Cultural Frames, Framing Culture – serie

Since the 18th century, artists have played a conflicting role in society. Part of the reason for this, argues this analysis, is the survival of the culture of idolatry in the modern age. They can either paint scenes of worship of the golden calf or they can fabricate the idol themselves.

Since the 18th century, artists have played a conflicting role in society. Part of the reason for this, argues this analysis, is the survival of the culture of idolatry in the modern age. They can either paint scenes of worship of the golden calf or they can fabricate the idol themselves.

The advertising campaigns launched by Kodak in the early years of snapshot photography stand at the centre of a shift in American domestic life that goes deeper than technological innovations in cameras and film. Before the advent of Kodak advertising in 1888, writes Nancy Martha West, Americans were much more willing to allow sorrow into the space of the domestic photograph, as evidenced by the popularity of postmortem photography in the mid-19th century. Through the taking of snapshots, Kodak taught Americans to see their experiences as objects of nostalgia, to arrange their lives in such a way that painful or unpleasant aspects were systematically erased. West examines a wide assortment of Kodak's most popular inventions and marketing strategies, including the ""Kodak Girl"", the momentous invention of the Brownie camera in 1900, the ""Story Campaign"" during World War I, and even the Vanity Kodak Ensemble, a camera introduced in 1926 that came fully equipped with lipstick. Enhanced with over 50 reproductions of the Kodak ads themselves, this work illustrates the fundamental changes in American culture and the function of memory in the formative years of the 20th century.

An examination of why the immense violence and suffering in the 20th century failed to arouse artistic and cultural expressions powerful enough to prevent their recurrence. By looking at the whole span of the century's writing on war, it provides a critique of art's ethical limitations.

Representations of Joan of Arc have been used in the United States for the past 200 years, appearing in advertizing, cartoons, popular song, art, criticism and propaganda. The presence of the 15th-century French heroine in the cinema is particularly intriguing in relation to the role of women during wartime. Robin Blaetz argues that a mythic Joan of Arc was used during the First World War to cast a mediaeval glow over an unpopular war, but that she only appeared after the Second World War to encourage women to abandon their wartime jobs and return to the home. In ""Visions of the Maid"", Blaetz examines three pivotal films - Cecil B. DeMille's 1916 ""Joan the Woman"", Victor Fleming's 1948 ""Joan of Arc"", and Otto Preminger's 1957 ""Saint Joan"" - along with every other film about the heroine made or distributed in the United States, as well as a broad array of popular culture references. Blaetz is particularly concerned with issues of gender and the ways in which Joan of Arc's androgyny, virginity and sacrificial victimhood were evoked in relation to the evolving roles of women during war throughout the 20th century.

Representations of Joan of Arc have been used in the United States for the past 200 years, appearing in advertizing, cartoons, popular song, art, criticism and propaganda. The presence of the 15th-century French heroine in the cinema is particularly intriguing in relation to the role of women during wartime. Robin Blaetz argues that a mythic Joan of Arc was used during the First World War to cast a mediaeval glow over an unpopular war, but that she only appeared after the Second World War to encourage women to abandon their wartime jobs and return to the home. In ""Visions of the Maid"", Blaetz examines three pivotal films - Cecil B. DeMille's 1916 ""Joan the Woman"", Victor Fleming's 1948 ""Joan of Arc"", and Otto Preminger's 1957 ""Saint Joan"" - along with every other film about the heroine made or distributed in the United States, as well as a broad array of popular culture references. Blaetz is particularly concerned with issues of gender and the ways in which Joan of Arc's androgyny, virginity and sacrificial victimhood were evoked in relation to the evolving roles of women during war throughout the 20th century.

