Clint Burnham – författare

Literary scholars face a new and often baffling reality in the classroom: students spend more time looking at glowing screens than reading printed text. The social lives of these students take place in cyberspace instead of the student pub. Their favorite narratives exist in video games, not books. How do teachers who grew up in a different world engage these students without watering down pedagogy? Clint Burnham and Paul Budra have assembled a group of specialists in visual poetry, graphic novels, digital humanities, role-playing games, television studies, and, yes, even the middle-brow novel, to address this question. Contributors give a brief description of their subject, investigate how it confronts traditional notions of the literary, and ask what contemporary literary theory can illuminate about their text before explaining how their subject can be taught in the 21st-century classroom.

Imagine Fredric Jameson-the world’s foremost Marxist critic-kidnapped and taken on a joyride through the cultural ephemera, generational hype, and Cold War fallout of our post-post-contemporary landscape. In The Jamesonian Unconscious, a book as joyful as it is critical and insightful, Clint Burnham devises unexpected encounters between Jameson and alternative rock groups, new movies, and subcultures. At the same time, Burnham offers an extraordinary analysis of Jameson’s work and career that refines and extends his most important themes.In an unusual biographical move, Burnham negotiates Jameson’s major works-including Marxism and Form, The Political Unconscious, and Postmodernism, or, The Cultural Logic of Late Capitalism-by way of his own working-class, queer-ish, Gen-X background and sensibility. Thus Burnham’s study draws upon an immense range of references familiar to the MTV generation, including Reservoir Dogs, theorists Slavoj Zizek and Pierre Bourdieu, The Satanic Verses, Language poetry, the collapse of state communism in Eastern Europe, and the indie band Killdozer. In the process, Burnham addresses such Jamesonian questions as how to imagine the future, the role of utopianism in capitalist culture, and the continuing relevance of Marxist theory.Through its redefinition of Jameson’s work and compelling reading of the political present, The Jamesonian Unconscious defines the leading edge of Marxist theory. Written in a style by turns conversational, playful, and academic, this book will appeal to students and scholars of Marxism, critical theory, aesthetics, narratology, and cultural studies, as well as the wide circle of readers who have felt and understood Jameson’s influence.

In this illuminating book, Clint Burnham invites the reader to consider humanity's relationship with the world around us, using a unique blend of Lacanian psychoanalysis, literary criticism, and visual art to hold a mirror up to our own implications in the mounting climate crisis.Drawing upon the pioneering work of philosopher Mari Ruti, Burnham deftly interweaves examples from climate fiction – including works from Richard Power, Eleanor Catton, and Jenni Fagan – 'trash art', and classic films from Alfred Hitchcock to help the reader explore the idea of and better understand what is now called climate grief. Focusing on sublimation and creativity, Burnham weighs up perspectives on both climate activism and climate denialism and uses these ideas to offer a form of respite from trauma or grief surrounding the climate crisis, providing both comfort and a bracing call to action.Mari Ruti and Climate Change offers a novel and approachable perspective to both students and scholars interested in psychology, environmental studies, psychoanalysis, and climate politics, as well as practitioners of the psychological and therapeutic professions who are encountering patients experiencing climate anxiety or other affects in their practice.

In this illuminating book, Clint Burnham invites the reader to consider humanity's relationship with the world around us, using a unique blend of Lacanian psychoanalysis, literary criticism, and visual art to hold a mirror up to our own implications in the mounting climate crisis.Drawing upon the pioneering work of philosopher Mari Ruti, Burnham deftly interweaves examples from climate fiction – including works from Richard Power, Eleanor Catton, and Jenni Fagan – 'trash art', and classic films from Alfred Hitchcock to help the reader explore the idea of and better understand what is now called climate grief. Focusing on sublimation and creativity, Burnham weighs up perspectives on both climate activism and climate denialism and uses these ideas to offer a form of respite from trauma or grief surrounding the climate crisis, providing both comfort and a bracing call to action.Mari Ruti and Climate Change offers a novel and approachable perspective to both students and scholars interested in psychology, environmental studies, psychoanalysis, and climate politics, as well as practitioners of the psychological and therapeutic professions who are encountering patients experiencing climate anxiety or other affects in their practice.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Fredric Jameson and The Wolf of Wall Street offers a concise introduction to Jameson in jargon-free language and shows how his Marxist theories can be deployed to interpret Martin Scorsese's critically acclaimed 2013 film The Wolf of Wall Street. Beginning with a detailed account of Jameson's extensive writings on Marxist theory and how they have been deployed in the analysis of film writings, Clint Burnham then illustrates how Jameson’s theory can help to make sense of The Wolf of Wall Street, a film that shows in all its glory the excesses, lunacies, and inner workings of 1990s finance capitalism. As Jameson has influentially argued, films like The Wolf of Wall Street are both complicit in and critical of their historical subject: Scorsese’s film is not about the richest stockbrokers, but the Long Island penny traders who made it big. As a narrative of American success, it is also a film about failure. Clint Burnham's reading of Jameson and The Wolf of Wall Street is a book about a contemporary film, and contemporary events, and contemporary theory.

