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What does it mean to call something “contemporary”? More than simply denoting what’s new, it speaks to how we come to know the present we’re living in and how we develop a shared story about it. The story of trying to understand the present is an integral, yet often unnoticed, part of the literature and film of our moment. In Contemporary Drift, Theodore Martin argues that the contemporary is not just a historical period but also a conceptual problem, and he claims that contemporary genre fiction offers a much-needed resource for resolving that problem. Contemporary Drift combines a theoretical focus on the challenge of conceptualizing the present with a historical account of contemporary literature and film. Emphasizing both the difficulty and the necessity of historicizing the contemporary, the book explores how recent works of fiction depict life in an age of global capitalism, postindustrialism, and climate change. Through new histories of the novel of manners, film noir, the Western, detective fiction, and the postapocalyptic novel, Martin shows how the problem of the contemporary preoccupies a wide range of novelists and filmmakers, including Zadie Smith, Colson Whitehead, Vikram Chandra, China Miéville, Kelly Reichardt, and the Coen brothers. Martin argues that genre provides these artists with a formal strategy for understanding both the content and the concept of the contemporary. Genre writing, with its mix of old and new, brings to light the complicated process by which we make sense of our present and determine what belongs to our time.
Returning to revolution's original meaning of 'cycle', Contemporary Revolutions explores how 21st-century writers, artists, and performers re-engage the arts of the past to reimagine a present and future encompassing revolutionary commitments to justice and freedom. Dealing with histories of colonialism, slavery, genocide, civil war, and gender and class inequities, essays examine literature and arts of Africa, Europe, the Middle East, the Pacific Islands, and the United States. The broad range of contemporary writers and artists considered include fabric artist Ellen Bell; poets Selena Tusitala Marsh and Antje Krog; Syrian artists of the civil war and Sana Yazigi's creative memory web site about the war; street artist Bahia Shehab; theatre installation artist William Kentridge; and the recycles of Virginia Woolf by multi-media artist Kabe Wilson, novelist W. G. Sebald, and the contemporary trans movement.
“This book was written late in the North American night, with the rumbling thuds and booming train horns of the nearby rail yard echoing through my windows, reminding me of the train hoppers and gutter punks out there rolling through the darkness.” In Drift, Jeff Ferrell shows how dislocation and disorientation can become phenomena in their own right. Examining the history of drifting, Ferrell situates the contemporary global phenomenon of drift within today’s economic, social, and cultural dynamics. He also highlights a distinctly North American form of drift—that of the train-hopping hobo—by tracing the hobo’s political history and by sharing his own immersion in the world of contemporary train-hoppers. Along the way, Ferrell sheds light on the ephemeral intensity of drifting communities and explores the contested politics of drift—the legal and political strategies designed to control drifters in the interest of economic development, the irony by which these strategies spawn further social and spatial exclusion, and the ways in which drifters and those who embrace drift create their own slippery strategies of resistance. With an eye toward the truth, Ferrell keenly argues that the lessons of drift can provide us with new models for knowing and engaging with the world around us.
“This book was written late in the North American night, with the rumbling thuds and booming train horns of the nearby rail yard echoing through my windows, reminding me of the train hoppers and gutter punks out there rolling through the darkness.” In Drift, Jeff Ferrell shows how dislocation and disorientation can become phenomena in their own right. Examining the history of drifting, he situates contemporary drift within today’s economic, legal, and cultural dynamics. He also highlights a distinctly North American form of drift—that of the train-hopping hobo—by tracing the hobo’s legal and political history and by detailing his own immersion in the world of contemporary train-hoppers. Along the way, Ferrell sheds light on the ephemeral intensity of drifting communities and explores the contested politics of drift: the strategies that legal authorities employ to control drifters in the interest of economic development, the social and spatial dislocations that these strategies ironically exacerbate, and the ways in which drifters create their own slippery forms of resistance. Ferrell concludes that drift constitutes a necessary subject of social inquiry and a way of revitalizing social inquiry itself, offering as it does new models for knowing and engaging with the contemporary world.