In the wake of World War II, the Nazi genocide of European Jews has come to stand for ""the unspeakable,"" posing crucial challenges to the representation of suffering, the articulation of identity, and the practice of ethics in an increasingly multinational and multicultural world. In this book, Naomi Mandel argues against the ""unspeakable"" as any kind of inherent quality of such an event, insisting that the term is a rhetorical tactic strategically employed to further specific cultural and political agendas. While claiming to preserve the uniqueness, sanctity, and inviolability of human suffering, the author writes, the assumption that suffering is unspeakable works to silence and negate the suffering human body and finally enables us to forget our own vulnerability to suffering. Discussing a variety of texts such as Toni Morrison's ""Beloved"", Steven Spielberg's ""Schindler's List"", and William Styron's ""Confessions of Nat Turner"", Mandel asks: What does the evocation of the limits of language enable writers, authors, and critics to do? With the goal of reconciling language and corporeality and integrating experience into the economy of language, community, identity, and ethics, she shows how, when, and why the term ""unspeakable"" is used. Mandel draws on critical theory, literary analysis, and film studies to offer a paradigm of reading that will enable the crucial work on comparative atrocities and the representation of suffering to move beyond the impasse of ""unspeakability."" Her book will appeal to scholars in the study of trauma and genocide, anti-Semitism and racism, as well as in literary, cultural, and comparative ethnic studies.

In this compelling new study, Debra Walker King considers fragments of experience recorded in oral histories and newspapers as well as those produced in twentieth-century novels, films, and television that reveal how the black body in pain functions as a rhetorical device and as political strategy. King's primary hypothesis is that, in the United States, black experience of the body in pain is as much a construction of social, ethical, and economic politics as it is a physiological phenomenon.As an essential element defining black experience in America, pain plays many roles. It is used to promote racial stereotypes, increase the sale of movies and other pop culture products, and encourage advocacy for various social causes. Pain is employed as a tool of resistance against racism, but it also functions as a sign of racism's insidious ability to exert power over and maintain control of those it claims - regardless of race. With these dichotomouse uses of pain in mind, King considers and questions the effects of the manipulation of an unspoken but long-standing belief that pain, suffering, and the hope for freedom and communal subsistence will merge to uplift those who are oppressed, especially during periods of social and political upheaval. This belief has become a ritualized philosophy fueling the multiple constructions of black bodies in pain, a belief that has even come to function as an identity and community stabilizer.In her attempt to interpret the constant manipulation and abuse of this philosophy, King explores the redemptive and visionary power of pain as perceived historically in black culture, the aesthetic value of black pain as presented in a variety of cultural artifacts, and the socioeconomic politics of suffering surrounding the experiences and representations of blacks in the United States. The book introduces the term Blackpain, defining it as a tool of national mythmaking and as a source of cultural and symbolic capital that normalizes individual suffering until the individual - the real person - disappears. Ultimately, the book investigates America's love-hate relationship with black bodies in pain.

There is no shortage of iconic masculine imagery of the soldier in American film and literature - one only has to think of George C. Scott as Patton in front of a giant American flag, Sylvester Stallone as Rambo, or Burt Lancaster rolling around in the surf in ""From Here to Eternity"". In ""Male Armor"", Jon Robert Adams examines the ways in which novels, plays, and films about America's late-twentieth-century wars reflect altering perceptions of masculinity in the culture at large. He highlights the gap between the cultural conception of masculinity and the individual experience of it, and exposes the myth of war as an experience that verifies manhood.Drawing on a wide range of work, from the war novels of Ernest Hemingway, Norman Mailer, James Jones, and Joseph Heller to David Rabe's play Streamers and Anthony Swofford's Jarhead, Adams examines the evolving image of the soldier from World War I to Operation Desert Storm. In discussing these changing perceptions of masculinity, he reveals how works about war in the late twentieth century attempt to eradicate inconsistencies among American civilian conceptions of war, the military's expectations of the soldier, and the soldier's experience of combat. Adams argues that these inconsistencies are largely responsible not only for continuing support of the war enterprise but also for the soldiers' difficulty in reintegration to civilian society upon their return. He intends ""Male Armor"" to provide a corrective to the public's continued investment in the war enterprise as a guarantor both of masculinity and, by extension, of the nation.

