DOCSLIB.ORG

Introduction 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction 1 Notes Introduction 1. See, e.g., Christopher Norris, What’s Wrong with Postmodernism: Critical Theory and the Ends of Philosophy (Baltimore, MD: Johns Hopkins University Press, 1990); Alex Callinicos, Against Postmodernism: A Marxist Critique (New York: St. Martin’s Press, 1990); Terry Eagleton, The Illusions of Postmodernism (Oxford: Blackwell, 1996). 2. Time and Commodity Culture: Essays in Cultural Theory and Postmodernity (Oxford: Oxford University Press, 1997), pp. 13–63. 3. Critical Social Theory: Culture, History, and the Challenge of Difference (Oxford: Blackwell, 1995), pp. 99–100. 4. See the essay “Rewriting Modernity,” in Jean-François Lyotard, The Inhuman: Reflections on Time, trans. by Geoffrey Bennington and Rachel Bowlby (Stanford, CA: Stanford University Press, 1991), pp. 24–35. 5. The Illusions of Postmodernism, passim. 6. See, e.g., Daniel Bell, The Coming of Post-Industrial Society: A Venture in Social Forecasting (New York: Basic, 1973). 7. “Foreword” to Jean-François Lyotard, The Postmodern Condition: A Report on Knowledge, trans. by Geoff Bennington and Brian Massumi (Minneapolis: University of Minnesota Press, 1984), p. xiii. 8. My use of the term “literary field” derives from the work of the French sociol- ogist Pierre Bourdieu, who writes, “The literary field (one may also speak of the artistic field, the philosophical field, etc.) is an independent social universe with its own laws of functioning, its specific relations of force, its dominants and dominated, and so forth. Put another way, to speak of ‘field’ is to recall that lit- erary works are produced in a particular social universe endowed with particu- lar institutions and obeying specific laws,” “Field of Power, Literary Field and Habitus,” in Pierre Bourdieu, The Field of Cultural Production: Essays on Art and Literature, ed. by Randal Johnson (New York: Columbia, 1993), p. 163. 9. See Geoffrey Green, Donald J. Greiner, and Larry McCaffery, eds., The Vineland Papers: Critical Takes on Pynchon’s Novel (Normal, IL: Dalkey Archive, 1994); Brooke Horvath and Irving Malin, eds., Pynchon and Mason & Dixon (Newark: University of Delaware Press, 2000); and Charles Clerc, Mason & Dixon & Pynchon (Lanham, MD: University Press of America, 2000). 10. Prominent among those who have mentioned DeLillo’s importance are David Foster Wallace, who refers extensively to White Noise in his essay “E Unibus Pluram: Television and U.S. Fiction,” A Supposedly Fun Thing 218 / notes I’ll Never Do Again: Essays and Arguments (Boston: Little, Brown, 1997), and includes allusions to DeLillo’s early work, notably End Zone and Ratner’s Star, in his astonishing novel Infinite Jest (Boston: Little, Brown, 1996); Jonathan Franzen has spoken of DeLillo’s influence and example, and quotes from a letter DeLillo wrote him in his essay “Perchance to Dream: In an Age of Images, A Reason to Write Novels,” Harper’s (April 1996); DeLillo himself has written jacket blurbs for novelists of the generation of Wallace and Franzen, including Franzen himself, Siri Hustvedt, Dana Spiotta, Denis Johnson, and Stephen Wright, not to mention older luminaries, such as William Gaddis, Gilbert Sorrentino, and Paul Auster. 11. How To Be Alone: Essays (New York: Farrar, Straus and Giroux, 2002), p. 165. 12. The Gutenberg Elegies: The Fate of Reading in an Electronic Age (New York: Ballantine, 1994). 13. Richard A. Lanham, The Electronic Word: Democracy, Technology, and the Arts (Chicago: University of Chicago Press, 1993), pp. 195–223. 14. See Herbert Marcuse, “The Affirmative Character of Culture,” Negations: Essays in Critical Theory, trans. by Jeremy J. Shapiro (Boston: Beacon Press, 1968), pp. 88–133. 