CONTEMPORARY LITERATURE最新文献_第5页

Samanta Schweblin's Fever Dream: Watery Toxicity, Percolating Disquietude 萨曼塔·施韦布林的发烧梦:水毒性，渗透不安

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-03-10 DOI: 10.3368/cl.62.1.1

Olivia Vázquez-Medina

引用次数: 0

An Interview with Behrouz Boochani 采访贝鲁兹·布查尼

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-01-01 DOI: 10.3368/cl.62.4.451

T. Toremans

引用次数: 0

An Interview with Manuel Muñoz 采访曼纽尔Muñoz

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-01-01 DOI: 10.3368/cl.62.3.279

Rafael Pérez-Torres

引用次数: 0

Index to Volumes 61 and 62 第61卷和第62卷索引

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2022-01-01 DOI: 10.3368/cl.62.4.607

引用次数: 0

The Radical Conservatism of Black Rural Literature 黑人乡村文学的激进保守主义

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2021-10-29 DOI: 10.3368/cl.61.4.431

Mitchum Huehls

{"title":"The Radical Conservatism of Black Rural Literature","authors":"Mitchum Huehls","doi":"10.3368/cl.61.4.431","DOIUrl":"https://doi.org/10.3368/cl.61.4.431","url":null,"abstract":"n 2015, Picador published Paul Beatty’s The Sellout, a very funny novel about a black man in Los Angeles who achieves the liberal goals of the civil rights movement (racial justice, equality, and freedom) through distinctly illiberal means (reinstituting segregation in his community). A crucial component of this project―lifting up by selling out―involves the protagonist’s embrace of a rural, agricultural lifestyle in the middle of an urban metropolis. That is, he is marked as a race traitor at least in part because, as he readily acknowledges, his commitment to farming appears to endorse Booker T. Washington’s infamous call to previously enslaved blacks and their progeny: “Cast down your bucket where you are” (The Sellout 35). When Washington used that phrase in his famous Atlanta Compromise speech of 1895, “where you are” was often the very farms and fields of a Southern agrarian economy predicated on centuries of slavery. But such compromise doesn’t bother the Sellout, who rides on horseback down city streets, profits from the two crops that have the most “cultural relevance” to him (“watermelon and weed” [62]), and uses horticultural logic to justify racial segregation: “I’m a farmer: we segregate in an effort to give every tree, every plant, every poor Mexican, every poor nigger, a chance for equal access to sunlight and water; we make sure every living organism has room to breathe” (214). M I T C H U M H U E H L S","PeriodicalId":44998,"journal":{"name":"CONTEMPORARY LITERATURE","volume":"61 1","pages":"431 - 459"},"PeriodicalIF":0.3,"publicationDate":"2021-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45019382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The Future that Failed: Speculation and Nostalgia in Francis Spufford's Red Plenty 失败的未来：弗朗西斯·斯普福德《红色丰盛》中的思辨与怀旧

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2021-10-29 DOI: 10.3368/cl.61.4.483

Marc P. Singer

{"title":"The Future that Failed: Speculation and Nostalgia in Francis Spufford's Red Plenty","authors":"Marc P. Singer","doi":"10.3368/cl.61.4.483","DOIUrl":"https://doi.org/10.3368/cl.61.4.483","url":null,"abstract":"© 2021 by the Board of Regents of the University of Wisconsin System ed Plenty is a difficult work to categorize. An examination of the planned economy in the Soviet Union during the Khrushchev era, the book, published in 2010, frames historical events through fictional portrayals of real people and realistic depictions of fictitious characters, defying classification even by its author. “This is not a novel,” Francis Spufford writes in the book’s opening line, “It has too much to explain, to be one of those. But it is not a history either, for it does its explaining in the form of a story” (3). This ambiguity has prompted many readers to approach the book as a work of alternative history, a chronicle of the Soviet abundance that never was but might have been. Fredric Jameson identifies Red Plenty as a counterfactual novel, though he notes that Spufford “does not undertake to represent his alternate universe with science-fictional speculation” (“In Soviet Arcadia” 126). In contrast, Adam Roberts, writing for Strange Horizons, a magazine of speculative fiction, insists that “the novel is science fiction,” but adds that the science in question is economics (“Red Plenty”). Spufford’s publishers, Faber and Faber, take a similar approach, quoting science fiction author Ken MacLeod’s description of the book: “It’s like a science fiction novel by Kim Stanley Robinson or Ursula Le Guin” (“Hindsight and Red Plenty”). Robinson himself, in a seminar on Red Plenty held on the blog Crooked Timber, suggests the book should be read in the contexts of both science fiction and socialist realism while also arguing that it is unquestionably a novel, Spufford’s demurral notwithstanding (“Red Plenty Is a Novel”). M A R C S I N G E R","PeriodicalId":44998,"journal":{"name":"CONTEMPORARY LITERATURE","volume":"61 1","pages":"483 - 504"},"PeriodicalIF":0.3,"publicationDate":"2021-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42404501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The Overtone over Robert Ashley's Opera Novel Quicksand 罗伯特·阿什利歌剧小说《流沙》序曲

