DOCSLIB.ORG

Susan Sontag

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Susan Sontag SUSAN SONTAG AN ANNOTATED BIBLIOGRAPHY 1948–1992 MODERN CRITICS AND CRITICAL STUDIES VOLUME 22 GARLAND REFERENCE LIBRARY OF THE HUMANITIES VOLUME 1065 MODERN CRITICS AND CRITICAL STUDIES WILLIAM E.CAIN, General Editor Wellesley College ADVISORY BOARD M.H.Abrams Cornell University Charles Altieri University of California at Berkeley Jonathan Culler Cornell University Stanley Fish University of Illinois at Chicago Gerald Graff University of Illinois at Chicago Murray Krieger University of California at Irvine Richard Macksey Johns Hopkins University Steven Mailloux University of California at Irvine Edward Said Columbia University Gayatri Chakravorty Spivak Columbia University SUSAN SONTAG AN ANNOTATED BIBLIOGRAPHY 1948–1992 COMPILED BY LELAND POAGUE KATHY A.PARSONS GARLAND PUBLISHING, INC. A MEMBER OF THE TAYLOR & FRANCIS GROUP NEW YORK & LONDON/2000 Published in 2000 by Garland Publishing, Inc. A member of the Taylor & Francis Group 29 West 35th Street New York, NY 10001 This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Copyright © 2000 by Leland Poague and Kathy A.Parsons All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Poague, Leland A., 1948– Susan Sontag: an annotated bibliography, 1948–1992/ Leland Poague, Kathy A.Parsons. p. cm. Includes indexes. ISBN 0-8240-5731-7 (alk. paper) 1. Sontag, Susan, 1933– —Bibliography. I.Parsons, Kathy A. II. Title. Z8826.45.P63 2000 [PS3569.06547] 016.818'5409–dc21 99–33532 CIP The authors and publisher are especially grateful to Susan Sontag for granting permission to quote at length from her copyrighted works. ISBN 0-203-90175-4 Master e-book ISBN ISBN 0-203-90179-7 (Adobe eReader Format) Contents Preface vi Acknowledgments xiv Publisher Abbreviations xviii Introduction xx PART ONE: PRIMARY WORKS SECTION A Books, Collections, Etc. 2 SECTION B Essays, Articles, and Review Essays 102 SECTION C Short Fictions 158 SECTION D Reviews, Forewords, and Prefaces 168 SECTION E Films and Recordings 188 SECTION F Interviews 204 SECTION G Juvenilia and Miscellaneous 230 PART TWO: SECONDARY WORKS SECTION H Book Chapters, Essays, and Review Articles 250 SECTION I Dissertations, Books, and Monographs 309 SECTION J Reviews 337 SECTION K Miscellaneous 378 Index of Authors 411 Index of Titles 424 Preface Just as Susan Sontag’s creative output is varied, complex, and unique, so are the processes and guidelines we employed to research and compile this bibliography of her works and their reception. By way of explaining some of these complexities, this preface is arranged into two main parts. In the first, we briefly recount the history of our research and describe the general guidelines that were applied throughout. The second part addresses more specific bibliographic issues pertaining to individual sections of the bibliography; here we explain such special interpretations of our general guidelines as individual sections, by virtue of media or genre or editorial considerations, frequently required. Researching so prolific a writer as Sontag proved to be an amazingly time- consuming, sometimes frustrating, yet always fascinating and rewarding activity. We used traditional sources of information as well as nontraditional and newly emerging research technologies. In fact, when this research project started, in 1982, computerized information sources were just becoming readily available to humanities scholars. In 1999, however, bibliographic databases are quite common; “hard copy” or paper-copy information is the more endangered data source nowadays. The types of sources we consulted are as varied as Sontag’s many genres, topics, and publication venues. We used indexing and abstracting tools in both print and computerized versions; bibliographies on literature, art, and women writers; various “books in print” and national library compendiums, and so on. During the course of our research, we reviewed more than 170 index or bibliographic sources, far too many to list. Standard sources of information we consulted included the MLA International Bibliography, Dissertation Abstracts, Index Translationum, Humanities Index, Book Review Index, Art Index, Philosopher’s Index, and the Arts and Humanities Citation Index. In addition, we utilized computerized union catalogues—OCLC, RLIN, eventually FirstSearch and WorldCat—and also indexes pertaining to foreign language periodicals and books, such as Romanische Bibliographie, Indice español de humanidades, Bulletin signalétique, French XX, among others. A source we did not systematically attend to was daily newspapers, with the obvious exception of the New York Times. (All citations to the Times refer to the Late City edition available via University Microfilms.) vii We also gathered information about Sontag via less formal or official channels. Over the years, friends, family members, and colleagues