15. The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society, trans. by Thomas Burger and Frederick Lawrence (Cambrige: MIT Press, 1989). For critical assessments of Habermas’s theory, see Craig Calhoun, ed., Habermas and the Public Sphere (Cambridge: MIT Press, 1992). 16. See Birkerts, The Gutenberg Elegies, esp. pp. 210–229. 17. For a celebrated account of the historical and philosophical genesis of this ideology of the subject, see C.B. Macpherson, The Political Theory of Possessive Individualism: Hobbes to Locke (Oxford: Oxford University Press, 1962). 18. Quoted in Franzen, “Perchance to Dream,” p. 54, 19. Carole Maso, “Rupture, Verge, and Precipice: Precipice, Verge, and Hurt Not,” Review of Contemporary Fiction 16 (Spring 1996): 54–75; rpt. in Carole Maso, Break Every Rule: Essays on Language, Longing, and Moments of Desire (Washington, DC: Counterpoint, 2000), pp. 161–191. 20. Evan Dara, The Lost Scrapbook (Normal, IL: FC2, 1995). 21. “The Literature of Exhaustion,” The Friday Book: Essays and Other Nonfiction (New York: G.P. Putnam’s, 1984), p. 72. 22. Postmodernism, Or, The Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1991), p. ix. 23. Ibid., p. 1. 24. The Origins of Postmodernity (London: Verso, 1998), p. 102. 25. There is in fact a case to be made for Roth as a postmodern writer. Throughout his career he has made use of devices from the postmodern bag of tricks, including metafiction and ontological dubiety. Chapter 1 Late Postmodernism and the Literary Field 1. Alex Callinicos, An Anti-Capitalist Manifesto (Cambridge: Polity, 2003), p. 13. 2. See Stanley Fish, “Truth But No Consequences: Why Philosophy Doesn’t Matter,” Critical Inquiry 29 (Summer 2003): 389. notes / 219 3. Hal Foster, “Whatever Happened to Postmodernism?” The Return of the Real: The Avant-Garde at the End of the Century (Cambridge, MA: MIT Press, 1996), pp. 205–226; John Frow, Time and Commodity Culture, pp. 13–63. 4. Fredric Jameson, A Singular Modernity: Essay on the Ontology of the Present (London: Verso, 2002), p. 1. 5. See Frow, Time and Commodity Culture, pp. 27–29. 6. Fredric Jameson, Postmodernism, Or, The Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1991), pp. 1–2. 7. See, for example, Andreas Huyssen, After the Great Divide: Modernism, Mass Culture, Postmodernism (Bloomington: Indiana University Press, 1986). 8. Charles Jencks, The Language of Post-Modern Architecture (New York: Rizzoli, 1977), p. 9. 9. Consider, for example, the work of Richard Kostelanetz, who has long been dedicated to the recovery of avant-garde writing from the modernist period: see The Avant-Garde Tradition in Literature (Buffalo, NY: Prometheus Books, 1982) and many other titles; or the interest of the poets associated with the journal LϭAϭNϭGϭUϭAϭGϭE in Gertrude Stein: see, for example, Lyn Hejinian, “Two Stein Talks” (1986), The Language of Inquiry (Berkeley: University of California Press, 2000), pp. 83–130. 10. Jean-François Lyotard, The Postmodern Condition: A Report on Knowledge, trans. by Geoff Bennington and Brian Massumi (Minneapolis: University of Minnesota Press, 1984). 11. Frow, Time and Commodity Culture, pp. 15–20. 12. Peter Osborne, The Politics of Time: Modernity and Avant-Garde (London: Verso, 1995), pp. 3–5. 13. Lyotard, The Postmodern Condition, p. 81. 14. Jameson, Postmodernism, p. 1. 15. Wendy Steiner, “Postmodern Fictions, 1970–1990,” The Cambridge History of American Literature, Vol. 7: Prose Writing, 1940–1990, ed. by Sacvan Bercovitch (Cambridge: Cambridge University Press, 1999), pp. 425–538. Future references will be given in parentheses. 16. Wendy Steiner, Venus in Exile: The Rejection of Beauty in Twentieth-Century Art (New York: Free Press, 2001), pp. 191–215. 