There is no shortage of iconic masculine imagery of the soldier in American film and literature - one only has to think of George C. Scott as Patton in front of a giant American flag, Sylvester Stallone as Rambo, or Burt Lancaster rolling around in the surf in ""From Here to Eternity"". In ""Male Armor"", Jon Robert Adams examines the ways in which novels, plays, and films about America's late-twentieth-century wars reflect altering perceptions of masculinity in the culture at large. He highlights the gap between the cultural conception of masculinity and the individual experience of it, and exposes the myth of war as an experience that verifies manhood.Drawing on a wide range of work, from the war novels of Ernest Hemingway, Norman Mailer, James Jones, and Joseph Heller to David Rabe's play Streamers and Anthony Swofford's Jarhead, Adams examines the evolving image of the soldier from World War I to Operation Desert Storm. In discussing these changing perceptions of masculinity, he reveals how works about war in the late twentieth century attempt to eradicate inconsistencies among American civilian conceptions of war, the military's expectations of the soldier, and the soldier's experience of combat. Adams argues that these inconsistencies are largely responsible not only for continuing support of the war enterprise but also for the soldiers' difficulty in reintegration to civilian society upon their return. He intends ""Male Armor"" to provide a corrective to the public's continued investment in the war enterprise as a guarantor both of masculinity and, by extension, of the nation.

In an era before affordable travel, National Geographic not only served as the first glimpse of countless other worlds for its readers, but it helped them confront sweeping historical change. There was a time when its cover, with the unmistakable yellow frame, seemed to be on every coffee table, in every waiting room. In American Iconographic, Stephanie L. Hawkins traces American Geographic 's rise to cultural prominence, from its first publication of nude photographs in 1896 to the 1950s, when the magazine's trademark visual and textual motifs found their way into cartoon caricature, popular novels, and film trading on the ""romance"" of the magazine's distinctive visual fare. National Geographic transformed local color into global culture through its production and circulation of readily identifiable cultural icons. The adventurer-photographer, the exotic woman of color, and the intrepid explorer were part of the magazine's ""institutional aesthetic,"" a visual and textual repertoire that drew upon popular nineteenth-century literary and cultural traditions. This aesthetic encouraged readers to identify themselves as members not only in an elite society but, paradoxically, as both Americans and global citizens. More than a window on the world, National Geographic presented a window on American cultural attitudes and drew forth a variety of complex responses to social and historical changes brought about by immigration, the Great Depression, and world war. Drawing on the National Geographic Society's archive of readers' letters and its founders' correspondence, Hawkins reveals how the magazine's participation in the ""culture industry"" was not so straightforward as scholars have assumed. Letters from the magazine's earliest readers offer an important intervention in this narrative of passive spectatorship, revealing how readers resisted and revised National Geographic's authority. Its photographs and articles celebrated American self-reliance and imperialist expansion abroad, but its readers were highly aware of these representational strategies, and alert to inconsistencies between the magazine's editorial vision and its photographs and text. Hawkins also illustrates how the magazine actually encouraged readers to question Western values and identify with those beyond the nation's borders. Chapters devoted to the magazine's practice of photographing its photographers on assignment and to its genre of husband-wife adventurers reveal a more enlightened National Geographic invested in a cosmopolitan vision of a global human family. A fascinating narrative of how a cultural institution can influence and embody public attitudes, this book is the definitive account of an iconic magazine's unique place in the American imagination.

Originally a euphemism for Princeton University’s Female Literary Traditioncourse in the 1980s, ""chick lit"" mutated from a movement in American women’savant-garde fiction in the 1990s to become, by the turn of the century, a humorous subset of women’s literature, journalism, and advice manuals. Stephanie Harzewski examines such best sellers as Bridget Jones’s Diary, The Devil Wears Prada, and Sex and the City as urban appropriations of and departures from the narrative traditions of the novel of manners, the popular romance, and the bildungsroman. Further, Harzewski uses chick lit as a lens through which to view gender relations in U.S. and British society in the 1990s. Chick Lit and Postfeminism is the first sustained historicization of this major pop-cultural phenomenon, and Harzewski successfully demonstrates how chick lit and the critical study of ityield social observations on upheavals in Anglo-American marriage and education patterns, heterosexual rituals, feminism, and postmodern values.

