CANADIAN REVIEW OF AMERICAN STUDIES最新文献

{"title":"Être dansés.Technomagie, culture électronique et socialité après l'humanisme","authors":"Vincenzo Susca","doi":"10.3138/cras-2021-015","DOIUrl":"https://doi.org/10.3138/cras-2021-015","url":null,"abstract":"Résumé:Les relations issues des paysages médiatiques contemporains, dont la danse techno née à Detroit dans les années 80 est une expression tant emblématique que radicale, révèlent de la part du corps social une capacité à associer ce qui est séparé dans le temps et l'espace qui appartenait jusqu'alors aux ordres spirituels et transcendants. Cet imaginaire modifie le rapport moderne entre technique et société selon un paradigme qui pourrait être nommé « technomagie ». « technomagique ». Les communions aux nuances païennes célébrées par les nouveaux rites des médias en ligne et dans le cadre des scènes technos alimentent une forme de croyance fondée sur le partage d'un secret, d'un ordre émotionnel et d'un style de vie communautaire, ou basé sur le commun, dans le cadre d'une joie tragique où l'individu, enveloppé dans une matrice technosociétale, se perd dans quelque chose de plus grand que soi. Il y a là les premières ébauches d'une nouvelle chair aux allures posthumaines, explorée dans cet article au prisme de la sociologie de l'imaginaire et des sciences de la communication.Abstract:The relations resulting from the contemporary mediascapes, of which the techno dance born in Detroit in the eighties is an emblematic as well as radical expression, reveal on behalf of the social body a capacity to associate what is separated in time and space, which belonged until then to the spiritual and transcendental orders. This imaginary modifies the modern relation between technique and society according to a paradigm that could be named \"technomagic.\" The communions with pagan nuances celebrated by the new rites of the online media and within the framework of the techno scenes feed a form of belief based on the sharing of a secret, an emotional order, and a communal lifestyle or else based on the common, within the framework of a tragic joy, where the individual, wrapped in a techno-societal matrix, loses himself in something greater than himself. There are the first drafts of a new flesh with posthuman allure, explored in this article through the prism of the sociology of the imaginary and the sciences of communication.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"52 1","pages":"241 - 261"},"PeriodicalIF":0.1,"publicationDate":"2022-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46456168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mad Men and the Falling Bodies of 9/11","authors":"Dan Adleman, Chris Vanderwees","doi":"10.3138/cras-2021-014","DOIUrl":"https://doi.org/10.3138/cras-2021-014","url":null,"abstract":"Abstract:In this article, Daniel Adleman and Chris Vanderwees explore the unique manner in which AMC's Mad Men remediates traumatic images of the 11 September 2001 terrorist attack on Manhattan's Twin Towers. The authors take up the production of the show's title sequence, the media controversy surrounding its representation of 9/11's falling bodies, and Don Draper's perilous trajectory over the course of the series. Their analyses lead Adleman and Vanderwees to dwell on Mad Men's portrayal of the advertising industry as a crucible of, and synecdoche for, unfettered capitalism. The authors contend that Mad Men's falling man sequence ultimately serves as an uncanny commentary on American political anxieties, contradictions, and uncertainties at the beginning of the twenty-first century.Résumé:Dans le présent article, Daniel Adleman et Chris Vanderwees examinent la manière singulière avec laquelle Mad Men de la chaîne AMC s'emploie à remédier aux images traumatiques de l'attaque terroriste des tours jumelles du World Trade Center à Manhattan le 11 septembre 2001. Les auteurs analysent la sequence d'ouverture de la série, la controverse médiatique entourant sa représentation de la chute des corps du 11 septembre ainsi que la trajectoire périlleuse de Don Draper au cours de la série. Ces analyses permettent à Adleman et Vanderwees d'aborder la représentation de l'industrie de la publicité que propose Mad Men en tant que creuset et synecdoque du capitalisme sauvage. Les auteurs soutiennent que la séquence de l'homme qui tombe dans Mad Men sert en fin de compte de commentaire étrange au sujet des angoisses, des contradictions et des incertitudes politiques américaines en ce début de XXIe siècle.