiquitous feature of Roman marble sculpture; they appear in sculptures ranging in size from miniature to colossal and of all levels of quality. At odds with modern ideas about beauty, completeness, and visual congruence, these elements, especially non-figural struts, have been dismissed by scholars as mere safeguards for production and transport. However, close examination of these features reveals the tastes and expectations of those who commissioned, bought, and displayed marble sculptures throughout the Mediterranean in the Hellenistic and Roman periods. Drawing on a large body of examples, Greek and Latin literary sources, and modern theories of visual culture, this study constitutes the first comprehensive investigation of non-figural supports in Roman sculpture. The book overturns previous conceptions of Roman visual values and traditions and challenges our understanding of the Roman reception of Greek art.
In Problem Novels, Anna Maria Jones argues that, far from participating "invisibly" in disciplinary regimes, many Victorian novels articulate sophisticated theories about the role of the novel in the formation of the self. In fact, it is rare to find a Victorian novel in which questions about the danger or utility of novel reading are not embedded within the narrative. In other words, one of the stories that the Victorian novel tells, over and over again, is the story of what novels do to readers. This story occurs in moments that call attention to the reader's engagement with the text." "In chapters on Wilkie Collins, Anthony Trollope, and George Meredith, Jones examines "problem novels" - that is, novels that both narrate and invite problematic reading as part of their theorizing of cultural production. Problem Novels demonstrates that these works posit a culturally embedded, sensationally susceptible reader and, at the same time, present a methodology for critical engagement with cultural texts. Thus, the novels theorize, paradoxically, a reader who is both unconsciously interpellated and critically empowered. And, Jones argues, it is this paradoxical construction of the unconscious/critical subject that re-emerges in the theoretical paradigms of Victorian cultural studies scholarship. Indeed, as Problem Novels shows, Victorianists' attachments to critical "detective work" closely resemble the sensational attachments that we assume shaped Victorian novel readers."--BOOK JACKET.
Earthquake and the Invention of America: The Making of Elsewhere Catastrophe explores the role of earthquakes in shaping the deep timeframes and multi-hemispheric geographies of American literary history. Spanning the ancient world to the futuristic continents of speculative fiction, the earthquake stories assembled here together reveal the emergence of a broadly Western cultural syndrome that became an acute national fantasy: elsewhere catastrophe, an unspoken but widely prevalent sense that catastrophe is somehow "un-American." Catastrophe must be elsewhere because it affirms the rightness of "here" where conquest, according to the syndrome's logic, did not happen and is not occurring. The psychic investment in elsewhere catastrophe coalesced slowly, across centuries; varieties of it can be found in various European traditions of the modern. Yet in its most striking modes and resonances, elsewhere catastrophe proves fundamental to the invention of US-America--which is why earthquake, as the exemplary elsewhere catastrophe, is the disaster that must always happen far away or be forgotten. The book's eight chapters and epilogue range from Plato to the Puritans, from El Inca Garcilaso de la Vega and Voltaire to Herman Melville and N.K. Jemisin, examining along the way the seismic imaginings of Edgar Allan Poe, James Fenimore Cooper, Frederick Douglass, Emily Dickinson, and Jose Martí, among other writers. At the core of the book's inquiries are the earthquakes, historical and imagined, that act as both a recurrent eruptive force and a provocation for disparate modes of critical engagement with the long and catastrophic history of the Americas.
Anna Cabot Lowell Quincy (1812-1899), the youngest daughter of Josiah Quincy-onetime U.S. Congressman, former Mayor of Boston, and President of Harvard University-was a discerning twenty-one-year-old woman of privilege when she kept a diary during the spring and summer of 1833. Although Anna was respectful in polite company regarding her limited status in a male-dominated society, her journal entries of the Quincy family's social activities reveal an unexpectedly trenchant and amused view of the affectation in the Harvard community as well as in upper class life in Boston. Quincy's lively, lighthearted, and satirical accounts of Harvard University soirees and Boston cotillions portray a world where rites of courtship predominate, appearances are both significant and deceiving, and callow young men vie for an eligible woman's attention. Evoking the style of her admired Jane Austen, Anna re-creates a comfortable life-akin to Pride and Prejudice-spent walking, drawing, reading, writing letters, attending the theatre, and entertaining visitors. She describes receiving Harvard students and faculty at biweekly socials, dancing at formal balls, visits from "Cambridge Worthies" and dignitaries such as Supreme Court Justice Joseph Story, naturalist John J. Audubon, and President Andrew Jackson, and seeing the acclaimed British actress Fanny Kemble in Much Ado About Nothing. Above all, Anna's diary presents a young woman keenly aware of her early nineteenth-century milieu and her own place in society. She ponders her role in a prominent family clearly governed, professionally and economically, by men. She recounts dutifully receiving gentlemen callers in the gracious manner expected of young ladies, yet dismisses the "ridiculous and the unmeaning behavior of the young men" who end up as targets for her pen rather than potential suitors. While dramatizing her own position, Anna inexorably mocks society's pretensions, superficiality, and emphasis on appearance.
This book explores the different trends and the various changes in the representational history of femmes fatales within twentieth century American culture. While providing precedents, discussing the Western cultural history of this iconic female figure, as well as presenting the cultural and theoretical debates surrounding ‘her,’ the major focus lies in Maurine Dallas Watkins’s story entitled Chicago and how its diachronic and transmedial revivals contributed to this debate and what kind of an interpretation it provided of the lethal woman. Through a cultural, historical, literary and cinematic excavation this book argues that the story of Chicago produces a unique kind of deathly woman figure: the farcical femme fatale by combining the traditionally tragic aspects with comic modes of discourse and (re)presentation. In addition to the theorization of the femme fatale within Western culture, the discussion of the comic as well as various comic genres and comic strategies of representation, Mikhail Bakhtin’s theory of the carnival and the carnivalesque is discussed in great detail – with an emphasis on scapegoating – as well as Judith Butler’s concept of gender performativity and Joan Riviere’s womanly masquerade in order to understand how the farcical femmes fatales of Chicago manage to get away with their sins and crimes. Additionally, the Vice of sixteenth century drama as well as the figure of the homme fatale are also taken under scrutiny since it is argued that, in the various versions of Chicago, we encounter farcical femmes fatales who are the minions of a modern(ized) Vice figure, and all their comic-grotesque performances and masquerades take place in the heterotopic space of the carnival. While also examining their historical and cultural contexts, the different versions of Chicago are investigated one by one starting from the original Chicago Tribune articles and ending in the 2002 film adaptation. This book reveals what strategies can be employed to justify the modification of the traditionally tragic scenario of the femme fatale. It is a scholarly work that is informative, thorough as well as entertaining.
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