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Serial Forms: The Unfinished Project of Modernity, 1815–1848 proposes an entirely new way of reading the transition into the modern. It is the first book in a series of three which will take the reader up to the end of the First World War, moving from a focus on London to a global perspective. Serial Forms sets out the theoretical and historical basis for all three volumes. It suggests that, as a serial news culture and a stadial historicism developed together between 1815 and 1848, seriality became the dominant form of the nineteenth century. Through serial newsprint, illustrations, performances, and shows, the past and the contemporary moment enter into public visibility together. Serial Forms argues that it is through seriality that the social is represented as increasingly politically urgent. The insistent rhythm of the serial reorganizes time, recalibrates and rescales the social, and will prepare the way for the 1848 revolutions which are the subject of the next book. By placing their work back into the messy print and performance culture from which it originally appeared, Serial Forms is able to produce new and exciting readings of familiar authors such as Scott, Byron, Dickens, and Gaskell. Rather than offering a rarefied intellectual history or chopping up the period into ‘Romantic’ and ‘Victorian’, Clare Pettitt tracks the development of communications technologies and their impact on the ways in which time, history and virtuality are imagined.
Serial Forms: The Unfinished Project of Modernity, 1815-1848 proposes an entirely new way of reading the transition into the modern. It is the first book in a series of three which will take the reader up to the end of the First World War, moving from a focus on London to a global perspective. Serial Forms sets out the theoretical and historical basis for all three volumes. It suggests that, as a serial news culture and a stadial historicism developed together between 1815 and 1848, seriality became the dominant form of the nineteenth century. Through serial newsprint, illustrations, performances, and shows, the past and the contemporary moment enter into public visibility together. Serial Forms argues that it is through seriality that the social is represented as increasingly politically urgent. The insistent rhythm of the serial reorganizes time, recalibrates and rescales the social, and will prepare the way for the 1848 revolutions which are the subject of the next book. By placing their work back into the messy print and performance culture from which it originally appeared, Serial Forms is able to produce new and exciting readings of familiar authors such as Scott, Byron, Dickens, and Gaskell. Rather than offering a rarefied intellectual history or chopping up the period into 'Romantic' and 'Victorian', Clare Pettitt tracks the development of communications technologies and their impact on the ways in which time, history and virtuality are imagined.
Shows how a series of revolutions that erupted across Europe in the mid to late 1840s were crucial to the creation of modern ideas of constitutional democracy, citizenship, and human rights.
Media of Serial Narrative, edited by Frank Kelleter, is the first book-length study to address the increasingly popular topic of serial narratives--specifically, how practices and forms of seriality shape media throughout the landscape of popular culture. In modern entertainment formats, seriality and popularity can seem so obviously connected that scholarship has long neglected to address their specific interrelations. This volume looks closely at the relationship between seriality, popularity, media, and narrative form and asks: What are the structural conditions of serial stories? Which historical circumstances are presupposed or supported by series and serials? How do commercial types of seriality differ from serial structures in other cultural fields? Media of Serial Narrative focuses on key sites and technologies of popular seriality since the mid-nineteenth century and up to today: newspapers, comics, cinema, television, and digital communication. Paying close attention to the affordances of individual media, as well as to their historical interactions, the fourteen chapters survey the forms, processes, and functions of popular serial storytelling. With individual chapters by Frank Kelleter, Jared Gardner, Daniel Stein, Christina Meyer, Scott Higgins, Shane Denson, Ruth Mayer, Kathleen Loock, Constantine Verevis, Jason Mittell, Sudeep Dasgupta, Sean O'Sullivan, Henry Jenkins, Christine Hämmerling, Mirjam Nast, and Andreas Sudmann, Media of Serial Narrative is an exciting and broad-ranging intervention in the fields of seriality, media, and narrative studies.