17. Ihab Hassan, The Dismemberment of Orpheus: Toward a Postmodern Literature (New York: Oxford University Press, 1971); Gerald Graff, Literature Against Itself: Literary Ideas in Modern Society (Chicago: University of Chicago Press, 1979); Philip Stevick, Alternative Pleasures: Postrealist Fiction and the Tradition (Urbana: University of Illinois Press, 1981); Jerome Klinkowitz, Literary Disruptions: The Making of a Post-Contemporary American Fiction (Urbana: University of Illinois Press, 1975). 18. William H. Gass, Fiction and the Figures of Life (New York: Knopf, 1977) and The World Within the Word: Essays (New York: Knopf, 1978); Ishmael Reed, Shrovetide in Old New Orleans (Garden City, NY: Doubleday, 1978); Ronald Sukenick, In Form: Digressions on the Act of Fiction (Carbondale: Southern Illinois University Press, 1985); Susan Sontag, Against Interpretation, and Other Essays (New York: Farrar, Straus and Giroux, 1966) and Styles of Radical Will (New York: Farrar, Straus and Giroux, 1969); John Barth, 220 / notes The Friday Book: Essays and Other Nonfiction (New York: G.P. Putnam’s, 1984). 19. Fredric Jameson, “Postmodernism and Consumer Society,” The Anti-Aesthetic, ed. by Hal Foster (Port Townsend, WA: Bay Press, 1983), pp. 111–125; “Postmodernism, or The Cultural Logic of Late Capitalism,” New Left Review 146 (1984): 52–92. For a discussion of the development and sig- nificance of Jameson’s work on the postmodern, see Perry Anderson, The Origins of Postmodernity (London: Verso, 1998). Jean-François Lyotard, The Postmodern Condition: A Report on Knowledge, trans. by Geoff Bennington and Brian Masumi (Minneapolis: University of Minnesota Press, 1984), subsequent references will be given in parentheses. 20. In this respect, Wendy Steiner’s postmodernism is the antithesis of Lyotard’s; where he argues for an aesthetic of the sublime, she works to rehabilitate the beautiful. 21. The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca, NY: Cornell University Press, 1981). 22. Linda Hutcheon, A Poetics of Postmodernism: History, Theory,
Load more

Recommended publications
  • The Iceberg and Its Minimalist Implications in Raymond Carver's Fiction
    Sinking the Titanic: The Iceberg and its Minimalist Implications In Raymond Carver's Fiction Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in Literature at The University of North Carolina at Asheville Spring 2006 By John Mozley Thesis Reader Deborah James Thesis Advisor Cynn Chadwick Mozley 1 When Raymond Carver died in 1988 of lung cancer, Robert Gotlieb, the then editor of The New Yorker, stated, "America just lost the writer it could least afford to lose" (Max 36). In Carver's mere twenty-year publishing career, he garnered such titles as "the American Chekhov" (London Times), "the most imitated American writer since Hemingway" (Nesset 2), and "as successful as a short story writer in America can be" (Meyer 239). Carver's stories won the O. Henry Award three consecutive years, he was nominated for the National Book Award in 1977 for Will You Please Be Quiet Please?. won two NBA awards for fiction, received a Guggenheim Fellowship as well as the "Mildred and Harold Strauss Living Award from the American Academy and Institute of Arts and Letters" (Saltzman 3), and his collection of stories, Cathedral was nominated for both National Book Critics Circle award and a Pulitzer Prize (Saltzman 3). Born in Oregon in 1938, Carver grew up in Yakima, Washington where his father worked in the sawmill. At twenty years old, Carver was married to his high school sweetheart, Maryanne, and had two children (Saltzman 1). Plagued by debt and escalating alcoholism, the Carvers moved to California where Raymond "worked a series of low-paying jobs, including deliveryman, gas station attendant and hospital janitor, while his wife waited tables and sold door to door" (1), his jobs also included "sawmill worker.