The term ""culture"" has become ubiquitous in both academic and popular conversations, but its usefulness is a point of dispute. Taking the current shift from cultural studies to aesthetics as the latest form of this discussion, Eric Aronoff contends that in American modernism, the concepts of culture and of aesthetics have always been inseparable. The modernist concept of culture, he argues, arose out of an interdisciplinary dialogue about value, meaning, and form among social critics, artists, anthropologists, and literary critics, including figures as diverse as Van Wyck Brooks, Edward Sapir, Willa Cather, Lewis Mumford, John Crowe Ransom, Raymond Weaver, and Allen Tate. These figures proposed new ways to conceive of culture that intertwined theories of aesthetic and literary value with theories of national, racial, and regional identity. Through close readings, Aronoff shows that disciplines and approaches that are often thought of as opposed—cultural anthropology and aesthetics, American literary history and literary criticism, and multiculturalism and regionalism—are in fact engaged in common debate and proceed from shared arguments about culture and form.

In Failed Frontiersmen, James Donahue writes that one of the founding and most persistent mythologies of the United States is that of the American frontier. Looking at a selection of twentieth-century American male fiction writers—E. L. Doctorow, John Barth, Thomas Pynchon, Ishmael Reed, Gerald Vizenor, and Cormac McCarthy—he shows how they reevaluated the historical romance of frontier mythology in response to the social and political movements of the 1960s (particularly regarding the Vietnam War, civil rights, and the treatment of Native Americans). Although these writers focus on different moments in American history and different geographic locations, the author reveals their commonly held belief that the frontier mythology failed to deliver on its promises of cultural stability and political advancement, especially in the face of the multicultural crucible of the 1960s.

During the twentieth century, the rise of the concept of Americanization—shedding ethnic origins and signs of ""otherness"" to embrace a constructed American identity—was accompanied by a rhetoric of personal transformation that would ultimately characterize the American Dream. The theme of self-transformation has remained a central cultural narrative in American literary, political, and sociological texts ranging from Jamestown narratives to immigrant memoirs, from slave narratives to Gone with the Wind, and from the rags-to-riches stories of Horatio Alger to the writings of Barack Obama. Such rhetoric feeds American myths of progress, upward mobility, and personal reinvention.In Fashion and Fiction, Lauren S. Cardon draws a correlation between the American fashion industry and early twentieth-century literature. As American fashion diverged from a class-conscious industry governed by Parisian designers to become more commercial and democratic, she argues, fashion designers and journalists began appropriating the same themes of self-transformation to market new fashion trends. Cardon illustrates how canonical twentieth-century American writers, including Edith Wharton, Theodore Dreiser, F. Scott Fitzgerald, Ernest Hemingway, and Nella Larsen, symbolically used clothing to develop their characters and their narrative of upward mobility. As the industry evolved, Cardon shows, the characters in these texts increasingly enjoyed opportunities for individual expression and identity construction, allowing for temporary performances that offered not escapism but a testing of alternate identities in a quest for self-discovery.

Contradictory ideals of egalitarianism and self-reliance haunt America’s democratic state. We need look no further than Donald Trump’s 2016 presidential campaign and victory for proof that early twentieth-century anxieties about individualism, race, and the foreign or intrusive ""other"" persist today. In Stranger America, Josh Toth tracks and delineates these anxieties in our narrative media, locating in America’s aesthetic production, finally locating a potential narrative strategy for circumnavigating themsuch anxieties.Toth’s central focus is, simply, strangeness--or those characters who adamantly resist being fixed in any given category of identity. As with the theorists employed (Nancy, Žižek, Derrida, Freud, Hegel), the subjects and literature considered are as encompassing as possible: from the work of Herman Melville, William Faulkner, James Weldon Johnson, and Nella Larsen to that of Philip K. Dick, Woody Allen, Larry David, and Bob Dylan; from the rise of nativism in the early twentieth century to object-oriented ontology and the twenty-first-century zombie craze; from ragtime and the introduction of sound in American cinema to the exhaustion of postmodern metafiction.Toth argues that American literature, music, film, and television can show us the path toward a new ethic, one in which we organize identity around the stranger rather than resorting to tactics of pure exclusion or inclusion. Ultimately, he provides a new narrative approach to otherness American democracy that seeks to realize a truly democratic form of community.

