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In 2030, an old man who has survived the holocaustic destruction of civilization in the 1980's illuminates the events of the past by portraying the lives of his cousin, a journalist during the 1970 war measures act, and his stepfather, a German caught up in the madness of the Hitler era.
The fabric of the western literary tradition is not always predictable. In one wayward strand, waywardness itself is at work, delay becomes almost predictable, triviality is auspicious, and failure is cheerfully admired. This is loiterature. Loiterature is the first book to identify this strand, to follow its path through major works and genres, and to evaluate its literary significance. ø By offering subtle resistance to the laws of "good social order," loiterly literature blurs the distinctions between innocent pleasure and harmless relaxation on the one hand, and not-so-innocent intent on the other. The result is covert social criticism that casts doubt on the values good citizens hold dear?values like discipline, organization, productivity, and, above all, work. It levels this criticism, however, under the guise of innocent wit or harmless entertainment. Loiterature distracts attention the way a street conjurer diverts us with his sleight of hand.øøø If the pleasurable has critical potential, may not one of the functions of the critical be to produce pleasure? The ability to digress, Ross Chambers suggests, is at the heart of both, and loiterature?s digressive waywardness offers something to ponder for critics of culture as well as lovers of literature.
Throughout her career, Colette experimented with genre for the purposes of telling stories of her life. The books that resulted, known collectively as her 'livres-souvenirs', are far from being autobiographies in the customary sense. By addressing the need to reconsider the generic issues surrounding autobiographical story-telling, Anne Freadman's study brings the richness of 'the genre question' to the fore, shedding a fresh light on this much-loved body of work. From the vignettes ofLa Maison de Claudineto the note-books ofL'etoile vesper andLe Fanal bleu, from stories of losing to stories of collecting, Colette's memory books take different narrative forms and explore the passing of time in different ways. This book investigates Colette's variegated generic choices as so many ways of 'telling time'.
The Violence of Modernity turns to Charles Baudelaire, one of the most canonical figures of literary modernism, in order to reclaim an aesthetic legacy for ethical inquiry and historical critique. Works of modern literature are commonly theorized as symptomatic responses to the trauma of history. In a climate that tends to privilege crisis over critique, Debarati Sanyal argues that it is urgent to rethink literary experience in terms that recall its contestatory potential. Examining Baudelaire's poems afresh, she shifts the focus of critical attention toward an account of modernism as an active engagement with violence, specifically the violence of history in nineteenth-century France. Sanyal analyzes a literary current that uses the traditional hallmarks of modernism—irony, intertextuality, self-reflexivity, and formalism—to challenge the historical violence of modernity. Baudelaire and the committed ironists writing in his wake teach us how to read and resist the violence of history, and thereby to challenge the melancholy tenor of our contemporary "wound culture." In a series of provocative readings, Sanyal presents Baudelaire's poetry as an aesthetic form that contests historical violence through rhetorical strategies of complicity, counterviolence, and critique. The book develops a new account of Baudelaire's significance as a modernist by dislodging him both from his traditional status as a practitioner of "art for art's sake" and from his more recent incarnation as the poet of trauma. Following her extended analysis of Baudelaire's poetry, Sanyal in later chapters considers a number of authors influenced by his strategies—including Rachilde, Virginie Despentes, Albert Camus, and Jean-Paul Sartre—to examine the relevance of their interventions for our current climate of trauma and terror. The result is a study that underscores how Baudelaire's legacy continues to energize literary engagements with the violence of modernity.
In The Hundreds Lauren Berlant and Kathleen Stewart speculate on writing, affect, politics, and attention to processes of world-making. The experiment of the one hundred word constraint—each piece is one hundred or multiples of one hundred words long—amplifies the resonance of things that are happening in atmospheres, rhythms of encounter, and scenes that shift the social and conceptual ground. What's an encounter with anything once it's seen as an incitement to composition? What's a concept or a theory if they're no longer seen as a truth effect, but a training in absorption, attention, and framing? The Hundreds includes four indexes in which Andrew Causey, Susan Lepselter, Fred Moten, and Stephen Muecke each respond with their own compositional, conceptual, and formal staging of the worlds of the book.
