Jonathan Greenberg – författare

In this groundbreaking study, Jonathan Greenberg locates a satiric sensibility at the heart of the modern. By promoting an antisentimental education, modernism denied the authority of emotion to guarantee moral and literary value. Instead, it fostered sophisticated, detached and apparently cruel attitudes toward pain and suffering. This sensibility challenged the novel's humanistic tradition, set ethics and aesthetics into conflict and fundamentally altered the ways that we know and feel. Through lively and original readings of works by Evelyn Waugh, Stella Gibbons, Nathanael West, Djuna Barnes, Samuel Beckett and others, this book analyzes a body of literature - late modernist satire - that can appear by turns aloof, sadistic, hilarious, ironic and poignant, but which continually questions inherited modes of feeling. By recognizing the centrality of satire to modernist aesthetics, Greenberg offers not only a new chapter in the history of satire but a persuasive new idea of what made modernism modern.

In satire, evil, folly, and weakness are held up to ridicule - to the delight of some and the outrage of others. Satire may claim the higher purpose of social critique or moral reform, or it may simply revel in its own transgressive laughter. It exposes frauds, debunks ideals, binds communities, starts arguments, and evokes unconscious fantasies. It has been a central literary genre since ancient times, and has become especially popular and provocative in recent decades. This new introduction to satire takes a historically expansive and theoretically eclectic approach, addressing a range of satirical forms from ancient, Renaissance, and Enlightenment texts through contemporary literary fiction, film, television, and digital media. The beginner in need of a clear, readable overview and the scholar seeking to broaden and deepen existing knowledge will both find this a lively, engaging, and reliable guide to satire, its history, and its continuing relevance in the world.

In satire, evil, folly, and weakness are held up to ridicule - to the delight of some and the outrage of others. Satire may claim the higher purpose of social critique or moral reform, or it may simply revel in its own transgressive laughter. It exposes frauds, debunks ideals, binds communities, starts arguments, and evokes unconscious fantasies. It has been a central literary genre since ancient times, and has become especially popular and provocative in recent decades. This new introduction to satire takes a historically expansive and theoretically eclectic approach, addressing a range of satirical forms from ancient, Renaissance, and Enlightenment texts through contemporary literary fiction, film, television, and digital media. The beginner in need of a clear, readable overview and the scholar seeking to broaden and deepen existing knowledge will both find this a lively, engaging, and reliable guide to satire, its history, and its continuing relevance in the world.

In satire, evil, folly, and weakness are held up to ridicule - to the delight of some and the outrage of others. Satire may claim the higher purpose of social critique or moral reform, or it may simply revel in its own transgressive laughter. It exposes frauds, debunks ideals, binds communities, starts arguments, and evokes unconscious fantasies. It has been a central literary genre since ancient times, and has become especially popular and provocative in recent decades. This new introduction to satire takes a historically expansive and theoretically eclectic approach, addressing a range of satirical forms from ancient, Renaissance, and Enlightenment texts through contemporary literary fiction, film, television, and digital media. The beginner in need of a clear, readable overview and the scholar seeking to broaden and deepen existing knowledge will both find this a lively, engaging, and reliable guide to satire, its history, and its continuing relevance in the world.

In satire, evil, folly, and weakness are held up to ridicule - to the delight of some and the outrage of others. Satire may claim the higher purpose of social critique or moral reform, or it may simply revel in its own transgressive laughter. It exposes frauds, debunks ideals, binds communities, starts arguments, and evokes unconscious fantasies. It has been a central literary genre since ancient times, and has become especially popular and provocative in recent decades. This new introduction to satire takes a historically expansive and theoretically eclectic approach, addressing a range of satirical forms from ancient, Renaissance, and Enlightenment texts through contemporary literary fiction, film, television, and digital media. The beginner in need of a clear, readable overview and the scholar seeking to broaden and deepen existing knowledge will both find this a lively, engaging, and reliable guide to satire, its history, and its continuing relevance in the world.

This collection of essays provides new readings of Huxley’s classic dystopian satire, Brave New World (1932). Leading international scholars consider from new angles the historical contexts in which the book was written and the cultural legacies in which it looms large. The volume affirms Huxley’s prescient critiques of modernity and his continuing relevance to debates about political power, art, and the vexed relationship between nature and humankind. Individual chapters explore connections between Brave New World and the nature of utopia, the 1930s American Technocracy movement, education and social control, pleasure, reproduction, futurology, inter-war periodical networks, motherhood, ethics and the Anthropocene, islands, and the moral life. The volume also includes a ‘Foreword’ written by David Bradshaw, one of the world’s top Huxley scholars. Timely and consistently illuminating, this collection is essential reading for students, critics, and Huxley enthusiasts alike.