often sent clippings or references. Likewise, many pieces of information were gathered serendipitously; we often stumbled across a new item while locating another we had already been directed to. In the summer of 1992, moreover, we wrote to national libraries worldwide inquiring about translations of Sontag’s works. In addition, we profited immensely from the assistance of Susan Sontag herself. In response to draft versions of our list, she graciously sent us copies of her own “Publication History,” in both 1994 and 1998. Sontag’s lists, we should note, cover material written, sold, translated, and solicited, and include a considerable number of incomplete entries; given the vagaries of international periodical publication, this is hardly surprising. (Sontag’s list does not include films or recordings.) Indeed, Sontag’s account of her pre-1994 material is considerably expanded in the 1998 version of her list. Her lists and ours alike, therefore, are works very much in (retrospective) progress. The bibliography covers materials written by Sontag and about Sontag from 1948 through 1993, with some exceptions and qualifications. Because we shut down the research machinery in 1992, as explained below, our “comprehensiveness” extends only through (roughly) 1990, the point in “publication time” most mid-1992 indexes and databases had reached at that juncture. We stopped active research in 1992 when it became distressingly clear that we would be pushed to our limits (and to the page count limitations urged on us by the publisher) just to annotate the materials found to date. Since 1992, then, we have directed our energies chiefly to writing annotations, though we have made a point of revisiting major index sources on occasion just in case they included new Sontag-related items that required our attention. Sometimes they did. And we continued to follow leads to other materials if they fell within our time frame. The major exception to the research stoppage involves The Volcano Lover, published to wide acclaim in 1992. Given the novel’s impact, and Sontag’s assistance when it came to updating our list of her other works, we thought it would be a great mistake to exclude it. We have thus endeavored to track its reception by reviewers and critics— translations of it, too—through 1993, though our coverage of The Volcano Lover is obviously less extensive than of Sontag’s other books. Throughout this project, we have made every attempt to gain “hands on” access to all items to verify their existence or provenance and the accuracy of our bibliographic data. By “hands on,” we mean either that one of us or one of the many people who assisted us saw the piece and verified publication data. During the initial phases of the project, Dr. Poague spent weeks amounting to months at the Library of Congress. He also visited Columbia University and North Hollywood High School. Material not acquired in these or subsequent research expeditions and not available in the Iowa State University Library was requested through interlibrary loan. In doing so, we always asked for title pages or periodical mastheads in order to confirm publication data. In numerous cases, viii our only confirmation was the fact that the item arrived as ordered, on the basis of the data we’d provided. (We have made many judgment calls about how and when to mark these uncertainties.) If we could not obtain a piece, but were convinced of its existence and pertinence, we have included it and marked its entry number with an asterisk. Likewise, items we did acquire but for which the bibliographic data was in some significant way doubtful are also marked with an asterisk. Obviously, items we did not see could not be more than minimally annotated. Our primary guide to bibliographic style was The Chicago Manual of Style, 14th edition. In general, we have carefully followed its guidelines, though we have adopted some few variant practices. Because of the number of items we acquired or found reference to, we opted for the shortest entry-style possible. We have abbreviated months in periodical entries, have gone “short” on page numbers, and have shortened or abbreviated publisher names. (In some few cases, material was obtained from clipping files; we were not always successful in providing page numbers.) For foreign publisher names, we have used the abbreviations employed by Index Translationum. We discuss abbreviations and their rationale under separate heading. We wrote annotations with two goals in mind. The first was to provide prospective readers with a picture or map of the item in question. The longer the work, the more difficult this became, but also, we thought, the more useful. The second goal was to provide a memory aid for those readers who had already encountered a given item, both to assist in recall and to suggest an analytical framework wherein those recollections might make more thorough or cumulative sense.