In Dirt for Art's Sake, Elisabeth Ladenson recounts the most visible of modern obscenity trials involving scandalous books and their authors. What, she asks, do these often-colorful legal histories have to tell us about the works themselves and about a changing cultural climate that first treated them as filth and later celebrated them as masterpieces? Ladenson's narrative starts with Madame Bovary (Flaubert was tried in France in 1857) and finishes with Fanny Hill (written in the eighteenth century, put on trial in the United States in 1966); she considers, along the way, Les Fleurs du Mal, Ulysses, The Well of Loneliness, Lady Chatterley's Lover, Tropic of Cancer, Lolita, and the works of the Marquis de Sade. Over the course of roughly a century, Ladenson finds, two ideas that had been circulating in the form of avant-garde heresy gradually became accepted as truisms, and eventually as grounds for legal defense. The first is captured in the formula "art for art's sake"-the notion that a work of art exists in a realm independent of conventional morality. The second is realism, vilified by its critics as "dirt for dirt's sake." In Ladenson's view, the truth of the matter is closer to -dirt for art's sake-"the idea that the work of art may legitimately include the representation of all aspects of life, including the unpleasant and the sordid. Ladenson also considers cinematic adaptations of these novels, among them Vincente Minnelli's Madame Bovary, Stanley Kubrick's Lolita and the 1997 remake directed by Adrian Lyne, and various attempts to translate de Sade's works and life into film, which faced similar censorship travails. Written with a keen awareness of ongoing debates about free speech, Dirt for Art's Sake traces the legal and social acceptance of controversial works with critical acumen and delightful wit.
Simone de Beauvoir, Colette, and Marguerite Duras all lived long lives and were prolific writers until the end. This work's developmental approach to their creativity takes into account literary analysis but also discusses their work and lives from the standpoint of history and the social sciences, a three-way conjunction that considers age, gender and a culture that depends on the ideas of sexual difference for its national identity. The author incorporates the work of Betty Friedan, Carolyn Heilbrun and Margaret Gulette, among others, into her study.
The occasioning of self-disclosure humor / Susan M. Ervin-Tripp & Martin Lampert -- Direct address as a resource for humor / Neal R. Norrick & Claudia Bubel -- An interactional approach to irony development / Helga Kotthoff -- Multimodal and intertextual humor in the media reception situation : the case of watching football on TV / Cornelia Gerhardt -- Using humor to do masculinity at work / Stephanie Schnurr & Janet Holmes -- Boundary-marking humor : institutional, gender, and ethnic demarcation in the workplace / Bernadette Vine ... [et al.] Impolite responses to failed humor / Nancy D. Bell -- Failed humor in conversation : a double voicing analysis / Béatrice Priego-Valverde
When Aleksandar Hemon and Velibor Božovic became friends as teenagers in Sarajevo, it was, in Hemon's words, "pretty clear that our friendship was for life, even if we could have no notion of what lay ahead of us." In the coming years, it became clear that their future was going to be entirely unlike anything they might have imagined. Their beloved city was ripped to shreds by ethnic violence, its citizens suffering the longest siege in the history of modern warfare. Hemon was trapped abroad, in Chicago, when the siege began, and unable to return home, he watched in despair, alone and helpless, as the war unfolded in headlines and TV dispatches. Božovic, meanwhile, was trapped in Sarajevo with his family. As the conflict accelerated, he was conscripted into the Bosnian Army-even as his father, who had served in the Yugoslav People's Army since long before their country split apart, was being held in a Bosnian POW camp. In his essay "My Prisoner," Hemon tells Božovic's story of life in Sarajevo during the siege. His account revolves around one particular incident in the middle of the war when Božovic was offered the chance to visit his father in the POW camp-though not, of course, without an onerous quid pro quo. Almost twenty years later, in 2012, Hemon and Božovic are still friends for life. Hemon is now a writer in Chicago; Božovic is a photographer in Montreal. Hemon has traveled to Canada with his daughter to see his friend's art installation, My Prisoner, about that wartime reunion with his father. In this special ebook edition, both versions of "My Prisoner" are presented together. The result is a unique and extraordinary literary and artistic experience. Note: Hemon's essay appears in the Picador paperback and ebook editions of The Book of My Lives. Božovic's My Prisoner appears only in this enhanced ebook.
For well over a century educational reformers have looked for a breakthrough in the sciences of psychology and pedagogy that would dramatically improve the effectiveness of schooling. This book shows why such an ambition is an illusion. Schools are institutions which attempt to balance the needs of a bureaucratic society that funds them with the personal goals, interests, hopes and ambitions of the students who enroll in them. Reform efforts attempt to realign that balance without any clear conception of how the two are related. This book offers a theoretical account of the relation between the minds of learners and the institutional structure of the school that would account both for the ways that schooling remakes minds and societies and why such institutions are resistant to change.