Larry Mccaffery Papers MS-0498
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UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end. -
The Virtual Worlds of Japanese Cyberpunk
arts Article New Spaces for Old Motifs? The Virtual Worlds of Japanese Cyberpunk Denis Taillandier College of International Relations, Ritsumeikan University, Kyoto 603-8577, Japan; aelfi[email protected] Received: 3 July 2018; Accepted: 2 October 2018; Published: 5 October 2018 Abstract: North-American cyberpunk’s recurrent use of high-tech Japan as “the default setting for the future,” has generated a Japonism reframed in technological terms. While the renewed representations of techno-Orientalism have received scholarly attention, little has been said about literary Japanese science fiction. This paper attempts to discuss the transnational construction of Japanese cyberpunk through Masaki Goro’s¯ Venus City (V¯ınasu Shiti, 1992) and Tobi Hirotaka’s Angels of the Forsaken Garden series (Haien no tenshi, 2002–). Elaborating on Tatsumi’s concept of synchronicity, it focuses on the intertextual dynamics that underlie the shaping of those texts to shed light on Japanese cyberpunk’s (dis)connections to techno-Orientalism as well as on the relationships between literary works, virtual worlds and reality. Keywords: Japanese science fiction; cyberpunk; techno-Orientalism; Masaki Goro;¯ Tobi Hirotaka; virtual worlds; intertextuality 1. Introduction: Cyberpunk and Techno-Orientalism While the inversion is not a very original one, looking into Japanese cyberpunk in a transnational context first calls for a brief dive into cyberpunk Japan. Anglo-American pioneers of the genre, quite evidently William Gibson, but also Pat Cadigan or Bruce Sterling, have extensively used high-tech, hyper-consumerist Japan as a motif or a setting for their works, so that Japan became in the mid 1980s the very exemplification of the future, or to borrow Gibson’s (2001, p. -
PHILADELPHIA AREA E STREET BAND APPEARANCES (120+2) Within Nine-County (Pa./N.J./Del.) Area
[PDN: DN-PAGES-2--ADVANCE-3--SPORTS <FSN> ... 09/02/16] Author:VETRONB Date:09/02/16 Time:02:27 PHILADELPHIA AREA E STREET BAND APPEARANCES (120+2) Within Nine-County (Pa./N.J./Del.) Area GREETINGS FROM ASBURY PARK TOUR (26) 1976-77 TOUR (2) Saturday..................Oct. 28, 1972 ........................West Chester College ...................West Chester, Pa. Monday ...................Oct. 25, 1976 ........................Spectrum .......................................Philadelphia Wednesday .............Jan. 3, 1973 (Early)..............The Main Point ...............................Bryn Mawr, Pa. Wednesday .............Oct. 27, 1976 ........................Spectrum .......................................Philadelphia Wednesday .............Jan. 3, 1973 (Late) ..............The Main Point ...............................Bryn Mawr, Pa. Thursday .................Jan. 4, 1973 (Early)..............The Main Point ...............................Bryn Mawr, Pa. DARKNESS ON THE EDGE OF TOWN TOUR (4) Thursday .................Jan. 4, 1973 (Late) ..............The Main Point ...............................Bryn Mawr, Pa. Friday .......................May 26, 1978 .......................Spectrum .......................................Philadelphia Friday .......................Jan. 5, 1973 (Early)..............The Main Point ...............................Bryn Mawr, Pa. Saturday .................May 27, 1978 .......................Spectrum .......................................Philadelphia Friday .......................Jan. 5, 1973 (Late) ..............The -
A Vote for Change and US Strategy for North
A Vote for Change and U.S. Strategy for North American Integration Christopher Sands, Hudson Institute, USA PNA North American Policy Brief no. 1 1 October 2008 The 2008 presidential election in the United States has become paradoxical. On the one hand, the dominant theme of virtually every candidate in the party primaries was “change.” And since there is no incumbent candidate (neither a sitting president nor a sitting vice president is running this year) for the first time since 1928, there will be a break with the current administration regardless of who wins the presidency. And on the other hand, turbulent financial markets, an unsettling conflict with global terrorist groups, and the dislocating effects of globalization have led many voters to express a desire for a change – away from the changes that they have experienced since the end of the Cold War. Americans want a change in the White House to bring them stability in an uncertain world. It is worth remembering that compared to Europe, North America has been a conservative continent. Noted political scientist and sociologist Seymour Martin Lipset once said that Canada was, “a country of evolution, not revolution,” in contrast with the United States. In Mexico, the legacy of bloodshed and violence that accompanied the Mexican Revolution (1910-1920) left its mark, and helped produce the most durable one party state of the 20 th century; when the country embraced democratic politics in the 1990s in the midst of economic and other changes, the conservative side of the Mexican political culture remained strong. The United States is perhaps the only one of the three North American countries where a major party candidate could give himself the label of “maverick” and benefit politically from the association with a strong-willed and untamed colt. -