Load more

Recommended publications
  • Beyond Good and Evil—1
    Nietzsche & Asian Philosophy Beyond Good and Evil—1 Beyond good and Evil Preface supposing truth is a woman philosophers like love-sick suitors who don’t understand the woman-truth central problem of philosophy is Plato’s error: denying perspective, the basic condition of all life On the Prejudices of Philosophers 1) questioning the will to truth who is it that really wants truth? What in us wants truth? Why not untruth? 2) origin of the will to truth out of the will to untruth, deception can anything arise out of its opposite? A dangerous questioning? Nietzsche sees new philosophers coming up who have the strength for the dangerous “maybe.” Note in general Nietzsche’s preference for the conditional tense, his penchant for beginning his questioning with “perhaps” or “suppose” or “maybe.” In many of the passages throughout this book Nietzsche takes up a perspective which perhaps none had dared take up before, a perspective to question what had seemed previously to be unquestionable. He seems to constantly be tempting the reader with a dangerous thought experiment. This begins with the questioning of the will to truth and the supposition that, perhaps, the will to truth may have arisen out of its opposite, the will to untruth, ignorance, deception. 3) the supposition that the greater part of conscious thinking must be included among instinctive activities Nietzsche emphasizes that consciousness is a surface phenomenon conscious thinking is directed by what goes on beneath the surface contrary to Plato’s notion of pure reason, the conscious
    [Show full text]
  • Nietzsche's Revaluation of All Values Joseph Anthony Kranak Marquette University
    Marquette University e-Publications@Marquette Dissertations (2009 -) Dissertations, Theses, and Professional Projects Nietzsche's Revaluation of All Values Joseph Anthony Kranak Marquette University Recommended Citation Kranak, Joseph Anthony, "Nietzsche's Revaluation of All Values" (2014). Dissertations (2009 -). Paper 415. http://epublications.marquette.edu/dissertations_mu/415 NIETZSCHE’S REVALUATION OF ALL VALUES by Joseph Kranak A Dissertation submitted to the Faculty of the Graduate School, Marquette University, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Milwaukee, Wisconsin December 2014 ABSTRACT NIETZSCHE’S REVALUTION OF ALL VALUES Joseph Kranak Marquette University, 2014 This dissertation looks at the details of Friedrich Nietzsche’s concept of the revaluation of all values. The dissertation will look at the idea in several ways to elucidate the depth and complexity of the idea. First, it will be looked at through its evolution, as it began as an idea early in Nietzsche’s career and reached its full complexity at the end of his career with the planned publication of his Revaluation of All Values, just before the onset of his madness. Several questions will be explored: What is the nature of the revaluator who is supposed to be instrumental in the process of revaluation? What will the values after the revaluation be like (a rebirth of ancient values or creation of entirely new values)? What will be the scope of the revaluation? And what is the relation of other major ideas of Nietzsche’s (will to power, eternal return, overman, and amor fati) to the revaluation? Different answers to these questions will be explored.