Contradictory ideals of egalitarianism and self-reliance haunt America’s democratic state. We need look no further than Donald Trump’s 2016 presidential campaign and victory for proof that early twentieth-century anxieties about individualism, race, and the foreign or intrusive ""other"" persist today. In Stranger America, Josh Toth tracks and delineates these anxieties in our narrative media, locating in America’s aesthetic production, finally locating a potential narrative strategy for circumnavigating themsuch anxieties.Toth’s central focus is, simply, strangeness--or those characters who adamantly resist being fixed in any given category of identity. As with the theorists employed (Nancy, Žižek, Derrida, Freud, Hegel), the subjects and literature considered are as encompassing as possible: from the work of Herman Melville, William Faulkner, James Weldon Johnson, and Nella Larsen to that of Philip K. Dick, Woody Allen, Larry David, and Bob Dylan; from the rise of nativism in the early twentieth century to object-oriented ontology and the twenty-first-century zombie craze; from ragtime and the introduction of sound in American cinema to the exhaustion of postmodern metafiction.Toth argues that American literature, music, film, and television can show us the path toward a new ethic, one in which we organize identity around the stranger rather than resorting to tactics of pure exclusion or inclusion. Ultimately, he provides a new narrative approach to otherness American democracy that seeks to realize a truly democratic form of community.

The Beat Generation was a group of writers who rejected cultural standards, experimented with drugs, and celebrated sexual liberation. Starting in the 1950s with works such as Jack Kerouac’s On the Road, Allen Ginsberg’s Howl, and William S. Burroughs’s Naked Lunch, the Beat Generation defined an experimental zeitgeist that endures to today. Yet left out of this picture are the Beat women, who produced a large body of writing from the 1950s through the 1970s and beyond.In Women Writers of the Beat Era, Mary Paniccia Carden gives voice to these female writers and demonstrates how their work redefines our understanding of ""Beat."" The first single-authored study on female writers of this generation, the book offers vital analysis of autobiographical works by Diane di Prima, ruth weiss, Hettie Jones, Joanne Kyger, and others, introducing the reader to new voices that interact with and reconfigure the better-known narratives of the male Beat writers. In doing so, Carden demonstrates the significant role women played in this influential and dynamic literary movement.

If art is our bid to make sense of the senseless, there is hardly more fertile creative ground than that of the twentieth century. From the trench poetry of World War I and Holocaust memoirs by Primo Levi and Elie Wiesel to the post-colonial novels of southern Asia and the anti-apartheid plays of the South African Market Theater, writers have married beauty and horror. This ""century of trauma"" produced writing at once saturated in political violence and complicated by the ethics of aesthetic representation. Stretching across genres and the globe, Terrible Beauty charts a course of aesthetic reconciliation between empathy and evil in the great literature of the twentieth century.The ""violent aesthetic""—a category the author traces back to Plato and Nietzsche—accommodates the pleasure people take not only in destruction itself but also in its rendering. As readers, we oscillate between a fascination with atrocity and an ethical imperative to bear witness. Arguing for the immersive experience of literature as particularly conducive to ethical contemplation, Marian Eide plumbs the aesthetic power and ethical purpose of this creative tension. By invoking the reader as complicit—both stricken witness and enthralled voyeur— Terrible Beauty sheds new light on the relationship between violence, literature, and the moral burdens of art.

