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Cosmopolitan Culture and Consumerism in Chick Lit focuses on the literary phenomenon popularly known as chick lit, and the way in which this genre interfaces with magazines, self-help books, romantic comedies, and domestic-advice publications. This recent trend in women’s popular fiction, which began in 1996 with the publication of British author Helen Fielding’s novel Bridget Jones’s Diary, uses first person narration to chronicle the romantic tribulations of its young, single, white, heterosexual, urban heroines. Critics of the genre have failed to fully appreciate chick lit’s complicated representations of women as both readers and consumers. In this study, Smith argues that chick lit questions the "consume and achieve promise" offered by advice manuals marketed toward women, subverting the consumer industry to which it is so closely linked and challenging cultural expectations of women as consumers, readers, and writers, and of popular fiction itself.
Cosmopolitan Culture and Consumerism in Chick Lit examines the way in which the popular women’s fiction genre of the late 1990s, known as chick lit, responds to women’s advice manuals such as women’s magazines, self-help books, romantic comedies, and domestic-advice manuals.
Scholars and readers alike need little help identifying the infamous Bridget Jones or Carrie Bradshaw. While it is no stretch to say that these fictional characters are the most recognizable within the chic lit genre, there are certainly many others that have helped define this body of work. While previous research has focused primarily on white American chick lit, Theorizing Ethnicity and Nationality in the Chick Lit Genre, takes a wider look at the genre, by exploring chick lit novels featuring protagonists from a variety of ethnic backgrounds set both within and outside of the US.
In recent times, Chick Lit has risen to a certain level of prominence. This is the first book length study that looks into the distinctive features of this much-discussed genre. Chick Lit is examined in relation to its linguistic peculiarities and their role as far as narrative, sociological and feminist issues are concerned, amongst others. Montoro's stylistics includes a cognitive slant that highlights futher readerly aspects of the texts. The approach illuminates how the genre works, and how it is set apart from others. In this respect, the stylistics of chick lit is understood in its contect of production and reception. Montoro evaluates reading processes and investigates readers' responsive attitude to the genre. This interdisciplinary work explores the boundaries of the stylistics of chick lit and works reflectively, looking at how exploring this genre can help the twofold aim of testing existing models of linguistic and cognitive analysis. It will be essential reading for those interested in cutting-edge stylistics.
The author offers a scholarly dissection of "chick lit" from a post-feminist perspective. She analyzes the novel Bridget Jones' Diary and the HBO series Sex and the City while making parallels back to writings of Jane Austen and the Victorian novel in general. She looks at what these works say about women in society and whether they are just an escape or a serious reflection of women's concerns.
Fresh perspectives and eye-opening discussions of contemporary American fiction In The Encyclopedia of Contemporary American Fiction: 1980-2020, a team of distinguished scholars delivers a focused and in-depth collection of essays on some of the most significant and influential authors and literary subjects of the last four decades. Cutting-edge entries from established and new voices discuss subjects as varied as multiculturalism, contemporary regionalisms, realism after poststructuralism, indigenous narratives, globalism, and big data in the context of American fiction from the last 40 years. The Encyclopedia provides an overview of American fiction at the turn of the millennium as well as a vision of what may come. It perfectly balances analysis, summary, and critique for an illuminating treatment of the subject matter. This collection also includes: An exciting mix of established and emerging contributors from around the world discussing central and cutting-edge topics in American fiction studies Focused, critical explorations of authors and subjects of critical importance to American fiction Topics that reflect the energies and tendencies of contemporary American fiction from the forty years between 1980 and 2020 The Encyclopedia of Contemporary American Fiction: 1980-2020 is a must-have resource for undergraduate and graduate students of American literature, English, creative writing, and fiction studies. It will also earn a place in the libraries of scholars seeking an authoritative array of contributions on both established and newer authors of contemporary fiction.
This book addresses the relationship between gossip, women, and film with regards to the genre of chick flicks. Presenting two case studies on the films Easy A (Will Gluck 2010) and Emma (Douglas McGrath 1996), Dang demonstrates that hearsay plays a defining role in the staging of these films and thus in the film experience. While the lack of women’s voices in the general public sphere remains an issue, the female voice is very present in the contemporary woman’s film. In its analysis of gossip, this book focuses on a form of communication that has traditionally been assigned to women and is consequently disregarded. Dang provides a theoretical framework for the understanding of speech acts in the popular, yet undertheorized, genre of chick flicks.
Postfeminism in Context studies the representation of women in Australian popular culture over the past three decades to locate postfeminism in a specific time and place. Margaret Henderson and Anthea Taylor argue that ‘postfeminism’, as a critical term, has been too often deployed in ways that fail to account for historical and cultural specificity. This book analyses Australian popular culture – chick lit novels; ‘dramedy’ television shows; women’s magazines; YouTube beauty vlogs; self-help manuals; and newspapers – to reveal the tensions, contradictions and ambiguities that have always been constitutive of postfeminism, including in Australia. Examining how these popular forms intervene in dominant conversations about contemporary Australian femininities, Postfeminism in Context maps the ways in which various aspects of Australia’s history and national identity have shaped its postfeminism. While Henderson and Taylor identify some of the limited postfeminist tropes and patterns of representation evident in comparable locales, they also find that Australian popular culture has responded to feminism in a much more hopeful way. Adding some much-needed cultural specificity to the ongoing debate around this loaded term, Postfeminism in Context is essential reading for those interested in Australian popular culture, feminism, and the gendered politics of representation.
This collection expands the body of research on the intersection of gender and translation to highlight perspectives across different countries in Europe, showcasing developments in the field from its origins in the emergence of feminist translation in Quebec over the last thirty years. Building off seminal work on feminist translation by scholars in Canada in the 1980s and 1990s, the book explores the evolution of the discipline in shifting translation practices and research across a range of European countries, with a focus on underrepresented areas such as Malta, Serbia, and Poland. The different chapters examine key developments such as the critical reframing of gender and identity, the viewing of historical translation activity by women through the lens of ideological and political motivations, and the analysis of socio-political contexts where feminist or gender-inspired translation has impacted translators’ practices. The volume looks concurrently at the European context and beyond it, putting the spotlight on new voices in translation and gender research in the region but also encouraging transnational dialogues on key issues in the discipline, pushing the field further into new directions. This book will be of particular interest to scholars in translation studies, gender studies, and European literature.
The Postcolonial Cultural Industry makes a timely intervention into the field of postcolonial studies by unpacking its relation to the cultural industry. It unearths the role of literary prizes, the adaptation industry and the marketing of ethnic bestsellers as new globalization strategies that connect postcolonial artworks to the market place.