This volume has its starting point in the veritable explosion of serialized formats in all of forms representation, from painting to printing, beginning in the mid nineteenth century and the well-known fascination with series in biology, mathematics, music, art, or literature. The new media culture of the late nineteenth century, very much shaped by these serialized formats, sees itself confronted with questions of truthfulness in new and profound ways, just as perhaps the accelerated rhythm, anonymity, and broadened accessibility of new media today have created new possibilities for the dissemination of misinformation and, conversely, give us cause to interrogate anew our notions of truthfulness. By examining both the formal operations of both aesthetic and scientific objects in a series form, and the historical context of their publication or presentation, the contributions in this volume examine the often strained, but yet immensely productive relationship between the way in which a series negotiates questions of truthfulness: both by reference to the rules established in its series form or by means of its serial format. This volume provides ten detailed cases of the series form from the history of science and journalism, and the history of painting, photography, and literature as well.
Tracing the international consumption, distribution, and cultural importance of silent film serials in the 1910s and 1920s, Canjels provides an exciting new understanding of the cultural dimension and the cultural transformation and circulation of media forms. Specifically, he demonstrates that the serial film form goes far beyond the well-known American two-reel serial—the cliffhanger. Throughout the book, Canjels focuses on the biggest producers of serials, America, France, and Germany, while imported serials, such as those in the Netherlands, are also examined. This research offers new views on the serial work of well known directors as D.W. Griffith, Abel Gance, Erich von Stroheim, and Fritz Lang, while foregrounding the importance of lesser known directors such as Louis Feuillade or Joe May. In the early twentieth-century, serial productions were constantly undergoing change and were not merely distributed in their original form upon import. As adjusted serials were present in large quantities or confronted different social spaces, nationalistic feelings and views stimulated by the unrest of World War I and the expanding American film industry could be incorporated and attached to the serial form. Serial productions were not only adaptable to local discourses, they could actively stimulate and interact as well, influencing reception and further film production. By examining the distribution, reception, and cultural contexts of American and European serials in various countries, this cross-cultural research makes both local and global observations. Canjels thus offers a highly relevant case study of transnational, transcultural and transmedia relations.
Serial Memoir chronicles the phenomenon of seriality in memoir, a transition in life writing toward repeated acts of self-representation in the later twentieth century. Such a shift demonstrates a new way to understand and represent constantly-shifting subjectivities and their ambivalent relationship to the concept and structure of the archive.
Perspectives on Schoenberg and Stravinsky is an analytical and historical study of the twentieth century's most influential figures, by Milton Babbitt, Arthur Berger, Edward T. Cone, Robert Craft, Claudio Spies, and others; with new bibliographic and discographic studies prepared especially for this revised edition. Originally published in 1968. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The Origins of the Philosophy of Symbolic Forms marks the culmination of Donald Phillip Verene’s work on Ernst Cassirer and heralds a major step forward in the critical work on the twentieth-century philosopher. Verene argues that Cassirer’s philosophy of symbolic forms cannot be understood apart from a dialectic between the Kantian and Hegelian philosophy that lies within it. Verene takes as his departure point that Cassirer never wishes to argue Kant over Hegel. Instead he takes from each what he needs, realizing that philosophical idealism itself did not stop with Kant but developed to Hegel, and that much of what remains problematic in Kantian philosophy finds particular solutions in Hegel’s philosophy. Cassirer never replaces transcendental reflection with dialectical speculation, but he does transfer dialectic from a logic of illusion, that is, the form of thinking beyond experience as Kant conceives it in the Critique of Pure Reason, to a logic of consciousness as Hegel employs it in the Phenomenology of Spirit. Cassirer rejects Kant’s thing-in-itself but he also rejects Hegel’s Absolute as well as Hegel’s conception of Aufhebung. Kant and Hegel remain the two main characters on his stage, but they are accompanied by a large secondary cast, with Goethe in the foreground. Cassirer not only contributes to Goethe scholarship, but in Goethe he finds crucial language to communicate his assertions. Verene introduces us to the originality of Cassirer’s philosophy so that we may find access to the riches it contains.
From prime-time television shows and graphic novels to the development of computer game expansion packs, the recent explosion of popular serials has provoked renewed interest in the history and economics of serialization, as well as the impact of this cultural form on readers, viewers, and gamers. In this volume, contributors—literary scholars, media theorists, and specialists in comics, graphic novels, and digital culture—examine the economic, narratological, and social effects of serials from the nineteenth to the twenty-first century and offer some predictions of where the form will go from here.