If art is our bid to make sense of the senseless, there is hardly more fertile creative ground than that of the twentieth century. From the trench poetry of World War I and Holocaust memoirs by Primo Levi and Elie Wiesel to the post-colonial novels of southern Asia and the anti-apartheid plays of the South African Market Theater, writers have married beauty and horror. This ""century of trauma"" produced writing at once saturated in political violence and complicated by the ethics of aesthetic representation. Stretching across genres and the globe, Terrible Beauty charts a course of aesthetic reconciliation between empathy and evil in the great literature of the twentieth century.The ""violent aesthetic""—a category the author traces back to Plato and Nietzsche—accommodates the pleasure people take not only in destruction itself but also in its rendering. As readers, we oscillate between a fascination with atrocity and an ethical imperative to bear witness. Arguing for the immersive experience of literature as particularly conducive to ethical contemplation, Marian Eide plumbs the aesthetic power and ethical purpose of this creative tension. By invoking the reader as complicit—both stricken witness and enthralled voyeur— Terrible Beauty sheds new light on the relationship between violence, literature, and the moral burdens of art.

The "dandy," a nineteenth-century character and concept exemplified in such works as Wilde's The Picture of Dorian Gray and Proust's Recherche, reverberates in surprising corners of twentieth- and twenty-first-century culture. Establishing this character as a kind of shorthand for a diverse range of traits and tendencies, including gentlemanliness, rebelliousness, androgyny, aristocratic pretension, theatricality, and extravagance, Len Gutkin traces Victorian aesthetic precendents in the work of the modernist avant-garde, the noir novel, Beatnik experimentalism, and the postmodern thriller.As defined in the period between the fin de siècle and modernism, dandyism was inextricable from representations of queerness. But, rinsed of its suspect associations with the effeminate, dandyism would exert influence over such macho authors such as Hemingway and Chandler, who harnessed its decadent energy. Dandyism, Gutkin argues, is a species of gendered charisma. The performative masquerade of Wilde's decadent dandy is an ancestor to both the gender performance at work in American cowboy lore and the precious self-presentation of twenty-first-century hipsters. We cannot understand modernism and postmodernism's negotiation of gender, aesthetic abstraction, or the culture of celebrity without the dandy.Analyzing the characteristic focus on costume, consumption, and the well-turned phrase in readings of figures ranging from Wyndham Lewis, Djuna Barnes, and William Burroughs to Patricia Highsmith, Bret Easton Ellis, and Ben Lerner, Dandyism reveals the Victorian dandy's legacy across the twentieth century, providing a revisionist history of the relationship between Victorian aesthetics and twentieth-century literature.

The "dandy," a nineteenth-century character and concept exemplified in such works as Wilde's The Picture of Dorian Gray and Proust's Recherche, reverberates in surprising corners of twentieth- and twenty-first-century culture. Establishing this character as a kind of shorthand for a diverse range of traits and tendencies, including gentlemanliness, rebelliousness, androgyny, aristocratic pretension, theatricality, and extravagance, Len Gutkin traces Victorian aesthetic precendents in the work of the modernist avant-garde, the noir novel, Beatnik experimentalism, and the postmodern thriller.As defined in the period between the fin de siècle and modernism, dandyism was inextricable from representations of queerness. But, rinsed of its suspect associations with the effeminate, dandyism would exert influence over such macho authors such as Hemingway and Chandler, who harnessed its decadent energy. Dandyism, Gutkin argues, is a species of gendered charisma. The performative masquerade of Wilde's decadent dandy is an ancestor to both the gender performance at work in American cowboy lore and the precious self-presentation of twenty-first-century hipsters. We cannot understand modernism and postmodernism's negotiation of gender, aesthetic abstraction, or the culture of celebrity without the dandy.Analyzing the characteristic focus on costume, consumption, and the well-turned phrase in readings of figures ranging from Wyndham Lewis, Djuna Barnes, and William Burroughs to Patricia Highsmith, Bret Easton Ellis, and Ben Lerner, Dandyism reveals the Victorian dandy's legacy across the twentieth century, providing a revisionist history of the relationship between Victorian aesthetics and twentieth-century literature.