Humanisation of the Subject in David Foster Wallace's Fiction
ArsAeterna–Volume6/number1/2014 DOI:10.2478/aaͲ2014Ͳ0005 HumanisationoftheSubjectinDavidFosterWallace’sFiction:From Postmodernism,AvantͲPoptoNewSensicerity?(TriͲStan:ISold SisseeNartoEcko,1999) JaroslavKušnír Jaroslav Kušnír works at the University of Prešov, Prešov, Slovakia. His research focuses mainly on contemporary fiction, Australian literature and postcolonial writing. His publications include the monograph on Richard Brautigan and Donald Barthelme called Poetika americkej postmodernej prózy (2001) and several contributions to Slovak and foreign literary journals. Abstract David Foster Wallace’s fiction is often considered to be an expression of the new American fiction emerging in the late 1980s, the authors of which expressed a certain distance from the dehumanised and linguistically constructed subject of postmodern fiction, and which depicted individuals influenced by mass media, pop culture and technology in technologically advanced American society. David Foster Wallace’s short story Tri-Stan: I Sold Sissee Nar to Ecko (1999), however, was also included in the Avant-Pop Anthology (Larry McCaffery, L., eds. After Yesterday’s Crash: The Avant-Pop Anthology. London, New York: Penguin, 1995). Some other critics (Adam Kelly, for example) consider him to be an author who expresses New Sincerity in his depiction of reality, which is a tendency in fiction trying to depict human experience and emotions through the use of language and which does not emphasise the human subject and experience to be a product of the interplay of signifiers as understood by Deconstruction criticism and many postmodern authors. This paper will analyse David Foster Wallace’s use of narrative strategies that are connected with postmodern narrative techniques and, at the same time, the way they express a distance from them through a depiction of human experience as interactive communication between human subjects. -
AVANT-POP 101. Here's a List of Works That Helped to Shape Avant-Pop Ideology and Aesthetics, Along with Books, Albums, Films, T
Larry McCaffery AVANT-POP 101. Here's a list of works that helped to shape Avant-Pop ideology and aesthetics, along with books, albums, films, television shows, works of criticism, and other cultural artifacts by the Avant-Pop artists themselves, in roughly chronological order. PRECURSORS: The Odyssey (Homer, c. 700 B.C.). Homer's The Odyssey had it all: a memorable, larger-than-life super-hero (Ulysses); a war grand enough that its name alone (Trojan) is still used to sell condoms; descriptions of travels through exotic places; hideous bad-guys (like the Cyclops) and bad gals (Circe); an enduring love affair (Penelope); a happy ending. Commentators have long regarded The Odyssey as Western literature's first epic and masterpiece. What hasn't been noted until now, however, is that its central features—for instance, its blend of high seriousness with popular culture, a self-conscious narrator, magical realism, appropriation, plagiarism, casual blending of historical materials with purely invented ones, foregrounding of its own artifice, reflexivity, the use of montage and jump cuts—also made it the first postmodern, A-P masterpiece, as well. Choju giga (Bishop Toba, 12th century). Choju giga—or the "Animal Scrolls," as Toba's work is known—was a narrative picture scroll that portrayed, among other things, Walt Disney-style anthropomorphized animals engaged in a series of wild (and occasionally wildly erotic) antics that mocked Toba's own calling (the Buddhist clergy); in its surrealist blend of nightmare and revelry, Toba Choju giga can rightly be said to be the origins not only of cartoons but of an avant-pop aesthetics of cartoon forms that successfully serve "serious" purposes of satire, philosophical speculation and social commentary. -
1 When They Said Sit Down, I Stood Up