    [Show full text]
  • Robert De Niro's Raging Bull
    003.TAIT_20.1_TAIT 11-05-12 9:17 AM Page 20 R. COLIN TAIT ROBERT DE NIRO’S RAGING BULL: THE HISTORY OF A PERFORMANCE AND A PERFORMANCE OF HISTORY Résumé: Cet article fait une utilisation des archives de Robert De Niro, récemment acquises par le Harry Ransom Center, pour fournir une analyse théorique et histo- rique de la contribution singulière de l’acteur au film Raging Bull (Martin Scorcese, 1980). En utilisant les notes considérables de De Niro, cet article désire montrer que le travail de cheminement du comédien s’est étendu de la pré à la postproduction, ce qui est particulièrement bien démontré par la contribution significative mais non mentionnée au générique, de l’acteur au scénario. La performance de De Niro brouille les frontières des classes de l’auteur, de la « star » et du travail de collabo- ration et permet de faire un portrait plus nuancé du travail de réalisation d’un film. Cet article dresse le catalogue du processus, durant près de six ans, entrepris par le comédien pour jouer le rôle du boxeur Jacke LaMotta : De la phase d’écriture du scénario à sa victoire aux Oscars, en passant par l’entrainement d’un an à la boxe et par la prise de soixante livres. Enfin, en se fondant sur des données concrètes qui sont restées jusqu’à maintenant inaccessibles, en raison de la modestie et du désir du comédien de conserver sa vie privée, cet article apporte une nouvelle perspective pour considérer la contribution importante de De Niro à l’histoire américaine du jeu d’acteur.
    [Show full text]
  • Read Ebook {PDF EPUB} Springer S Progress by David
    Read Ebook {PDF EPUB} Springer’s Progress by David Markson Springer’s Progress by David Markson. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 65fc02d93a1e2bb9 • Your IP : 116.202.236.252 • Performance & security by Cloudflare. MadInkBeard by DerikBadman. The Last Novel. 1st ed. Emeryville, CA: Shoemaker & Hoard, 2007. Vanishing Point : A Novel. 1st ed. Washington, D.C.: Shoemaker & Hoard, 2004. This Is Not a Novel. 1st ed. Washington, D.C.: Counterpoint, 2001. Reader’s Block. 1st ed. Normal, IL: Dalkey Archive Press, 1996. Collected Poems. 1st ed. Normal, IL: Dalkey Archive Press, 1993. “Be All My Sins Remembered.” Review of Contemporary Fiction 10.2 (1990): 145-56. “Reviewers in Flat Heels: Being a Postface to Several Novels.” Review of Contemporary Fiction 10.2 (1990): 124-30. Wittgenstein’s Mistress. 1st ed. Elmwood Park, IL: Dalkey Archive, 1988. 1st pbk ed. Elmwood Park, IL: Dalkey Archive, 1990. 2nd pbk ed. Normal, IL: Dalkey Archive, 1995.
    [Show full text]
  • David Markson's "Wittgenstein's Mistress" Tiffany L
    Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 3-27-2015 The orW ld in Singing Made: David Markson's "Wittgenstein's Mistress" Tiffany L. Fajardo Florida International University, [email protected] DOI: 10.25148/etd.FI15032138 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the American Literature Commons, Continental Philosophy Commons, Literature in English, North America Commons, Metaphysics Commons, Modern Literature Commons, and the Other Philosophy Commons Recommended Citation Fajardo, Tiffany L., "The orldW in Singing Made: David Markson's "Wittgenstein's Mistress"" (2015). FIU Electronic Theses and Dissertations. 1861. https://digitalcommons.fiu.edu/etd/1861 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida THE WORLD IN SINGING MADE: DAVID MARKSON’S "WITTGENSTEIN’S MISTRESS" A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in ENGLISH by Tiffany L. Fajardo 2015 To: Dean Michael R. Heithaus College of Arts and Sciences This thesis, written by Tiffany L. Fajardo, and entitled The World in Singing Made: David Markson's "Wittgenstein's Mistress," having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. _________________________________ Ana Luszczynska _________________________________ James M. Sutton _________________________________ Michael Patrick Gillespie, Major Professor Date of Defense: March 27, 2015 The thesis of Tiffany L.