A riveting new volume exploring the power and provocation of medieval English and the trope of the seafarer
"The Off-Modern charts a fresh path beyond the categories of modernism and postmodernism, center and periphery, artistic theory and practice"--
This edited collection brings together established global scholars and new thinkers to outline fresh concepts and theoretical perspectives for criminological research and analysis in the 21st century. Criminologists from the UK, USA, Canada and Australia evaluate the current condition of criminological theory and present students and researchers with new and revised ideas from the realms of politics, culture and subjectivity to unpack crime and violence in the precarious age of global neoliberalism. These ideas range from the micro-realm of the ‘personality disorder’ to the macro-realm of global ‘power-crime’. Rejecting or modifying the orthodox notion that crime and harm are largely the products of criminalisation and control systems, these scholars bring causes and conditions back into play in an eclectic yet thematic way that should inspire students and researchers to once again investigate the reasons why some individuals and groups elect to harm others rather than seek sociability. This collection will inspire new criminologists to both look outside their discipline for new ideas to import, and to create new ideas within their discipline to reinvigorate it and further strengthen its ability to explain the crimes and harms that we see around us today. This book will be of particular interest to academics and both undergraduate and postgraduate students in the field of criminology, especially to those looking for theoretical concepts and frameworks for dissertations, theses and research reports.
Much of the work done on the Post45 literary field carries an implicitly Americanist perspective. Even the name of the field suggests a certain literary history, with certain assumptions and blind spots about national spaces, identities, and histories. But what would Post45 look like when considered from outside of the United States? How do the current contours of the field exclude certain voices, either in the United States or elsewhere in the world? And how would such new perspectives shift the beginning and possible endpoint of that literary period? What new narratives of the contemporary emerge if we begin telling the story in a different year or from a different national or global perspective? This collection attempts to re-frame the discussions in Post45 by engaging with non-American writers, texts, and perspectives. Additionally, productive conversations emerge by attempting to think of canonical American writers like Mark Twain and Ishmael Reed from other national and global perspectives. The authors consider both the ways texts themselves as well as their reception histories approach and challenge our understandings of the contemporary. Ultimately, the collection interrogates prevailing narratives of history, culture, identity, and space within the Post45 field. In so doing, it re-considers the historical periodization of the field, which currently covers approximately 75 years of literary history. The resulting essays thus work towards a new intertwined narrative about what defines the contemporary and how national and global literatures fit into that moment of world history.
"I am not angel, nor am I demon. I am not a ghost as some would like to believe. I am a Drifter, something God created in his spare time and then forgot on the fringes of reality." CHARLIE MURPHY, BOSS OF THE CRIME SYNDICATE THE ORGANIZATION, IS DEAD. His sassy, impulsive, bold, daring, and fearless twenty-year-old adopted-by-kidnapping daughter, Baby Doll, stands by his open grave—poised, ready to run. If Maurits, Charlie’s bodyguard and heir to the Justice position, discovers the role she played in Charlie’s death, she will pay the ultimate price. A few yards away, a freezing man huddles in a ball on a freshly filled-in grave. He doesn’t seem to be mourning. He seems to be helpless. Hopeless. Waiting. Foolish. He is a Drifter, waiting for a new tether—a person who will see him when no one else can. And he will stay with that person for an unknown period of time. For unknown reasons. He drifts through life invisible to all but one. Heaven and hell are unattainable for him. There is pain. Sometimes lots of pain. But there is no death, even when he wishes it would come. This time, he becomes tethered to Baby Doll, who is determined to finish what she started and will do anything to accomplish it. In a world where loyalties and betrayals are both rewarded with death, each pawn in this deadly game must stay one step ahead of the rest, or they will find themselves six feet under—next to Charlie Murphy.
Spectrality disrupts and fissures our conceptions of time, unmaking and complicating binaries such as life and death, presence and absence, the visible and the invisible, and literality and metaphor. A contribution to current conversations in memory studies and spectrality studies, Mind the Ghost is an experiment in reading ghosts otherwise. It explores, through contemporary fiction in French, sites of textual haunting that take the form of names, lists, objects, photographs, and stains. The book turns to Jacques Derrida and Hélène Cixous to rethink what constitutes and functions as a ghost, proposing that this figure solicits readers’ investment in mnemonic practices. Considering the memories and legacies of violence that have marked the greater part of the twentieth-century – in Algeria, Bosnia, Croatia, France, and Rwanda – this book traces absences, disappearances and reappearances, textual omissions and untimely irruptions to posit literature’s power to both remember and communicate beyond the bounds of chronological time. Through close readings of recent fiction by Kaouther Adimi, Jakuta Alikavazovic, Gaël Faye, Jérôme Ferrari, Patrick Modiano, Lydie Salvayre, Leïla Sebbar, and Cécile Wajsbrot, Mind the Ghost articulates the mechanisms through which readers themselves become haunted.