This collection of essays provides new readings of Huxley’s classic dystopian satire, Brave New World (1932). Leading international scholars consider from new angles the historical contexts in which the book was written and the cultural legacies in which it looms large. The volume affirms Huxley’s prescient critiques of modernity and his continuing relevance to debates about political power, art, and the vexed relationship between nature and humankind. Individual chapters explore connections between Brave New World and the nature of utopia, the 1930s American Technocracy movement, education and social control, pleasure, reproduction, futurology, inter-war periodical networks, motherhood, ethics and the Anthropocene, islands, and the moral life. The volume also includes a ‘Foreword’ written by David Bradshaw, one of the world’s top Huxley scholars. Timely and consistently illuminating, this collection is essential reading for students, critics, and Huxley enthusiasts alike.

From beloved CBS Sunday Morning correspondent Mo Rocca, author of New York Times bestseller Mobituaries, comes an inspiring collection of stories that celebrates the triumphs of people who made their biggest marks late in life. Eighty has been the new sixty for about twenty years now. In fact, there have always been late-in-life achievers, those who declined to go into decline just because they were eligible for social security. Journalist, humorist, and history buff Mo Rocca and coauthor Jonathan Greenberg introduce us to the people past and present who peaked when they could have been puttering—breaking out as writers, selling out concert halls, attempting to set land-speed records—and in the case of one ninety-year tortoise, becoming a first-time father. (Take that, Al Pacino!) In the vein of Mobituaries, Roctogenarians is a collection of entertaining and unexpected profiles of these unretired titans—some long gone (a cancer-stricken Henri Matisse, who began work on his celebrated cut-outs when he could no longer paint), some very much still living (Mel Brooks, yukking it up at close to one hundred). The amazing cast of characters also includes Mary Church Terrell, who at eighty-six helped lead sit-ins at segregated Washington, DC, lunch counters in the 1950s, and Carol Channing, who married the love of her life at eighty-two. Then there’s Peter Mark Roget, who began working on his thesaurus in his twenties and completed it at seventy-three (because sometimes finding the right word takes time.) With passion and wonder Rocca and Greenberg recount the stories of yesterday’s and today’s strongest finishers. Because with all due respect to the Golden Girls, some people will never be content sitting out on the lanai. (PS Actress Estelle Getty was sixty-two when she got her big break. And yes, she’s in the book.)

From beloved CBS Sunday Morning correspondent Mo Rocca, author of New York Times bestseller Mobituaries, comes an inspiring collection of stories that celebrates the triumphs of people who made their biggest marks late in life. Eighty has been the new sixty for about twenty years now. In fact, there have always been late-in-life achievers, those who declined to go into decline just because they were eligible for social security. Journalist, humorist, and history buff Mo Rocca and coauthor Jonathan Greenberg introduce us to the people past and present who peaked when they could have been puttering—breaking out as writers, selling out concert halls, attempting to set land-speed records—and in the case of one ninety-year tortoise, becoming a first-time father. (Take that, Al Pacino!) In the vein of Mobituaries, Roctogenarians is a collection of entertaining and unexpected profiles of these unretired titans—some long gone (a cancer-stricken Henri Matisse, who began work on his celebrated cut-outs when he could no longer paint), some very much still living (Mel Brooks, yukking it up at close to one hundred). The amazing cast of characters also includes Mary Church Terrell, who at eighty-six helped lead sit-ins at segregated Washington, DC, lunch counters in the 1950s, and Carol Channing, who married the love of her life at eighty-two. Then there’s Peter Mark Roget, who began working on his thesaurus in his twenties and completed it at seventy-three (because sometimes finding the right word takes time.) With passion and wonder Rocca and Greenberg recount the stories of yesterday’s and today’s strongest finishers. Because with all due respect to the Golden Girls, some people will never be content sitting out on the lanai. (PS Actress Estelle Getty was sixty-two when she got her big break. And yes, she’s in the book.)

From beloved CBS Sunday Morning correspondent Mo Rocca, author of New York Times bestseller Mobituaries, comes an inspiring collection of stories that celebrates the triumphs of people who made their biggest marks late in life. Eighty has been the new sixty for about twenty years now. In fact, there have always been late-in-life achievers, those who declined to go into decline just because they were eligible for social security. Journalist, humorist, and history buff Mo Rocca and coauthor Jonathan Greenberg introduce us to the people past and present who peaked when they could have been puttering—breaking out as writers, selling out concert halls, attempting to set land-speed records—and in the case of one ninety-year tortoise, becoming a first-time father. (Take that, Al Pacino!) In the vein of Mobituaries, Roctogenarians is a collection of entertaining and unexpected profiles of these unretired titans—some long gone (a cancer-stricken Henri Matisse, who began work on his celebrated cut-outs when he could no longer paint), some very much still living (Mel Brooks, yukking it up at close to one hundred). The amazing cast of characters also includes Mary Church Terrell, who at eighty-six helped lead sit-ins at segregated Washington, DC, lunch counters in the 1950s, and Carol Channing, who married the love of her life at eighty-two. Then there’s Peter Mark Roget, who began working on his thesaurus in his twenties and completed it at seventy-three (because sometimes finding the right word takes time.) With passion and wonder Rocca and Greenberg recount the stories of yesterday’s and today’s strongest finishers. Because with all due respect to the Golden Girls, some people will never be content sitting out on the lanai. (PS Actress Estelle Getty was sixty-two when she got her big break. And yes, she’s in the book.)