    [Show full text]
  • SFLC V Conservancy
    Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA863914 Filing date: 12/11/2017 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Proceeding 92066968 Party Defendant Software Freedom Conservancy Correspondence PAMELA S CHESTECK Address CHESTEK LEGAL P O BOX 2492 RALEIGH, NC 27602 UNITED STATES Email: [email protected] Submission Motion for Summary Judgment Yes, the Filer previously made its initial disclosures pursuant to Trademark Rule 2.120(a); OR the motion for summary judgment is based on claim or issue pre- clusion, or lack of jurisdiction. The deadline for pretrial disclosures for the first testimony period as originally set or reset: 07/20/2018 Filer's Name Pamela S Chestek Filer's email [email protected] Signature /Pamela S Chestek/ Date 12/11/2017 Attachments Motion for SJ on affirmative defenses-signed.pdf(756280 bytes ) Kuhn-Declara- tion_summary-judgment_as-submitted_reduced-size-signed.pdf(2181238 bytes ) Sandler-declara- tion_summary-judgment_as-submitted-reduced-size-signed.pdf(1777273 bytes ) Chestek declaration_summary-judgment-signed-with-exhibits.pdf(2003142 bytes ) IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD In the Mater of Registraion No. 4212971 Mark: SOFTWARE FREEDOM CONSERVANCY Registraion date: September 25, 2012 Sotware Freedom Law Center Peiioner, v. Cancellaion No. 92066968 Sotware Freedom Conservancy Registrant. RESPONDENT’S MOTION FOR SUMMARY JUDGMENT ON ITS AFFIRMATIVE DEFENSES Introducion The Peiioner, Sotware Freedom Law Center (“SFLC”), is a provider of legal services. It had the idea to create an independent enity that would ofer inancial and administraive services for free and open source sotware projects.
    [Show full text]
  • Promoting the Latin American “Boom” in the Pages of Mundo Nuevo
    Vol. 5, No. 3, Spring 2008, 75-94 www.ncsu.edu/project/acontracorriente The Politics of Literary Prestige: Promoting the Latin American “Boom” in the Pages of Mundo Nuevo Russell Cobb University of Alberta The history of the Boom… is written in the pages of Mundo Nuevo. —José Donoso Nothing kills a man like having to represent a country. —Jacques Vache I. Decades have passed since the Boom ended and yet the period remains controversial among critics. Was it a literary movement or a marketing phenomenon? Why were certain authors (Gabriel García Márquez, Mario Vargas Llosa, Carlos Fuentes, etc.) given pride of place over others (Guillermo Cabrera Infante, Severo Sarduy, Augusto Roa Bastos)? Who was primarily responsible for making the Boom such an unprecedented success in international literary circles? This much is agreed upon: in roughly one decade, Latin American fiction emerged from obscurity in Europe and the United States to become a major critical and commercial phenomenon. International recognition had already been bestowed upon Latin American poets such as Pablo Neruda, Gabriel Cobb 76 Mistral, and César Vallejo earlier in the twentieth century while fiction writers remained curiously neglected in what Pascale Casanova has called the “World Republic of Letters.” With the Boom in the early 1960s, however, for the first time in history, Latin American writers were widely translated, published, and awarded the most prestigious literary prizes on the planet. At the risk of oversimplifying matters, there are essentially two strands of thought regarding the Boom’s overwhelming critical and commercial success. There are its supporters, who believe that Boom novels flourished because of the writers’ full embrace of cosmopolitan modernism, or what Goethe called Weltliteratur, a concept of literature as a space existing outside national or linguistic boundaries.