1 When They Said Sit Down, I Stood Up: Springsteen’s Social Conscience, Activism, and Fan Response Susan Hamburger, Ph.D. The Pennsylvania State University “Glory Days: A Bruce Springsteen Symposium” Monmouth University, West Long Branch, New Jersey September 9, 2005 Bruce Springsteen’s increasing politicization from supporting other musicians’ causes (No Nukes and Amnesty International) to social issues he personally embraces (food banks) inspires audiences to follow his lead with charitable causes. Whether donating food, money, or labor to community food banks, raising money for the Kristen Ann Carr Fund for cancer research, or saving the Tillie façade on Palace Amusements, Springsteen’s fans draw inspiration from his example. Yet dissention among fans arose when Bruce joined Vote for Change to actively campaign for John Kerry. This paper explores the interplay between Bruce’s activism and fan reaction. From singing at the No Nukes concerts to food bank exhortations from the stage to actively campaigning for John Kerry, Bruce Springsteen has consciously and thoughtfully selected the causes he supports and speaks out on behalf of. Although Bruce played at a benefit for presidential candidate, George McGovern in 1972, he did not involve himself in politics or causes, keeping a low profile. Beginning with the Musicians United for Safe Energy (M.U.S.E.) anti-nuclear benefit concerts, September 22-23, 1979, 2 filmed and released as No Nukes, Bruce’s association with grassroots activism and benefit concerts set the stage for his first phase of charitable work—showing up and playing music. By lending his musicianship to the benefit, Bruce implied that he supported the anti-nuclear movement yet he did not speak out on M.U.S.E.’s behalf either in the concert program or from the stage. -
An Interview with Bruce Springsteen
Occasional Paper Series Volume 2018 Number 40 Am I Patriotic? Learning and Teaching the Complexities of Patriotism Here Article 3 and Now September 2018 “That's quite a tune”: An Interview with Bruce Springsteen Mark T. Kissling Penn State University Follow this and additional works at: https://educate.bankstreet.edu/occasional-paper-series Part of the Curriculum and Instruction Commons, Curriculum and Social Inquiry Commons, Educational Assessment, Evaluation, and Research Commons, and the Educational Methods Commons Recommended Citation Kissling, M. T. (2018). “That's quite a tune”: An Interview with Bruce Springsteen. Occasional Paper Series, 2018 (40). Retrieved from https://educate.bankstreet.edu/occasional-paper-series/vol2018/iss40/3 This Article is brought to you for free and open access by Educate. It has been accepted for inclusion in Occasional Paper Series by an authorized editor of Educate. For more information, please contact [email protected]. 1 “What is there to lose? All of this beauty”: An Interview with Bruce Springsteen Mark Kissling: Greetings from State College, Pennsylvania. My name is Mark Kissling. I am an assistant professor of education at Penn State University. I’m also the guest editor of the Bank Street Occasional Papers Series issue #40 titled, “Am I Patriotic?” The purpose of the issue is to complicate how we think about and enact patriotism, with a particular focus on how teachers teach and students learn about patriotism. So how does this relate to Bruce Springsteen and the interview that you’re about to hear (or read)? In mid-December of 2008, I spent two days at the Woody Guthrie Archives—then in New York City, now in Tulsa, Oklahoma. -
The Future of Cyberpunk Criticism: Introduction to Transpacific Cyberpunk
arts Editorial The Future of Cyberpunk Criticism: Introduction to Transpacific Cyberpunk Takayuki Tatsumi Department of English, Keio University, Tokyo 108-8345, Japan; [email protected] Received: 19 March 2019; Accepted: 21 March 2019; Published: 25 March 2019 The genesis of cyberpunk criticism could well be dated to March 1987, when Stephen P. Brown inaugurated the first cyberpunk journal Science Fiction Eye together with his friend Daniel J. Steffan, with Paul DiFilippo, Elizabeth Hand, and myself as contributing editors. Of course, it is the impact of William Gibson’s multiple-award-winning Neuromancer in 1984, featuring the anti-hero Case’s adventures in what Gibson himself called “cyberspace,” that aroused popular interest in the new style of speculative fiction. This surge of interest led Gibson’s friend, writer Bruce Sterling, the editor of the legendary critical fanzine Cheap Truth, to serve as unofficial chairman of the brand-new movement. Thus, on 31 August 1985, the first cyberpunk panel took place at NASFiC (The North American Science Fiction Convention) in Austin, Texas, featuring writers in Sterling’s circle: John Shirley, Lewis Shiner, Pat Cadigan, Greg Bear, and Rudy Rucker. As I was studying American literature at the graduate school of Cornell University during the mid-1980s, I was fortunate enough to witness this historical moment. After the panel, Sterling said, “Our time has come!” Thus, from the spring of 1986, I decided to conduct a series of interviews with cyberpunk writers, part of which are now easily available in Patrick A. Smith’s edited Conversations with William Gibson (University Press of Mississippi 2014). -
NY Unofficial Archive V5.2 22062018 TW.Pdf
