In this first general theory for the analysis of popular literary formulas, John G. Cawelti reveals the artistry that underlies the best in formulaic literature. Cawelti discusses such seemingly diverse works as Mario Puzo's The Godfather, Dorothy Sayers's The Nine Tailors, and Owen Wister's The Virginian in the light of his hypotheses about the cultural function of formula literature. He describes the most important artistic characteristics of popular formula stories and the differences between this literature and that commonly labeled "high" or "serious" literature. He also defines the archetypal patterns of adventure, mystery, romance, melodrama, and fantasy, and offers a tentative account of their basis in human psychology.
Why has the spy story become such a popular form of entertainment in our time? In this fascinating account of the genre's evolution, John G. Cawelti and Bruce A. Rosenberg explore the social, political, and artistic sources of the spy story's wide appeal. They show how, in a time of bewildering political and corporate organization, the spy story has become increasingly relevant, the secret agent hero expressing the feelings of divided and ambiguous loyalties with which many individuals face the modern world. In addition to a general history of the genre, Cawelti and Rosenberg present in-depth analyses of the work of certain writers who have given the spy story its shape, among them John Buchan, Eric Ambler, Graham Greene, Ian Fleming, and John le Carré. The Spy Story also includes an extensive appendix, featuring a literary and historical bibliography of espionage and clandestinity, a list of the best spy novels and films, a catalog of major spy writers and their heroes, and a selection of novels on espionage themes written by major twentieth-century authors and public figures. Written in a lively style that reflects the authors' enthusiasm for this intriguing form, The Spy Story will be read with pleasure by devotees of the genre as well as students of popular culture.
To this structural analysis he adds a new account of the genre's history and its relationship to the myths of the West which have played such an influential role in American history."--BOOK JACKET.
Since their inception, detective novels have been a wildly successful genre of American fiction, featuring a uniquely American belief in rugged individualism. This book focuses on Raymond Chandler's creation of Philip Marlowe, a detective whose feeling for community and willingness to compromise radically changed the genre's vigilantism and violence. It compares Chandler's work to early and mid-20th century American detective novels, particularly those by John Carroll Daly, Mickey Spillane, Dashiell Hammett and Ross Macdonald, as well as contemporary British detective fiction, highlighting Chandler's contribution to the American genre.
In the five decades after the Civil War, the United States witnessed a profusion of legal institutions designed to cope with the nation’s exceptionally acute industrial accident crisis. Jurists elaborated the common law of torts. Workingmen’s organizations founded a widespread system of cooperative insurance. Leading employers instituted welfare-capitalist accident relief funds. And social reformers advocated compulsory insurance such as workmen’s compensation. John Fabian Witt argues that experiments in accident law at the turn of the twentieth century arose out of competing views of the loose network of ideas and institutions that historians call the ideology of free labor. These experiments a century ago shaped twentieth- and twenty-first-century American accident law; they laid the foundations of the American administrative state; and they occasioned a still hotly contested legal transformation from the principles of free labor to the categories of insurance and risk. In this eclectic moment at the beginnings of the modern state, Witt describes American accident law as a contingent set of institutions that might plausibly have developed along a number of historical paths. In turn, he suggests, the making of American accident law is the story of the equally contingent remaking of our accidental republic.
The aim of this book is to teach us how to better understand political ads (telespots) by attuning ourselves to their video rhetoric--their themes and stories, atmosphere and characterization, feelings and images, and their use of popular genres--from film to fiction, from MTV to game shows. Video Rhetorics is both a call for, and an example of, a new kind of political analysis. Supplemented with Hot Spots: Multimedia Analyses of Political Ads, a sixty-minute video of multimedia advertising studies, the book presents lucid analyses of particular campaign ads to illustrate how music, text, metaphor, genre, image, color, delivery, tempo, and location all combine to "orchestrate" political meaning. The authors also show readers how to comprehend dynamics of contemporary political life that remain mysterious within traditional accounts of how citizens learn about politics. In the authors' view, electronic politics is here to stay, like it or not, and we cannot afford simply to dismiss or condemn political ads.