    [Show full text]
  • A Humble Protest a Literary Generation's Quest for The
    A HUMBLE PROTEST A LITERARY GENERATION’S QUEST FOR THE HEROIC SELF, 1917 – 1930 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jason A. Powell, M.A. * * * * * The Ohio State University 2008 Dissertation Committee: Approved by Professor Steven Conn, Adviser Professor Paula Baker Professor David Steigerwald _____________________ Adviser Professor George Cotkin History Graduate Program Copyright by Jason Powell 2008 ABSTRACT Through the life and works of novelist John Dos Passos this project reexamines the inter-war cultural phenomenon that we call the Lost Generation. The Great War had destroyed traditional models of heroism for twenties intellectuals such as Ernest Hemingway, Edmund Wilson, Malcolm Cowley, E. E. Cummings, Hart Crane, F. Scott Fitzgerald, and John Dos Passos, compelling them to create a new understanding of what I call the “heroic self.” Through a modernist, experience based, epistemology these writers deemed that the relationship between the heroic individual and the world consisted of a dialectical tension between irony and romance. The ironic interpretation, the view that the world is an antagonistic force out to suppress individual vitality, drove these intellectuals to adopt the Freudian conception of heroism as a revolt against social oppression. The Lost Generation rebelled against these pernicious forces which they believed existed in the forms of militarism, patriotism, progressivism, and absolutism. The
    [Show full text]
  • Walt Whitman, Where the Future Becomes Present, Edited by David Haven Blake and Michael Robertson
    7ALT7HITMAN 7HERETHE&UTURE "ECOMES0RESENT the iowa whitman series Ed Folsom, series editor WALTWHITMAN WHERETHEFUTURE BECOMESPRESENT EDITEDBYDAVIDHAVENBLAKE ANDMICHAELROBERTSON VOJWFSTJUZPGJPXBQSFTTJPXBDJUZ University of Iowa Press, Iowa City 52242 Copyright © 2008 by the University of Iowa Press www.uiowapress.org All rights reserved Printed in the United States of America Design by Richard Hendel No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whom it has not been possible to reach. The University of Iowa Press is a member of Green Press Initiative and is committed to preserving natural resources. Printed on acid-free paper issn: 1556–5610 lccn: 2007936977 isbn-13: 978-1-58729–638-3 (cloth) isbn-10: 1-58729–638-1 (cloth) 08 09 10 11 12 c 5 4 3 2 1 Past and present and future are not disjoined but joined. The greatest poet forms the consistence of what is to be from what has been and is. He drags the dead out of their coffins and stands them again on their feet .... he says to the past, Rise and walk before me that I may realize you. He learns the lesson .... he places himself where the future becomes present. walt whitman Preface to the 1855 Leaves of Grass { contents } Acknowledgments, ix David Haven Blake and Michael Robertson Introduction: Loos’d of Limits and Imaginary Lines, 1 David Lehman The Visionary Whitman, 8 Wai Chee Dimock Epic and Lyric: The Aegean, the Nile, and Whitman, 17 Meredith L.
    [Show full text]
  • Town Joins County Plan to Dispose of Solid Waste a Kidney to His Daughter
    Page 18 CRANFORD CHRONICLE Thursday, August 14, 1986 f Where else but Kings? romcie SERVING CRANFORD, GARWOOD and KENILWORTH :Vol. 93 No. 34 Published Every Thursday Thursday, August 21, 1986 " USPS 136 800 Second Class Postage Paid Cranford, N.J. 30 CENTS to our own Homemade Salads. In brief Town joins county When it comes to serving a delightful change of pace for a summer dinner, our Deli Corner make a special addition to any dinner. And this week's specials Blood drive nothing can beat an entree of tender veal. go from our Oriental Vegetables to our Pesto Tortellini. The Jaycees will sponsor a plan to dispose Try our own Kings Select Veal and taste for yourself. As lean as can be, it's For salad ideas of your own, simply turn to our Farmer's Corner for blood drive to benefit two' hemophiliac residents, Judd high in protein, low in cholesterol and just the thing to highlight a. dinner for everything from Jersey Fresh Scallions and Cucumbers to California Bartlefts and Kopicki and Tom Kane. The drive two, four or more. • %' Honeydews. -- • will take place at the Community I of solid waste Let our nijjjk}',Kings Select Veal specials inspire you to choose anything from For more entree ideas, come to our Seafood Corner. Our specials include Center Friday from 4:30 to 8:30 | After reviewing several options, am afraid we will have to provide Cutlets to a ,'B$iieless Shoulder Roast. Ip addition, let our outdoor-grill Block Island Bluefish Fillets, Maine Lobsters and North Atlantic Squid, not to p.m.