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Fredric Jameson and The Wolf of Wall Street offers a concise introduction to Jameson in jargon-free language and shows how his Marxist theories can be deployed to interpret Martin Scorsese's critically acclaimed 2013 film The Wolf of Wall Street. Beginning with a detailed account of Jameson's extensive writings on Marxist theory and how they have been deployed in the analysis of film writings, Clint Burnham then illustrates how Jameson’s theory can help to make sense of The Wolf of Wall Street, a film that shows in all its glory the excesses, lunacies, and inner workings of 1990s finance capitalism. As Jameson has influentially argued, films like The Wolf of Wall Street are both complicit in and critical of their historical subject: Scorsese’s film is not about the richest stockbrokers, but the Long Island penny traders who made it big. As a narrative of American success, it is also a film about failure. Clint Burnham's reading of Jameson and The Wolf of Wall Street is a book about a contemporary film, and contemporary events, and contemporary theory.

Does the Internet Have an Unconscious? is both an introduction to the work of Slavoj Žižek and an investigation into how his work can be used to think about the digital present.Clint Burnham uniquely combines the German idealism, Lacanian psychoanalysis, and Marxist materialism found in Žižek’s thought to understand how the Internet, social and new media, and digital cultural forms work in our lives and how their failure to work structures our pathologies and fantasies. He suggests that our failure to properly understand the digital is due to our lack of recognition of its political, aesthetic, and psycho-sexual elements. Mixing autobiographical passages with critical analysis, Burnham situates a Žižekian theory of digital culture in the lived human body.

Does the Internet Have an Unconscious? is both an introduction to the work of Slavoj Žižek and an investigation into how his work can be used to think about the digital present.Clint Burnham uniquely combines the German idealism, Lacanian psychoanalysis, and Marxist materialism found in Žižek’s thought to understand how the Internet, social and new media, and digital cultural forms work in our lives and how their failure to work structures our pathologies and fantasies. He suggests that our failure to properly understand the digital is due to our lack of recognition of its political, aesthetic, and psycho-sexual elements. Mixing autobiographical passages with critical analysis, Burnham situates a Žižekian theory of digital culture in the lived human body.

Part travelogue, part autofiction, part record of living under Western regimes that torture, kidnap, and murder its own citizens and those who wish to cross its borders, White Lie is a collection of super-short fictions. Written to be read in a book, but written on a phone, about that technology, about how our stories today blend into factual-seeming fictions and lying propaganda. Repressed memories of living in repressive societies. Like Tierra Whack's album of one-minute rap songs or Stan Douglas' Monodramas. Shorter than a stand-up comic's joke and longer than a criminal tyrannical president's tweet. A museum room full of paintings you zoom thru in thirty seconds or Thirty Two Short Films about Glenn Gould. New fakes for attention spans that ... what was I saying? Something something the age of distraction. You get me. Clint Burnham's White Lie is a series of quick bursts - hilarious, tragic, and thoughtful in turn. You won't forget these paragraph-length stories because you will read them again and again.

Drinkin' rye and water with Grandma. Guns in False Creek. Frat boy homies from the North Delta ghetto. Samuel L. Jackson. Phantom Lord & Metallica. A kid who's got the hots for his mom...'Hunh'? That's right. It's all here in this collection of immediate, lean and visceral short fiction from Clint Burnham. "Stripped down language of the street (in this case, Vancouver streets) propels these hard-edged tales that feel like a punk mix of Tarantino and Bukowski." - The Province "Burnhamuses language vividly, has an observant eye and the ability to turn current events in to fiction." - Broken Pencil Magazine

In this exciting new collection, leading and emerging Lacanian scholars seek to understand what psychoanalysis brings to debates about the environment and the climate crisis.

In this exciting new collection, leading and emerging Lacanian scholars seek to understand what psychoanalysis brings to debates about the environment and the climate crisis.

The original Vancouver Subhumans meet Wyndham Lewis in a back alley, beat the hell out of him, take all of his money, use it to buy drugs and booze, then sit down in a seedy Gastown bar and begin to write poetry based on the contents of Lewis's briefcase. The results might be something like Buddyland.