........................................................................................................................................................................................... THE UNOFFICIAL ARCHIVE: NEIL YOUNG’S “UNRELEASED” SONGS ©Robert Broadfoot 2018 • [email protected] Version 5.2 -YT: 22 June 2018 Page 1 of 98 CONTENTS CONTENTS ............................................................................................................................. 2 FOREWORD .......................................................................................................................... 3 A NOTE ON SOURCES ......................................................................................................... 5 KEY .......................................................................................................................................... 6 I. NEIL YOUNG SONGS NOT RELEASED ON OFFICIAL MEDIA PART ONE THE CANADIAN YEARS .............................................................................. 7 PART TWO THE AMERICAN YEARS ........................................................................... 16 PART THREE EARLY COVERS AND INFLUENCES ........................................................ 51 II. NEIL YOUNG PERFORMING ON THE RELEASED MEDIA AND AT CONCERT APPEARANCES, OF OTHER ARTISTS ..................................................... 63 III. UNRELEASED NEIL YOUNG ALBUM PROJECTS PART ONE DOCUMENTED ALBUM PROJECTS ....................................................... 83 PART TWO SPECULATION -
Boundaries in Cyberpunk Fiction: William Gibson's Neuromancer Trilogy, Bruce Sterling's Schismatrix, and Neal Stephenson's Snow Crash
BOUNDARIES IN CYBERPUNK FICTION: WILLIAM GIBSON'S NEUROMANCER TRILOGY, BRUCE STERLING'S SCHISMATRIX, AND NEAL STEPHENSON'S SNOW CRASH by Michelle Toerien Thesis presented in partial fulfilment of the requirements for the degree of Master of Arts at the University of Stellenbosch Supervisor: Mr. R. Goodman March 2000 Stellenbosch University http://scholar.sun.ac.za Declaration: I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety, or in any part, submitted it at any university for a degree. Signature: Date: Stellenbosch University http://scholar.sun.ac.za ABSTRACT Cyberpunk literature explores the effects that developments in technology will have on the lives of individuals in the future. Technology is seen as having the potential to be of benefit to society, but it is also seen as a dangerous tool that can be used to severely limit humanity's freedom. Most of the characters in the texts I examine wish to perpetuate the boundaries that contain them in a desperate search for stability. Only a few individuals manage to move beyond the boundaries created by multinational corporations that use technology, drugs or religion for their own benefit. This thesis will provide a definition of cyberpunk and explore its development from science fiction and postmodern writing. The influence of postmodern thinking on cyberpunk literature can be seen in its move from stability to fluidity, and in its insistence on the impossibility of creating fixed boundaries. Cyberpunk does not see the future of humanity as stable, and argues that it will be necessary for humanity to move beyond the boundaries that contain it. -
Samuel R. Delany Secondary Sources Compiled by Laurie Lepain Kopack
Samuel R. Delany Secondary Sources Compiled by Laurie LePain Kopack Alterman, Peter S. “The Surreal Translations of Samuel R. Delany.” Science-Fiction Studies, 4.1 (1977): 25-24. Blaschke, Jayme Lynn. Voices of Vision: Creators of Science Fiction and Fantasy Speak. Lincoln, NE: U of Nebraska Press, 2005. Broderick, Damien. Reading by Starlight: Postmodern Science Fiction. London: Routledge, 1995. Barbour, Douglas. Worlds Out of Words: The SF Novels of Samuel R. Delany. Frame, U.K.: Bran’s Head, 1979. Carby, Hazel. Race Men. Cambridge: Harvard UP, 1999. Comer, Todd A. “Playing at Birth: Samuel R. Delany's Dhalgren.” Journal of Narrative Theory, 35 (2005): 172-95. Duberman, Martin B. Queer Representations: Reading Lives, Reading Cultures: A Center for Lesbian and Gay Studies Book. New York: U of New York Press, 1997. Dubey, Madhu. Signs and Cities: Black Literary Postmodernism. Chicago: U of Chicago P, 2004. Ebert, Teresa L. “The Convergence of Postmodern Innovative Fiction and Science Fiction: An Encounter with Samuel R. Delany's Technotopia.” Poetics Today, 1.4 (1980): 91-104. Freedman, Carl. Critical Theory and Science Fiction. Hanover: Wesleyan UP, 2000. Fox, Robert Elliot. Conscientious Sorcerer: The Black Postmodernist Fiction of Leroi Jones-Amiri Baraka, Ishmael Reed, and Samuel R. Delany. Westport, CT.: Greenwood, 1987. Gregory, Sinda and Larry McCaffery. “Samuel R. Delany: The Semiology of Silence.” Science-Fiction Studies, 14.2 (1987): 134-64. Jackson Jr., Earl. Strategies of Deviance. Bloomington: Indiana UP, 1995. Kelso, Sylvia. “‘Across Never’: Postmodern Theory and Narrative Praxis in Samuel R. Delany's Nevèrÿon Cycle. Science Fiction Studies, 24.2 (1997): 289-301.