With the ascendancy of neoliberalism in American culture beginning in the 1960s, the political structures governing private lives became more opaque and obscure. Neoliberal Nonfictions argues that a new style of documentary art emerged to articulate the fissures between individual experience and reality in the era of finance capitalism. In this wide-ranging study, Daniel Worden touches on issues ranging from urban poverty and criminal justice to environmental collapse and international politics. He examines the impact of local struggles and global markets on music, from D. A. Pennebaker's infamous Dylan documentary Dont Look Back to Kendrick Lamar's breakthrough album Good Kid, M.A.A.D. City. He details the emergence of the hustler as an icon of neoliberal individualism in Jay-Z's autobiography Decoded, Alex Haley's Autobiography of Malcom X, and Hunter S. Thompson's "gonzo" journalism. He looks at how contemporary works such as Maggie Nelson's memoir The Red Parts and Taryn Simon's photography series The Innocents challenge the moral simplifications of traditional true crime writing. In his conclusion, he explores the dominance of memoir as a literary mode in the neoliberal era, particularly focusing on works by Joan Didion and Dave Eggers.Documentary has become the aesthetic of our age, harnessing the irreconcilable distance between individual and society as a site for aesthetic experimentation across media, from journalism and photography to memoir, music, and film. Both a symptom of and a response to the emergence of economic neoliberalism, the documentary aesthetic is central to how we understand ourselves and our world today.

With the ascendancy of neoliberalism in American culture beginning in the 1960s, the political structures governing private lives became more opaque and obscure. Neoliberal Nonfictions argues that a new style of documentary art emerged to articulate the fissures between individual experience and reality in the era of finance capitalism. In this wide-ranging study, Daniel Worden touches on issues ranging from urban poverty and criminal justice to environmental collapse and international politics. He examines the impact of local struggles and global markets on music, from D. A. Pennebaker's infamous Dylan documentary Dont Look Back to Kendrick Lamar's breakthrough album Good Kid, M.A.A.D. City. He details the emergence of the hustler as an icon of neoliberal individualism in Jay-Z's autobiography Decoded, Alex Haley's Autobiography of Malcom X, and Hunter S. Thompson's "gonzo" journalism. He looks at how contemporary works such as Maggie Nelson's memoir The Red Parts and Taryn Simon's photography series The Innocents challenge the moral simplifications of traditional true crime writing. In his conclusion, he explores the dominance of memoir as a literary mode in the neoliberal era, particularly focusing on works by Joan Didion and Dave Eggers.Documentary has become the aesthetic of our age, harnessing the irreconcilable distance between individual and society as a site for aesthetic experimentation across media, from journalism and photography to memoir, music, and film. Both a symptom of and a response to the emergence of economic neoliberalism, the documentary aesthetic is central to how we understand ourselves and our world today.

It's often said that we are what we wear. Tracing an American trajectory in fashion, Lauren Cardon shows how we become what we wear. Over the twentieth century, the American fashion industry diverged from its roots in Paris, expanding and attempting to reach as many consumers as possible. Fashion became a tool for social mobility. During the late twentieth century, the fashion industry offered something even more valuable to its consumers: the opportunity to explore and perform. The works Cardon examines by Sylvia Plath, Jack Kerouac, Toni Morrison, Sherman Alexie, and Aleshia Brevard, among others illustrate how American fashion, with its array of possibilities, has offered a vehicle for curating public personas. Characters explore a host of identities as fashion allows them to deepen their relationships with ethnic or cultural identity, to reject the social codes associated with economic privilege, or to forge connections with family and community. These temporary transformations, or performances, show that identity is a process constantly negotiated and questioned, never completely fixed.

It's often said that we are what we wear. Tracing an American trajectory in fashion, Lauren Cardon shows how we become what we wear. Over the twentieth century, the American fashion industry diverged from its roots in Paris, expanding and attempting to reach as many consumers as possible. Fashion became a tool for social mobility. During the late twentieth century, the fashion industry offered something even more valuable to its consumers: the opportunity to explore and perform. The works Cardon examines by Sylvia Plath, Jack Kerouac, Toni Morrison, Sherman Alexie, and Aleshia Brevard, among others illustrate how American fashion, with its array of possibilities, has offered a vehicle for curating public personas. Characters explore a host of identities as fashion allows them to deepen their relationships with ethnic or cultural identity, to reject the social codes associated with economic privilege, or to forge connections with family and community. These temporary transformations, or performances, show that identity is a process constantly negotiated and questioned, never completely fixed.