    [Show full text]
  • 13Th Valley John M. Del Vecchio Fiction 25.00 ABC of Architecture
    13th Valley John M. Del Vecchio Fiction 25.00 ABC of Architecture James F. O’Gorman Non-fiction 38.65 ACROSS THE SEA OF GREGORY BENFORD SF 9.95 SUNS Affluent Society John Kenneth Galbraith 13.99 African Exodus: The Origins Christopher Stringer and Non-fiction 6.49 of Modern Humanity Robin McKie AGAINST INFINITY GREGORY BENFORD SF 25.00 Age of Anxiety: A Baroque W. H. Auden Eclogue Alabanza: New and Selected Martin Espada Poetry 24.95 Poems, 1982-2002 Alexandria Quartet Lawrence Durell ALIEN LIGHT NANCY KRESS SF Alva & Irva: The Twins Who Edward Carey Fiction Saved a City And Quiet Flows the Don Mikhail Sholokhov Fiction AND ETERNITY PIERS ANTHONY SF ANDROMEDA STRAIN MICHAEL CRICHTON SF Annotated Mona Lisa: A Carol Strickland and Non-fiction Crash Course in Art History John Boswell From Prehistoric to Post- Modern ANTHONOLOGY PIERS ANTHONY SF Appointment in Samarra John O’Hara ARSLAN M. J. ENGH SF Art of Living: The Classic Epictetus and Sharon Lebell Non-fiction Manual on Virtue, Happiness, and Effectiveness Art Attack: A Short Cultural Marc Aronson Non-fiction History of the Avant-Garde AT WINTER’S END ROBERT SILVERBERG SF Austerlitz W.G. Sebald Auto biography of Miss Jane Ernest Gaines Fiction Pittman Backlash: The Undeclared Susan Faludi Non-fiction War Against American Women Bad Publicity Jeffrey Frank Bad Land Jonathan Raban Badenheim 1939 Aharon Appelfeld Fiction Ball Four: My Life and Hard Jim Bouton Time Throwing the Knuckleball in the Big Leagues Barefoot to Balanchine: How Mary Kerner Non-fiction to Watch Dance Battle with the Slum Jacob Riis Bear William Faulkner Fiction Beauty Robin McKinley Fiction BEGGARS IN SPAIN NANCY KRESS SF BEHOLD THE MAN MICHAEL MOORCOCK SF Being Dead Jim Crace Bend in the River V.
    [Show full text]
  • The Argentine 1960S
    The Argentine 1960s David William Foster It was the time of the Beatles, of high school studies, of “flower power,” of social ist revolution, of a new French movie house, of poetry, of Sartre and Fanon, of Simone de Beauvoir, of Salinger and Kerouac, of Marx and Lenin. It was all of that together. It was also the time of the Cuban Revolution, which opened our hearts, and it was the time of a country, Argentina, which took the first steps to ward vio lence that was to define our future (Fingueret 20-21). El cine es una institución que se ha modificado tanto que ya perdió su carácter de “región moral”. Las salas de cine hasta los primeros años de la década del sesen- ta eran lugares de reunión social donde la gente iba a estar como en un centro de reunión social, un club o un café del que se era habitué....Las antiguas salas tenían personalidad propia y algunas cum plían otras funciones que aquellas para las que habían sido creadas; en tiempo de represión sexual, eran frecuen- tadas por parejas heterosexuales que se besaban y mas- turbaban. Los homosexuales tenían su espaci en cier- tas salas llamadas “populares” no frecuentadas por familias, y en mu chos casos sus espectadores eran varones solos. “Hacer el ajedrez” se decia en el argot de los habitués, en esos cines, a cambiarse cons - tantemente de butaca en busca de la compañía ade- cuada (Sebreli 344).1 In Argentina, it was the best of times, and it was the worst of times.