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"52 1","pages":"229 - 240"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47930161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A \"Burlesque Queen in Bobby Socks\": Domesticity, Criminality, and Suspense in Charles Williams's Noir Fiction","authors":"M. Jaber","doi":"10.3138/cras-2021-004","DOIUrl":"https://doi.org/10.3138/cras-2021-004","url":null,"abstract":"Abstract:This article proposes that Charles Williams's mid-twentieth-century noir fiction reshapes post-war representations of gender roles and paves the way for various renditions and developments of noir. Williams's works are narratives of transgression meeting domesticity, crime meeting docility, and cunning meeting conformity; they portray a deadly recipe that comprises different, even conflicting ingredients of a fusion between domesticity, crime, and suspense. By examining the recurring figure of the criminal housewife in his work, especially Hell Hath No Fury (1953), this article argues that Williams brings forth a complex and subversive gender schema to trouble both the creed of domesticity popular in the 1950s and the stereotyping of the lethal seductress prevalent in noir fiction. By so doing, Williams's noir not only brings the transgression of women to the fore but also displays a compelling picture of post-war gender roles in the US under McCarthyism.Résumé:Le présent article soutient que le roman noir du milieu du vingtième siècle de Charles Williams refaçonne les représentations de l'après-guerre concernant les rôles de genre et ouvre la voie à divers développements et interprétations du roman noir. Les œuvres de Williams donnent à voir des récits de transgression qui côtoient la domesticité, le crime qui se mêle à la docilité, et la ruse qui côtoie la conformité. Ces œuvres présentent une recette mortelle qui renferme différents éléments, voire incompatibles, d'une fusion entre la domesticité, le crime et le suspense. En examinant la figure récurrente de la ménagère criminelle dans son œuvre, en particulier Hell Hath No Fury (1953), cet article soutient que Williams propose un schéma de genre complexe et subversif des principes de la domesticité populaires dans les années 1950 et les stéréotypes sur la séductrice mortelle fréquents dans le roman noir. Ce faisant, le roman noir de Williams met en avant non seulement la transgression des femmes, mais il brosse également un tableau convaincant des rôles de genre de l'après-guerre aux États-Unis sous le maccarthysme.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"52 1","pages":"35 - 52"},"PeriodicalIF":0.1,"publicationDate":"2021-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44847861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Trump's Base! You Can Say That Again!! An Optimistic Deconstruction of Base Politics","authors":"Bradley D. Clissold","doi":"10.3138/cras-2021-001","DOIUrl":"https://doi.org/10.3138/cras-2021-001","url":null,"abstract":"Abstract:An expansion of a presentation given at the annual meeting of the Canadian Association for American Studies in Montreal in 2019, prior to the beginning of the COVID-19 pandemic and the 2020 US election, this paper playfully challenges the rhetorical idea of Donald Trump's base political support (as unconditional and foundational) through Derridean-styled deconstruction, a line of critical inquiry that repeatedly keeps riffing and looping back on itself to undermine the authority and foundations of base support by playing with the homophonic significations of base/ bass/baise in an assortment of psychosexual, pop-cultural, and satirically philosophical ways.Résumé:Version développée d'une communication donnée à Montréal en 2019 lors du congrès annuel de la Canadian Association for American Studies avant le début de la pandémie de Covid-19 et l'élection présidentielle américaine de 2020, le présent article défie de manière ludique l'idée de la rhétorique du soutien politique de la base de Donald Trump (comme étant inconditionnelle et fondamentale) au travers de la déconstruction derridienne, une approche critique qui, à l'image d'un riff, revient sans cesse sur elle-même pour saper l'autorité et les fondements de l'appui de la base en jouant avec les significations homophoniques de base/basse/baise sous différentes formes, notamment psychosexuelles, satiriquement philosophiques, et de culture populaire.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"52 1","pages":"1 - 15"},"PeriodicalIF":0.1,"publicationDate":"2021-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47286454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"American Studies in Review","authors":"F. Carroll","doi":"10.3138/cras-2021-003","DOIUrl":"https://doi.org/10.3138/cras-2021-003","url":null,"abstract":"The American Civil War had a serious impact in Europe because the United States supplied vital raw materials for both Britain and France and was also a major market for their manufactured goods. The prospect of intervention in the war raised difficult issues—morally repugnant support of slavery on the one hand, but on the other, in the aftermath of the rebellions of 1848 in Europe, the possibility to weaken democratic republicanism. Mediation remained elusive. Britain, being the leading economic, naval, and colonial power, was the most threatening and most involved with both the Union and Confederate sides in the war. Britain’s diplomatic and maritime policy is the most extensively studied, augmented by fresh examinations of the British minister to the United States, Lord Lyons. New research also examines possible French involvement in the war and the complications arising from France’s invasion of Mexico.