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Examining work from Ford and Conrad's pre-war impressionism through Rhys's fiction of the late 1930s, the author shows how modernist innovation engages with transformations in early twentieth-century capitalism and tracks the ways in which modernist fiction reconfigures capitalist mythologies along the fault lines of their internal contradictions.
China has undergone a unique path of development in the post-Maoist era. Especially, the last decade witnessed China''s rapid rise to economic wealth and superpower status vis-a-vis the severe developmental predicaments of the West (financial crises, socio-political turbulences, etc.). This book analyzes how the leading Chinese thinkers understand China''s prosperity and rapid development today, and whether there is any hidden mechanism that has been playing a crucial role of forming contemporary Chinese thinkers'' shared passionate endeavor of resuscitating classical Chinese ideas, and thus shows how the fervor for discovering OC essential characteristicsOCO of Chinese thought reveals a hidden psychological mechanism. Contents: The Fantasmatic Narrative of Contemporary Chinese Thought; OC Descendants of a Blurry-Eyed DragonOCO New Enlightenment as Modernization; OC TraumaticOCO Encounters with Postmodernism; Liberals and New Leftists as OC Discursive EnemiesOCO China''s New Nationalism and Its Obscene Core; Traversing the Fantasmatic Past and Future. Readership: Academics, professionals, Sinologists, advanced undergraduate and graduate students interested in China studies.
The revised edition of Subject to Ourselves, a lively and provocative book that was a leader on its topic in England, uses psychoanalytic theory as the basis for a fresh reassessment of the nature of modernity and postmodernism. Analyzing changing experiences of selfhood, desire, interpersonal relations, culture and globalization, the author develops a novel account of postmodernity that supplants current understandings of "fragmented selves." Subject to Ourselves includes a diverse set of case studies, including the power of fantasy in military violence and war, the debate over sexual seduction in psychoanalysis, and the cultural uses of media and new information technologies. The book will be essential reading for students and professionals of social and political theory, psychoanalytic studies, psychology and cultural studies, as well as those with an interest in the modernity/postmodernity debate. Praise for the First Edition: 'This book not only fills an important gap in the literature, for it summarises a debate that is scattered across a decade of rather difficult texts, but also offers a resolution that is sensible and grounded in the best current thinking. It will be widely read by graduate students, faculty, and professionals in the humanities and social sciences.' Choice 'This is an informative and enjoyable book, which will be of use to students and academics...It is accessibly written and provides useful summaries of the different theories and debates in cultural and psychoanalytic theory. Recommended.' Radical Philosophy
China has undergone a unique path of development in the post-Maoist era. Especially, the last decade witnessed China's rapid rise to economic wealth and superpower status vis-à-vis the severe developmental predicaments of the West (financial crises, socio-political turbulences, etc.). This book analyzes how the leading Chinese thinkers understand China's prosperity and rapid development today, and whether there is any hidden mechanism that has been playing a crucial role of forming contemporary Chinese thinkers' shared passionate endeavor of resuscitating classical Chinese ideas, and thus shows how the fervor for discovering “essential characteristics” of Chinese thought reveals a hidden psychological mechanism.
(Limelight). An illustrated collection of essays by masters such as H.G. Wells, Luis Bunuel, Jorge Luis Borges, Arthur C. Clarke, Anthony Burgess, Joseph Campbell, Pauline Kael, George F. Will, Robin Wood, and Susan Sontag.
Classical Traditions in Modern Fantasy presents fifteen all-new essays on how fantasy draws on ancient Greek and Roman mythology, philosophy, literature, history, art, and cult practice. Ranging from harpies to hobbits, from Cyclopes to Cthulhu, the comparative study of Classics and fantasy reveals deep similarities between ancient and modern ways of imagining the world.
Inside the global music industry and the racialized and gendered assumptions we make about what we hear Fearing the rapid disappearance of indigenous cultures, twentieth-century American ethnographers turned to the phonograph to salvage native languages and musical practices. Prominent among these early “songcatchers” were white women of comfortable class standing, similar to the female consumers targeted by the music industry as the gramophone became increasingly present in bourgeois homes. Through these simultaneous movements, listening became constructed as a feminized practice, one that craved exotic sounds and mythologized the ‘other’ that made them. In Modernity’s Ear, Roshanak Kheshti examines the ways in which racialized and gendered sounds became fetishized and, in turn, capitalized on by an emergent American world music industry through the promotion of an economy of desire. Taking a mixed-methods approach that draws on anthropology and sound studies, Kheshti locates sound as both representative and constitutive of culture and power. Through analyses of film, photography, recordings, and radio, as well as ethnographic fieldwork at a San Francisco-based world music company, Kheshti politicizes the feminine in the contemporary world music industry. Deploying critical theory to read the fantasy of the feminized listener and feminized organ of the ear, Modernity’s Ear ultimately explores the importance of pleasure in constituting the listening self.
Arguing that contemporary celebrity authors like Zadie Smith, Ian McEwan, Martin Amis, Kazuo Ishiguro, Salman Rushdie, Eimear McBride and Anna Burns position their work and public personae within a received modernist canon to claim and monetize its cultural capital in the lucrative market for literary fiction, this book also shows how the corporate conditions of marketing and branding have redefined older models of literary influence and innovation. It contributes to a growing body of criticism focused on contemporary literature as a field in which the formal and stylistic experimentation that came to define a canon of early 20th-century modernism has been renewed, contested, and revised. Other critics have celebrated these renewals, variously arguing that contemporary literature picks up on modernism's unfinished aesthetic revolutions in ways that have expanded the imaginative possibilities for fiction and revived questions of literary autonomy in the wake of postmodern nihilism. While this is a compelling thesis, and one that rightly questions an artificial and problematic periodization that still lingers in academic criticism, those approaches generally fail to address the material conditions that structure literary production and the generation of cultural capital, whether in the historical development of modernism or its contemporary permutations. This book addresses this absence by proposing a materialist history of modernism's afterlives.
The first book-length historical and theoretical analysis of the urban fantasy genre