A study of the popular plot formulas, and chief practitioners, of the detective and crime story, western, and social melodrama, assessing their artistic and cultural significance.
Isn't Justice Always Unfair? explores the uncommonly long and uncommonly rich relationship between the fictional detective and his or her South. It begins with the New Orleans expatriate, Legrand, uncovering Captain Kidd's treasure on an island off Charleston, South Carolina; it covers the satires and parodies of Mark Twain and the polished stories of Melville Davisson Post and Irvin S. Cobb; and it concludes with surveys of the many good and excellent writers who are using the form of the detective story to compose inquiries into the character of life in the South today. At the center of Isn't Justice Always Unfair? lies an analysis of a most remarkable phenomenon: William Faulkner's exploitation of the genre as an avenue into his postage stamp of Southern experience, Yoknapatawpha County.
To this structural analysis he adds a new account of the genre's history and its relationship to the myths of the West which have played such an influential role in American history."--BOOK JACKET.
Is it possible that American Christians hold to two distinct sets of beliefs and values without knowing the difference? One is a Christian set, which is openly affirmed every Sunday; the other is an American set, which is more hidden within the forms of our popular entertainment culture. Through mediums like Westerns, country music, and detective novels, John Nelson explains how we internalize our American values without even knowing it. This book is largely intended for preachers who, of all people, should realize how American Christians internalize both sets of values without understanding the contradictions. The purpose of this book is to help preachers and congregations alike recognize the differences in order to account for them in preaching as well as in the church's life in community.
John Cobbs establishes that contemporary English novelist John le Carre's fiction transcends the genre of espionage, and that le Carre is preeminently a social commentator who writes novels of manners. Cobbs analyzes each of le Carre's novels and offers a biographical sketch, describing le Carre's often overlooked academic success and reputation as a once member of British Intelligence.
The politics of popular westerns are surprising in substance and significance, especially of late. Cowboy Politics shows how westerns in literature, cinema, and television face the challenges of Western Civilization even more than the perils of American frontiers. Its strategy is to compare key westerns with major theories of modern and postmodern politics. So it analyzes novels from Owen Wister to Zane Grey and Larry McMurtry. It focuses on films from the western revival beginning in the 1990s and featuring Clint Eastwood’s Unforgiven, while its interest in TV stretches from singing cowboys and Gunsmoke to David Milch’s Deadwood. Critics are apt to find in westerns the modern politics of Thomas Hobbes and John Locke. They tap devices of individuality, rationality, contract, sovereign enforcement, and representation to overcome the chaotic violence of a wild zone. Cowboy Politics examines how westerns often find such measures insufficient to tame the West as a culture of honor and anger that deteriorates into feud-al vengeance. Instead westerns see the West as the sunset land that is already growing old and moving on. So westerns seek fresh starts informed by comparing civilizations more than demonizing savages. Westerns worry that modern politics devolve into exploitation, oppression, spectacle, and terror. So they pursue supplements in such postmodern politics as republicanism, perfectionism, populism, feminism, and environmentalism. Especially westerns explore politics of persuasive speech-in-action-in-public, doing beauty, and self-reliance in the modes of Hannah Arendt and Ralph Waldo Emerson. The first two chapters of Cowboy Politics explain how westerns do political theory for popular audiences by making many of our myths: the symbolic stories of individuals and communities which we live daily. The next three chapters trace the initially modern theories of government in many westerns. Then western turns to republican honor, rhetoric, response-ability, and character tracking occupy the following four chapters. And these set the stage for another four chapters on western attention to postmodern terror, mythmaking, celebrity, spectacle, and forgiveness. The final two chapters analyze how “late,” “satirical,” and “transformative” westerns develop realist defenses for their surprisingly postmodern politics.
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