    [Show full text]
  • Interpretation in Recent Literary, Film and Cultural Criticism
    t- \r- 9 Anxieties of Commentary: Interpretation in Recent Literary, Film and Cultural Criticism Noel Kitg A Dissertàtion Presented to the Faculty of Arts at the University of Adelaide In Candidacy for the Degree of Doctor of Philosophy March 7994 Nwo.rà"o\ \qq5 l1 @ 7994 Noel Ki^g Atl rights reserved lr1 Abstract This thesis claims that a distinctive anxiety of commentary has entered literary, film and cultural criticism over the last thirty years/ gathering particular force in relation to debates around postmodernism and fictocriticism and those debates which are concerned to determine the most appropriate ways of discussing popular cultural texts. I argue that one now regularly encounters the figure of the hesitant, self-diiioubting cultural critic, a person who wonders whether the critical discourse about to be produced will prove either redundant (since the work will already include its own commentary) or else prove a misdescription of some kind (since the criticism will be unable to convey the essence of , say, the popular cultural object). In order to understand the emergence of this figure of the self-doubting cultural critic as one who is no longer confident that available forms of critical description are adequate and/or as one who is worried that the critical writing produced will not connect with a readership that might also have formed a constituency, the thesis proposes notions of "critical occasions," "critical assemblages," "critical postures," and "critical alibis." These are presented as a way of indicating that "interpretative occasions" are simultaneously rhetorical and ethical. They are site-specific occasions in the sense that the critic activates a rhetorical-discursive apparatus and are also site-specific in the sense that the critic is using the cultural object (book, film) as an occasion to call him or herself into question as one who requires a further work of self-stylisation (which might take the form of a practice of self-problematisation).
    [Show full text]
  • The Location of “The Author” in John Barth's LETTERS
    The Author’s Metamorphosis: The Location of “the Author” in John Barth’s LETTERS Naoto KOJIMA Abstract 1979 年に発表されたジョン・バースの浩瀚な小説『レターズ』は、トマス・ピンチョ ンの『重力の虹』と並び、アメリカ文学におけるポストモダン小説の極点として考えら れている。『レターズ』をリアリズムと（ポスト）モダニズム的言語実験との綜合を試 みる小説とする議論を踏まえながら、この論文は、それ以前のバース作品に特徴的な自 己言及的メタフィクションが問題とした、「作者」の位置についての矛盾との関係にお いて『レターズ』の達成を捉える。そしてそのメタフィクションの矛盾からの脱却が、 小説の構造的なレベルだけでなく物語内容のレベルにおいても、作中に登場する「作者」 の正体を巡る謎解きのプロットとして表れていることを示す。手紙の書き手の一人であ る「作者」こそが、物語中での不在の息子ヘンリー・バーリンゲイム７世にほかならず、 その両者がテクストの内部と外部を行き来する作者の「変身」によって特徴づけられて いるのである。従来の研究ではこの小説における「作者」の正体（と小説の構造との関 係）を十分に突き止められてはおらず、その点でこの『レターズ』論は一つの新たな作 品解釈の提示であり、同時に、小説における「作者」の位置づけを巡る考察でもある。 Key Words: author, metafiction, presence/absence, realism, postmodernism 1. Introduction John Barth is a highly self-conscious writer. From the beginning of his career, his fiction has shown a distinctive self-referential nature. In his first novel, The Floating Opera, Todd Andrews mourns the dilemma of writing his own story in a Tristram Shandy-like manner: “Good heavens, how does one write a novel! I mean, how can anybody stick to the story, if he’s at all sensitive to the significances of things?…[E]very new sentence I set down is full of figures and implications that I’d love nothing better than to chase to their dens with you, but such chasing would involve new figures and new chases, so that I’m sure we’d never get the story started, much less ended, if I let my inclinations run unleashed” (2). He realizes that it is impossible to tell the story completely. Telling a story holds an inevitable difference between the telling and the told. - 251 - His self-reflective fictions derive from this acknowledgement of painful resignation. In his career as a writer, Barth’s orientation toward a self-referential structure is inextricably interwoven with his failed effort to write an autobiographical novel.
