It's October 1977, and the Rolling Stones are in a Paris recording studio. They're under siege. Keith Richards's legal troubles after his arrest for heroin possession threaten the band's future, and the broad consensus among rock aficionados is that the band will never again reach the heights of Exile on Main Street. But Mick Jagger is writing lyrics inspired by the year he has just spent in New York City, where he was hanging out with the punks at CBGB and with the glitterati at Studio 54. And new bandmember Ron Wood is helping Richards recapture the two-guitar groove that the band had been missing since the Brian Jones era. The result? Some Girls, the band's response both to punk rock and to disco, an album that crackles with all the energy, decadence, and violence of New York in the 1970s. Weaving together the history of the band and the city, Cyrus R. K. Patell traces the genesis and legacy of the album that Jagger would later call the band's best since Let It Bleed.
From A New Hope to The Rise of Skywalker and beyond, this book offers the first complete assessment and philosophical exploration of the Star Wars universe. Lucasfilm examines the ways in which these iconic films were shaped by global cultural mythologies and world cinema, as well as philosophical ideas from the fields of aesthetics and political theory, and now serve as a platform for public philosophy. Cyrus R. K. Patell also looks at how this ever-expanding universe of cultural products and enterprises became a global brand and asks: can a corporate entity be considered a “filmmaker and philosopher”? More than any other film franchise, Lucasfilm's Star Wars has become part of the global cultural imagination. The new generation of Lucasfilm artists is full of passionate fans of the Star Wars universe, who have now been given the chance to build on George Lucas's oeuvre. Within these pages, Patell explores what it means for films and their creators to become part of cultural history in this unprecedented way.
Emergent U.S. Literatures introduces readers to the foundational writers and texts produced by four literary traditions associated with late-twentieth-century US multiculturalism. Examining writing by Native Americans, Hispanic Americans, Asian Americans, and gay and lesbian Americans after 1968, Cyrus R. K. Patell compares and historicizes what might be characterized as the minority literatures within “U.S. minority literature.” Drawing on recent theories of cosmopolitanism, Patell presents methods for mapping the overlapping concerns of the texts and authors of these literatures during the late twentieth century. He discusses the ways in which literary marginalization and cultural hybridity combine to create the grounds for literature that is truly “emergent” in Raymond Williams’s sense of the term—literature that produces “new meanings and values, new practices, new relationships and kinds of relationships” in tension with the dominant, mainstream culture of the United States. By enabling us to see the American literary canon through the prism of hybrid identities and cultures, these texts require us to reevaluate what it means to write (and read) in the American grain. Emergent U.S. Literatures gives readers a sense of how these foundational texts work as aesthetic objects—rather than merely as sociological documents—crafted in dialogue with the canonical tradition of so-called “American Literature,” as it existed in the late twentieth century, as well as in dialogue with each other.
It's October 1977, and the Rolling Stones are in a Paris recording studio. They're under siege. Keith Richards's legal troubles after his arrest for heroin possession threaten the band's future, and the broad consensus among rock aficionados is that the band will never again reach the heights of Exile on Main Street. But Mick Jagger is writing lyrics inspired by the year he has just spent in New York City, where he was hanging out with the punks at CBGB and with the glitterati at Studio 54. And new bandmember Ron Wood is helping Richards recapture the two-guitar groove that the band had been missing since the Brian Jones era. The result? Some Girls, the band's response both to punk rock and to disco, an album that crackles with all the energy, decadence, and violence of New York in the 1970s. Weaving together the history of the band and the city, Cyrus R. K. Patell traces the genesis and legacy of the album that Jagger would later call the band's best since Let It Bleed.
From A New Hope to The Rise of Skywalker and beyond, this book offers the first complete assessment and philosophical exploration of the Star Wars universe. Lucasfilm examines the ways in which these iconic films were shaped by global cultural mythologies and world cinema, as well as philosophical ideas from the fields of aesthetics and political theory, and now serve as a platform for public philosophy. Cyrus R. K. Patell also looks at how this ever-expanding universe of cultural products and enterprises became a global brand and asks: can a corporate entity be considered a “filmmaker and philosopher”? More than any other film franchise, Lucasfilm's Star Wars has become part of the global cultural imagination. The new generation of Lucasfilm artists is full of passionate fans of the Star Wars universe, who have now been given the chance to build on George Lucas's oeuvre. Within these pages, Patell explores what it means for films and their creators to become part of cultural history in this unprecedented way.
Emergent U.S. Literatures introduces readers to the foundational writers and texts produced by four literary traditions associated with late-twentieth-century US multiculturalism. Examining writing by Native Americans, Hispanic Americans, Asian Americans, and gay and lesbian Americans after 1968, Cyrus R. K. Patell compares and historicizes what might be characterized as the minority literatures within “U.S. minority literature.” Drawing on recent theories of cosmopolitanism, Patell presents methods for mapping the overlapping concerns of the texts and authors of these literatures during the late twentieth century. He discusses the ways in which literary marginalization and cultural hybridity combine to create the grounds for literature that is truly “emergent” in Raymond Williams’s sense of the term—literature that produces “new meanings and values, new practices, new relationships and kinds of relationships” in tension with the dominant, mainstream culture of the United States. By enabling us to see the American literary canon through the prism of hybrid identities and cultures, these texts require us to reevaluate what it means to write (and read) in the American grain. Emergent U.S. Literatures gives readers a sense of how these foundational texts work as aesthetic objects—rather than merely as sociological documents—crafted in dialogue with the canonical tradition of so-called “American Literature,” as it existed in the late twentieth century, as well as in dialogue with each other.