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47911381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Revisiting Auburn Avenue: The Construction of an Afrofuturist Counterpublic Space","authors":"Elyes Hanafi","doi":"10.3138/cras-2021-002","DOIUrl":"https://doi.org/10.3138/cras-2021-002","url":null,"abstract":"Abstract:The black counterpublic, as a space where black people could exercise their discursive contestation and participatory deliberation, has too often served to produce a counter-discourse aiming at defying white hegemonic mode of rule and racialized categorization of members of society. In the same vein, Afrofuturism, as a burgeoning cultural movement in the United States, employs the Afrodiasporic experience as a backdrop against which to contest the white-narrated version of black history and to project a better future for people of African descent. Merging the underlying philosophies of the black counterpublic and Afrofuturism, this paper seeks to advance the notion of the Afrofuturist counterpublic as a more embedded concept that tends to address the past and future of the black experience in a more explicit and overt form. Drawing mainly on Inwood's representation of the redevelopment project along Auburn Avenue in Atlanta, GA, as a contemporary form of the counterpublic, this article adds to his insights by suggesting that Auburn Avenue as a rehabilitated space is deeply informed by the undergirding tenets of the counterpublic and Afrofuturist theories so as to exalt it to a symbol of an Afrofuturist counterpublic.Résumé:Le contre-public noir, c'est-à-dire l'espace où les Noirs pouvaient exercer leur contestation discursive et leur délibération participative, a trop souvent servi à produire un contre-discours visant à défier l'autorité hégémonique blanche et la catégorisation racialisée des membres de la société. Dans la même veine, l'afrofuturisme, mouvement culturel en plein essor aux États-Unis, utilise l'expérience afrodiasporique comme toile de fond afin de contester la version de l'histoire des Noirs racontée par les Blancs et de projeter un avenir meilleur pour les personnes d'ascendance africaine. En fusionnant les principes directeurs qui sous-tendent le contre-public noir et l'afrofuturisme, l'article cherche à présenter la notion de contre-public afrofuturiste comme un concept bien enraciné qui tend à aborder le passé et l'avenir de l'expérience noire sous une forme plus explicite et plus ouverte. S'appuyant principalement sur la représentation que se fait Inwood du projet de réaménagement d'Auburn Avenue à Atlanta, en Géorgie, soit celle d'une forme contemporaine de contre-public, cet article renforce l'interprétation de cet auteur en affirmant qu'Auburn Avenue en tant qu'espace réhabilité est profondément éclairée par les principes sous-jacents du contre-public et par les théories afrofuturistes de manière à l'élever au rang de symbole d'un contre-public afrofuturiste.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"52 1","pages":"16 - 34"},"PeriodicalIF":0.1,"publicationDate":"2021-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42228533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction—New Perspectives on New Television","authors":"Dan Adleman","doi":"10.3138/cras-2020-008","DOIUrl":"https://doi.org/10.3138/cras-2020-008","url":null,"abstract":"","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"51 1","pages":"193 - 195"},"PeriodicalIF":0.1,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48616979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Impact of Mis-Recognition on Homeland for Muslim Second-Generation Immigrants in Post-9/11 America","authors":"A. Pirmohamed","doi":"10.3138/cras-2020-018","DOIUrl":"https://doi.org/10.3138/cras-2020-018","url":null,"abstract":"Abstract:This article examines literatures written largely within the last three years by poets Kazim Ali, Fatimah Asghar, and Tarfia Faizullah. It illustrates how Muslim second-generation immigrant writers construct figurative homelands that reclaim or reject their Western/ancestral identities by interrogating “them” versus “us” binaries and/or crafting notions of the “we” on