Immigrant communities evince particular and deep relationship to place. Building on this self-evident premise, Walk the Barrio adds the less obvious claim that to write about place you must experience place. Thus, in this book about immigrants, writing, and place, Cristina Rodriguez walks neighborhood streets, talks to immigrants, interviews authors, and puts herself physically in the spaces that she seeks to understand.The word barrio first entered the English lexicon in 1833 and has since become a commonplace not only of American speech but of our literary imagination. Indeed, what draws Rodriguez to the barrios of Los Angeles, New York, Miami, and others is the work of literature that was fueled and inspired by those neighborhoods. Walk the Barrio explores the ways in which authors William Archila, Richard Blanco, Angie Cruz, Junot Díaz, Salvador Plascencia, Héctor Tobar, and Helena María Viramontes use their U.S. hometowns as both setting and stylistic inspiration.Asking how these writers innovate upon or break the rules of genre to render in words an embodied experience of the barrio, Rodriguez considers, for example, how the spatial map of New Brunswick impacts the mobility of Díaz’s female characters, or how graffiti influences the aesthetics of Viramontes’s novels. By mapping each text’s fictional setting upon the actual spaces it references in what she calls "barriographies," Rodriguez reveals connections between place, narrative form, and migrancy.This first-person, interdisciplinary approach presents an innovative model for literary studies as it sheds important light on the ways in which transnationalism transforms the culture of each Latinx barrio, effecting shifts in gender roles, the construction of the family, definitions of social normativity, and racial, ethnic, national, and linguistic identifications.

Immigrant communities evince particular and deep relationship to place. Building on this self-evident premise, Walk the Barrio adds the less obvious claim that to write about place you must experience place. Thus, in this book about immigrants, writing, and place, Cristina Rodriguez walks neighborhood streets, talks to immigrants, interviews authors, and puts herself physically in the spaces that she seeks to understand.The word barrio first entered the English lexicon in 1833 and has since become a commonplace not only of American speech but of our literary imagination. Indeed, what draws Rodriguez to the barrios of Los Angeles, New York, Miami, and others is the work of literature that was fueled and inspired by those neighborhoods. Walk the Barrio explores the ways in which authors William Archila, Richard Blanco, Angie Cruz, Junot Díaz, Salvador Plascencia, Héctor Tobar, and Helena María Viramontes use their U.S. hometowns as both setting and stylistic inspiration.Asking how these writers innovate upon or break the rules of genre to render in words an embodied experience of the barrio, Rodriguez considers, for example, how the spatial map of New Brunswick impacts the mobility of Díaz’s female characters, or how graffiti influences the aesthetics of Viramontes’s novels. By mapping each text’s fictional setting upon the actual spaces it references in what she calls "barriographies," Rodriguez reveals connections between place, narrative form, and migrancy.This first-person, interdisciplinary approach presents an innovative model for literary studies as it sheds important light on the ways in which transnationalism transforms the culture of each Latinx barrio, effecting shifts in gender roles, the construction of the family, definitions of social normativity, and racial, ethnic, national, and linguistic identifications.

Social media has facilitated the sharing of once isolated testimonies to an extent and with an ease never before possible. The #MeToo movement provides a prime example of how such pooling of individual stories, in large enough numbers, can fuel political movements, fortify a sense of solidarity and community, and compel public reckoning by bringing important issues into mainstream consciousness.In this timely and important study, Helga Lenart-Cheng has uncovered the antecedents of this phenomenon and provided a historical and critical analysis of this seemingly new but in fact deeply rooted tradition. Story Revolutions features a rich variety of case studies, from eighteenth-century memoir collections to contemporary Web 2.0 databases, including memoir contests, digital story-maps, crowd-sourced Covid diaries, and AI-assisted life writing. It spans the Enlightenment, the 1930s, and the twenty-first century-three historical periods marked by a convergence of mass movements and new methods of data collection that led to a boom in activism based in the aggregation and communication of stories. Ultimately, this book offers readers a critical perspective on the concept of community itself, with incisive reflections on what it means to use storytelling to build democracy in the twenty-first century.