    [Show full text]
  • Speaking of Myth. an Interview with John Barth
    SPEAKING OF MYTH. AN INTERVIEW WITH JOHN BARTH CRISTINA GARRIGÓS GONZÁLEZ Universidad de León John Barth is probably the most important American postmodemist author writing nowadays: The prime maximalist of American Fiction as some critics have called him. Bom in Cambridge, Maryland in 1930, he is the author of ten novéis - The Sot-Weed Factor (1960) or Letters (1980) among them - a series of short fictions {Lost in the Funhouse, 1968^, a volume of novellas (Chimera, 1972), and two collections of non-fiction {The Friday Book, 1984 and Further Fridays, 1995). His works Th? Floating Opera and Lost in the Funhouse were finalist for the National Book Award in fiction, which he won in 1973 mth Chimera. Interviews with Barth usually center around his last book, a work in process or his opinión on Postmodemism, a task to which he dedicated his two seminal essays "The Literature of Exhaustion" and "The Literature of Replenishment". But in this interview, conducted in León during a visit of the author to our country, Barth discusses his relationship with four literary figures, which he has acknowledged as the "four regnant deities in his personal pantheon."^ These icons are in literary-historical order Odysseus, Scheherazade, Don Quixote and Huckleberry Finn. For him, there is no fifth, yet. These figures have appeared recurrently in his works: as characters, as surrogates for them, and he has discussed widely their relevance in his work in his numerous essays. The admiration of Barth for these mythological icons, "the four compass-points of my narrative imagination" as he calis them, is not half-hazard.
    [Show full text]
  • The Informed Victorian Reader by Christie A. P. Allen a Dissertation
    The Informed Victorian Reader by Christie A. P. Allen A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2016 Doctoral Committee: Associate Professor Daniel S. Hack, Chair Professor Lucy Hartley Professor Adela N. Pinch Associate Professor Megan L. Sweeney Acknowledgements I would like to thank my excellent committee for the help and support they provided me in imagining, researching, and writing this dissertation. First and foremost, I’m grateful to my chair, Daniel Hack, for patiently reading and rereading my work over many years and for offering unfailingly helpful feedback. I have benefitted immeasurably from Danny’s expertise, as well as his ability to see the potential in my ideas and to push me to refine my arguments. I would also like to thank my readers, Adela Pinch, Lucy Hartley, and Megan Sweeney. Adela’s practical advice and optimism about my project have sustained me through the long process of writing a dissertation. I am grateful to Lucy for always challenging me to consider all sides of a question and to take my analysis a step further. I appreciate Meg’s thoughtful feedback on my chapters, and I will always be thankful to her for being a kind, conscientious, and resourceful mentor to me in my growth as a teacher as well as a writer. I appreciate the many other readers who have helped make this project possible. Kathryne Bevilacqua, Julia Hansen, and Logan Scherer offered feedback and moral support in the very early stages of dissertation-writing.
    [Show full text]
  • THE Permanent Crisis of FILM Criticism
    mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem­ the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author­ N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo­ C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter­ film criticism since its origins. net amateurs and the lack of authorita­ of tive critics, many journalists and acade­ Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, co­editor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis­ tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory.