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2021-10-29 DOI: 10.3368/cl.61.4.460

Sydney Boyd

{"title":"The Overtone over Robert Ashley's Opera Novel Quicksand","authors":"Sydney Boyd","doi":"10.3368/cl.61.4.460","DOIUrl":"https://doi.org/10.3368/cl.61.4.460","url":null,"abstract":"© 2021 by the Board of Regents of the University of Wisconsin System uicksand bewilders. Robert Ashley published it as an opera libretto “written in the form of a novel” in 2011,1 and it premiered in 2016 as an “opera-novel.”2 Described by Ashley as “plot-driven,” Quicksand follows an aging composer’s last adventure as an undercover spy who helps overthrow a South Asian dictatorship with his unsuspecting wife and her yoga group in tow (8). The story, told erratically and inconsistently by its narrator, is muddled, and a larger ambiguity looms over the work, unsettling conceptions of whatever puzzling story its narrator is telling, which is, at its root: what is Quicksand? Simultaneously a novel and an opera, Quicksand has a plot, like all narratives, that undergirds a telling and produces the sense of a first-person narrator. At the same time, it has a score with libretto (musically speaking) in an opera where the role of narrator is performed. Because in performance there are several media operating simultaneously, contradictory temporalities wrap through the story. While multiple media operate in all opera performances, Quicksand uses conceptions of narrative to turn time distinctively into a","PeriodicalId":44998,"journal":{"name":"CONTEMPORARY LITERATURE","volume":"61 1","pages":"460 - 482"},"PeriodicalIF":0.3,"publicationDate":"2021-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47690374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Thinking the Anthropocene South 思考人类世的南方

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2021-10-29 DOI: 10.3368/cl.61.4.537

M. Samuelson

引用次数: 1

Disenchanting Technoliberalism 迷人的技术自由主义

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2021-10-29 DOI: 10.3368/cl.61.4.530

J. Schnepf

{"title":"Disenchanting Technoliberalism","authors":"J. Schnepf","doi":"10.3368/cl.61.4.530","DOIUrl":"https://doi.org/10.3368/cl.61.4.530","url":null,"abstract":"n a recent issue of PMLA, Wai Chee Dimock’s Editor’s Column, entitled “AI and the Humanities,” refers to two distinct paths for the artificial intelligence of the future: “How can we create algorithms that would complement rather than replace human beings, help rather than destroy us?” she asks.1 Dimock prefaces these alternatives with PMLA’s readership in mind, citing studies that warn “those ‘with graduate or professional degrees will be almost four times as exposed to AI as workers with just a high school degree’” and that the advent of new AI will “[hit] educated workers the hardest.”2 What “exposure” to AI might mean for literary scholars practically is never specified but the implication is that impending automation poses yet another threat to knowledge workers in literature programs who already find their material livelihoods jeopardized by the crises of defunding and adjunctification. To adapt, Dimock intimates that scholars of literature might enter into interdisciplinary arrangements with the computer scientists and engineers who have a hand in AI design. She observes that Stanford’s Institute for Human-Centered Artificial Intelligence, for example, now counts English professors among its faculty. In","PeriodicalId":44998,"journal":{"name":"CONTEMPORARY LITERATURE","volume":"61 1","pages":"530 - 536"},"PeriodicalIF":0.3,"publicationDate":"2021-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46496915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Conceptual Poet as Witness 作为见证的概念诗人

IF 0.3 4区文学

CONTEMPORARY LITERATURE Pub Date : 2021-10-29 DOI: 10.3368/cl.61.4.505

Moberley Luger

{"title":"The Conceptual Poet as Witness","authors":"Moberley Luger","doi":"10.3368/cl.61.4.505","DOIUrl":"https://doi.org/10.3368/cl.61.4.505","url":null,"abstract":"© 2021 by the Board of Regents of the University of Wisconsin System t has been five years since David Kaufman asked in Postmodern Culture whether conceptual poetry was “still interesting.” His conclusion―yes, it was―offered critical reprieve for a genre that was assessed, barely a year later, as already “eight minutes [into its] fifteen minutes of fame” (Price). Since then, some critics have indeed lost patience with the genre, one that uses procedural and constraint-based methods to rewrite, re-mediate, and often proudly copy existing texts. In spring 2015, leading conceptual poet Kenneth Goldsmith offended many of the genre’s remaining followers by turning the autopsy report for slain African American teenager Michael Brown into a poetic performance.1 In one of the more memorable dismissals of the practice as a whole (the internet teems with plenty to choose from), poet Charles Simic compared conceptual poetry to “a violin played by a hairdryer” (qtd. in Wilkinson). Although some critics have deemed the practice “already dead” (Hong), poets continue to experiment with conceptual methods. Other critics have remained interested, as recent books and essays by Brian Reed, Scott Pound, Seth Perlow, David","PeriodicalId":44998,"journal":{"name":"CONTEMPORARY LITERATURE","volume":"61 1","pages":"505 - 529"},"PeriodicalIF":0.3,"publicationDate":"2021-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49332332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1