    [Show full text]
  • As Writers of Film and Television and Members of the Writers Guild Of
    July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C.
    [Show full text]
  • Currents: Feminist Key Concepts and Controversies Trigger Happy: from Content Warning to Censorship Trigger Warnings Have Become
    Jack Halberstam Currents: Feminist Key Concepts and Controversies Trigger Happy: From Content Warning to Censorship rigger warnings have become standard fare on some college campuses T over the past few years. But they have also been the occasion for in- tense debates about pedagogy, classroom conduct, the use of me- dia in the classroom, and the nature of trauma. In general terms, a trigger warning is a cautionary note that may be added to syllabi or online sites to alert readers, students, or casual browsers about violent or sexually ex- plicit images and text in the materials on a site, in a course reader, or up ahead in a blind chain of Internet clicks. The trigger warning could easily be read simply as a protocol proper to new media forms in the early twenty-first century. However, because the call for trigger warnings on col- lege campuses coincided with new sets of regulations around sexual inter- actions, sexual assault, and teacher-student relationships, they have instead become a site for dynamic and often polemical debates about censorship, exposure, sensitivity, and the politics of discomfort. In this short piece I want to explore the function of the trigger warning and the import of the debates to which it gave rise. I will begin with two examples of college campuses where students in- troduced requests for classroom policy changes around syllabi and trigger warnings. In the first example, in 2012 Oberlin College, a small liberal arts school in Ohio known for its eclectic students and social justice agendas, circulated an online guide intended to help professors to avoid assigning and presenting potentially “triggering” material in their classrooms.1 As numer- ous articles commented, most professors in 2012 had never heard of trig- ger warnings, let alone Tumblr sites (where trigger warnings were popular- ized and proliferated), and were not opposed to them so much as ignorant of their purpose.
    [Show full text]
  • The Post-Postmodern Aesthetics of John Fowles Claiborne Johnson Cordle
    University of Richmond UR Scholarship Repository Master's Theses Student Research 5-1981 The post-postmodern aesthetics of John Fowles Claiborne Johnson Cordle Follow this and additional works at: http://scholarship.richmond.edu/masters-theses Recommended Citation Cordle, Claiborne Johnson, "The post-postmodern aesthetics of John Fowles" (1981). Master's Theses. Paper 444. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. THE POST-POSTMODERN AESTHETICS OF JOHN FOWLES BY CLAIBORNE JOHNSON CORDLE A THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF RICHMOND IN CANDIDACY FOR THE DEGREE OF ~.ASTER OF ARTS ,'·i IN ENGLISH MAY 1981 LTBRARY UNIVERSITY OF RICHMONl:» VIRGINIA 23173 CONTENTS INTRODUCTION . p . 1 CHAPTER 1 MODERNISM RECONSIDERED . p • 6 CHAPTER 2 THE BREAKDOWN OF OBJECTIVITY . p • 52 CHAPTER 3 APOLLO AND DIONYSUS. p • 94 CHAPTER 4 SYNTHESIS . p . 102 CHAPTER 5 POST-POSTMODERN HUMANISM . p . 139 ENDNOTES • . p. 151 BIBLIOGRAPHY . • p. 162 INTRODUCTION To consider the relationship between post­ modernism and John Fowles is a task unfortunately complicated by an inadequately defined central term. Charles Russell states that ... postmodernism is not tied solely to a single artist or movement, but de­ fines a broad cultural phenomenon evi­ dent in the visual arts, literature; music and dance of Europe and the United States, as well as in their philosophy, criticism, linguistics, communications theory, anthropology, and the social sciences--these all generally under thp particular influence of structuralism.
    [Show full text]