Since the nineteenth century, ideas centered on the individual, on Emersonian self-reliance, and on the right of the individual to the pursuit of happiness have had a tremendous presence in the United States—and even more so after the Reagan era. But has this presence been for the good of all? In Negative Liberties Cyrus R. K. Patell revises important ideas in the debate about individualism and the political theory of liberalism. He does so by adding two new voices to the current discussion—Toni Morrison and Thomas Pynchon—to examine the different ways in which their writings embody, engage, and critique the official narrative generated by U.S. liberal ideology. Pynchon and Morrison reveal the official narrative of individualism as encompassing a complex structure of contradiction held in abeyance. This narrative imagines that the goals of the individual are not at odds with the goals of the family or society and in fact obscures the existence of an unholy truce between individual liberty and forms of oppression. By bringing these two fiction writers into a discourse dominated by Ralph Waldo Emerson, Isaiah Berlin, John Rawls, George Kateb, Robert Bellah, and Michael Sandel, Patell unmasks the ways in which contemporary U.S. culture has not fully shed the oppressive patterns of reasoning handed down by the slaveholding culture from which American individualism emerged. With its interdisciplinary approach, Negative Liberties will appeal to students and scholars of American literature, culture, sociology, and politics.
Volume VII of the Cambridge History of American Literature examines a broad range of American literature of the past half-century, revealing complex relations to changes in society. Christopher Bigsby discusses American dramatists from Tennessee Williams to August Wilson, showing how innovations in theatre anticipated a world of emerging countercultures and provided America with an alternative view of contemporary life. Morris Dickstein describes the condition of rebellion in fiction from 1940 to 1970, linking writers as diverse as James Baldwin and John Updike. John Burt examines writers of the American South, describing the tensions between modernization and continued entanglements with the past. Wendy Steiner examines the postmodern fictions since 1970, and shows how the questioning of artistic assumptions has broadened the canon of American literature. Finally, Cyrus Patell highlights the voices of Native American, Asian American, Chicano, gay and lesbian writers, often marginalized but here discussed within and against a broad set of national traditions.
The Cambridge History of American Literature addresses the spectrum of new and established directions in American writing. An interdisciplinary distillation of American literary history, it weds the voice of traditional criticism with the diversity of interests that characterize contemporary literary studies. Volume 1 covers the colonial and early national periods, discussing authors ranging from Renaissance explorers to the poets and novelists of the new republic. It should prove an indispensable guide for scholars and students in the fields of English and American literatures and American history.
This is the first complete narrative history of nineteenth-century American poetry. Barbara Packer explores the neoclassical and satiric forms mastered by the early Federalist poets; the creative reaches of once-celebrated, and still compelling, poets like Longfellow and Whittier; the distinctive lyric forms developed by Emerson and the Transcendentalists. Shira Wolosky provides a new perspective on the achievement of female poets of the period, as well as a close appreciation of African-American poets, including the collective folk authors of the Negro spirituals. She also illuminates the major works of the period, from Poe through Melville and Crane, to Whitman and Dickinson. The authors of this volume discuss this extraordinary literary achievement both in formal terms and in its sustained engagement with changing social and cultural conditions. In doing so they recover and elucidate American poetry of the nineteenth century for our twenty-first century pleasure, profit, and renewed study.
Volume 6 of The Cambridge History of American Literature explores the emergence and flowering of modernism in the United States. David Minter provides a cultural history of the American novel from the 'lyric years' to World War I, through post-World War I disillusionment, to the consolidation of the Left in response to the mire of the Great Depression. Rafia Zafar tells the story of the Harlem Renaissance, detailing the artistic accomplishments of such diverse figures as Zora Neal Hurston, W. E. B. Du Bois, Langston Hughes, Nella Larsen, and Richard Wright. Werner Sollors examines canonical texts as well as popular magazines and hitherto unknown immigrant writing from the period. Taken together these narratives cover the entire range of literary prose written in the first half of the twentieth century, offering a model of literary history for our times, focusing as they do on the intricate interplay between text and context.
Karen Tei Yamashita’s novels, essays, and performance scripts have garnered considerable praise from scholars and reviewers, and are taught not only in the United States but in at least half a dozen countries in Asia, South America, and Europe. Her work has been written about in numerous disciplines in the humanities and social sciences. Karen Tei Yamashita: Fictions of Magic and Memory is the first anthology given over to Yamashita’s writing. It contains newly commissioned essays by established, international scholars; a recent interview with the author; a semiautobiographical keynote address delivered at an international conference that ruminates on her Japanese American heritage; and a full bibliography. The essays offer fresh and in-depth readings of the magic realist canvas of Through the Arc of the Rain Forest (1990); the Japanese emigrant portraiture of Brazil-Maru (1992); Los Angeles as rambunctious geopolitical and transnational fulcrum of the Americas in Tropic of Orange (1997); the fraught relationship of Japanese and Brazilian heritage and labor in Circle K Cycles (2001); Asian American history and politics of the 1960s in I Hotel (2010); and Anime Wong (2014), a gallery of performativity illustrating the contested and inextricable nature of East and West. This essay-collection explores Yamashita’s use of the fantastical, the play of emerging transnational ethnicity, and the narrative tactics of reflexivity and bricolage in storytelling located on a continuum of the unique and the communal, of the past and the present, and that are mapped in various spatial and virtual realities.
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