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Hope and Wish Image in Music Technology
This book proposes that new music technologies attract unconscious desires for socialism and collectivity, enabling millions of people living under capitalism to dream of repressed social alternatives. Grounded in the philosophical writings of Ernst Bloch and Walter Benjamin, the book examines file sharing technologies, streaming services, and media players, as well as their historical antecedents, such as the player piano, cassette tape, radio and compact disc, alongside interpretations of fiction, memoir, and albums. Through the concept of wish images—the unconscious hopes and desires for social alternatives that gather around new technologies—the book identifies the repressed pre- and post-capitalist urges that attend our music technologies. While these desires typically remain unconscious and tend to pass away not only unmet but also unrecognized, Hope and Wish Image in Music Technology attempts to bring wishes for social alternatives to the surface at an auspicious moment of technological transition.
Paper Empire
In 2002, following the posthumous publication of William Gaddis' collected nonfiction, his final novel, and Jonathan Franzen's lengthy attack on him in The New Yorker, a number of partisan articles appeared in support of Gaddis' legacy. In a review in The London Review of Books, critic Hal Foster suggested a reason for disparate responses to Gaddis' reputation: Gaddis' unique hybridity, his ability to write in the gap between two dispensations, between science and literature, theory and narrative, and different orders of linguistic imagination. Gaddis (1922-1998) is often cited as the link between literary modernism and postmodernism in the United States. His novels - The Recognitions, JR, Carpenter's Gothic, and A Frolic of His Own - are notable in the ways that they often restrict themselves to the language and communication systems of the worlds he portrays.
Modernism's Other Work
Modernism's Other Work challenges our view of relationships between aesthetic autonomy and the world of daily life--a conjuncture that Lisa Siraganian demonstrates has often been misunderstood in critical studies of modernism. Connecting poetry to the visual arts and politics, the author provides new ways to think about modernist art's relationship.
Not a Big Deal
Not a Big Deal asks how texts might work to unsettle readers at a moment when unwelcome information is rejected as fake news or rebutted with alternative facts. When readers already recognize "defamiliarizing texts" as a category, how might texts still work toward the goals of defamiliarization? When readers refuse to grapple with texts that might shock them or disrupt their extant views about politics, race, or even narrative itself, how can texts elicit real engagement? This study draws from philosophy, narratology, social neuroscience, critical theory, and numerous other disciplines to read texts ranging from novels and short stories to graphic novels, films, and fiction broadcasted and p...
The Market Logics of Contemporary Fiction
Contemporary British and American fiction is defined by financial markets' power over the global publishing industry and the global economy.
Jonathan Franzen at the End of Postmodernism
Jonathan Franzen is one of the most influential, critically-significant and popular contemporary American novelists. This book is the first full-length study of his work and attempts to articulate where American fiction is headed after postmodernism. Stephen Burn provides a comprehensive analysis of each of Franzen's novels - from his early work to the major success of The Corrections - identifying key sources, delineating important narrative strategies, and revealing how Franzen's themes are reinforced by each novel's structure. Supplementing this analysis with comparisons to key contemporaries, David Foster Wallace and Richard Powers, Burn suggests how Franzen's work is indicative of the direction of experimental American fiction in the wake of the so-called end of postmodernism.
With Fists Raised
Focusing on literary and visual art of the Black Arts Movement, this collection highlights artists whose work diverged from narrow definitions of the Black Aesthetic and black nationalism. As contemporary activists receive the legacies of earlier efforts, this collection remembers and re-envisions art that supported and shaped the BAM era.
Art, History, and Postwar Fiction
Art, History, and Postwar Fiction explores the ways in which twenty-century novelists responded to visual art and how writing about art was often a means of commenting on historical developments of the period.