    [Show full text]
  • Philosophy and the Future of Fiction
    Syracuse Scholar (1979-1991) Volume 1 Issue 2 Syracuse Scholar Fall 1980 Article 3 1980 Philosophy and the Future of Fiction William Gass Follow this and additional works at: https://surface.syr.edu/suscholar Recommended Citation Gass, William (1980) "Philosophy and the Future of Fiction," Syracuse Scholar (1979-1991): Vol. 1 : Iss. 2 , Article 3. Available at: https://surface.syr.edu/suscholar/vol1/iss2/3 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in Syracuse Scholar (1979-1991) by an authorized editor of SURFACE. For more information, please contact [email protected]. Gass: Philosophy and the Future of Fiction Philosophy and the Future of Fiction William Gass "Philosophy and the Future of Fiction" I would like to talk about philosophy and the development of was the first lecture of the annual the novel and to say something about the direction in which I University Lecture Series at Syracuse University. It was presented by William think the novel will go as it becomes increasingly self-conscious Gass at Grant Auditorium on October and an object of interest to philosophers. These are extra­ 25, 1979. The present version has been somewhat modified for purposes of ordinary changes for the novel. When I was in graduate school, publication in Syracuse Scholar. philosophers only read Dostoevski, and indeed only read The William Gass received his Ph.D. in Brothers Karamazov, and indeed only read about Ivan. They philosophy from Cornell University and did this to furnish very trivial and commonplace philosophical is now the David May Distinguished University Professor in the Humanities examples.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • Formerly Theutsreview
    formerly the UTS review Editorial Board IEN ANG Sydney, RUTH BARCAN Sydney, TONY BENNETT Milton Keynes, JODY BERLAND Toronto, CHRIS BERRY London, MARCUS BREEN Chapel Hill, ANNE BREWSTER Sydney, MARION CAMPBELL Melbourne, DIPESH CHAKRABARTY Chicago, ROSS CHAMBERS Ann Arbor, KUAN-HSING CHEN Hsinchu, NAIFEI DING Taipei, SIMON DURING Baltimore, ROSS GIBSON Sydney, DAVID GOODMAN Sydney, HELEN GRACE Hong Kong, LAWRENCE GROSSBERG Chapel Hill, GHASAN HAGE Sydney, JOHN HARTLEY Brisbane, GAY HAWKINS Sydney, CHRIS HEALY Melbourne, VILSONI HERENIKO Honolulu, JACKIE HUGGINS Brisbane, JANE JACOBS Edinburgh, LALEEN JAYMANNE Sydney, LESLEY JOHNSON Sydney, NOEL KING Sydney, MARCIA LANGTON Melbourne, JENNY LEE Melbourne, AMANDA LOHREY FALMOUTH Tasmania, ADRIAN MARTIN Melbourne, BRIAN MASSUMI Montreal, JENNA MEAD Hobart, PHILIP MEAD Hobart, AILEEN MORETON-ROBINSON Brisbane, MEAGHAN MORRIS Sydney and Hong Kong, PHILIP MORRISSEY Melbourne, STEPHEN MUECKE Sydney, TOM O’REGAN Brisbane, SUVENDRINI PERERA Perth, ELSPETH PROBYN Sydney, ZOE SOFOULIS Sydney, LESLEY STERN San Diego, JON STRATTON Perth, GRAEME TURNER Brisbane, THEO VAN LEEUWEN Sydney, MCKENZIE WARK New York, ROB WILSON Santa Cruz Former Editors (2002–2006) CHRIS HEALY, STEPHEN MUECKE Founding Editors (The UTS Review 2005–2002) MEAGHAN MORRIS, STEPHEN MUECKE history experiments VOL.14 NO.1 MAR 2OO8 edited by john frow and katrina schlunke Editors JOHN FROW & KATRINA SCHLUNKE EDITORIAL & SUBSCRIPTION OFFICE Reviews Editor RUTH BARCAN Cultural Studies Review Managing Editor ANN STANDISH School of Culture and Communication Thanks to Anne Brennan, Mark Byron, Clare The University of Melbourne, Victoria 3010 Corbould, Martin Harrison, Chris Healy, Roger Australia Hillman, Ross Gibson, Laleen Jayamanne, Michelle E <[email protected]> Langford, Meg Mumford, Julien Murphett, Klaus W <www.csreview.unimelb.edu.au> Neumann, Katrina Schlunke and Deane Williams.
    [Show full text]