which they belong. This research is guided by studies on the perceptions and mis-recognitions of Muslims since 11 September 2001 by Sadia Abbas, Naseem L. Aumeerally, and Arjun Appadurai. Overall, it examines the profound impact of 9/11 on Muslim second-generation immigrants’ sense of homeland, belonging, and security in America.Résumé:Cet article examine la littérature écrite surtout au cours des trois dernières années par les poètes Kazim Ali, Fatimah Asghar et Tarfia Faizullah. Il illustre comment les écrivains et écrivaines musulmans américains de deuxième génération construisent des patries figuratives qui réapproprient ou rejettent leurs identités occidentales/ancestrales en interrogeant les binaires « eux » contre « nous » et/ou créant des notions du « nous » auquel ils et elles appartiennent. Cette recherche est guidée par des études sur les perceptions et les mauvaises reconnaissances des musulmans depuis les attentats du 11 septembre par Sadia Abbas, Naseem L. Aumeerally et Arjun Appadurai. En général, il examine l’impact profond des attentats du 11 septembre sur le sens que les musulmans américains de deuxième génération ont de la patrie, de l’appartenance et de la sécurité aux États-Unis.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"51 1","pages":"157 - 172"},"PeriodicalIF":0.1,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44899553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Journey of Self-Defence through Sound in Claudia Rankine’s Citizen","authors":"L. Ajlani","doi":"10.3138/CRAS-2020-019","DOIUrl":"https://doi.org/10.3138/CRAS-2020-019","url":null,"abstract":"Abstract:In Citizen: An American Lyric, Claudia Rankine creates a powerful contemporary embodiment of the evolution of sound in African American vernacular tradition. In this close reading, the poem’s oral expression is explored through a sonic lens and linguistics. From the forced sibilant silence of [s] to the vocalized plosive protest of [b], the poem’s sonic journey calls for louder self-defence in the fight against inequality. Rankine is pushing the public to stop, take in the stories of micro- and macroaggressions, and listen to the magnitude of their impact and interruptions in and of African American lives.Résumé:Dans Citizen: An American Lyric, Claudia Rankine crée une puissante incarnation contemporaine de l’évolution du son dans la tradition vernaculaire afro-américaine. Dans cette étude approfondie, l’expression orale du poème est explorée d’un point de vue sonore et linguistique. Du silence forcé de la sibilante [s] à la protestation vocalisée de la plosive [b], le trajet sonore du poème exige une autodéfense plus bruyante dans la lutte contre l’inégalité. Rankine demande au public d’arrêter, d’absorber les histoires de micro- et de macroagressions, et d’écouter l’ampleur de leur impact et des interruptions dans et des vies afro-américaines.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"51 1","pages":"108 - 118"},"PeriodicalIF":0.1,"publicationDate":"2021-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46652447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"What Is Long-Form Television? An Answer to Jason Mittell's Complex TV","authors":"William Bartley","doi":"10.3138/CRAS-2020-016","DOIUrl":"https://doi.org/10.3138/CRAS-2020-016","url":null,"abstract":"Abstract:What is long-form television precisely? There is a consensus that seems to accept it as a creative departure from and adaptation of traditional television, cinema, and—most importantly—the serial novel. Nevertheless, this is a claim that must survive Jason Mittell's argument in Complex TV: The Poetics of Contemporary Television Storytelling. Mittell rejects the view that the new kind of television is a hybrid form, instead, affirming that it is a form unique to television itself and so different in kind from the novel and the cinema. Accordingly, Mittell tries to develop a medium-specific terminology to capture and circumscribe this supposedly new conceptual space. I contend, however, that the form resists this categorical purification; it is so utterly bound up with the novel and cinema that it would simply cease to exist without them. Mittell's definition of \"complex TV\" unintentionally exposes how central the analogy to the novel and the cinema is to the conception of long-form television and, ultimately, his position is parasitically dependent on that analogy. His resistance to the cinematic and novelistic is consequential: we see how his assertion of the independence of television impoverishes his reading of arguably the greatest long-form series, The Wire.Résumé:Résumé : Qu'est-ce que la télévision long format, exactement? Il y a un consensus qui semble l'accepter comme étant un virage créatif et une adaptation de la télévision traditionnelle, du cinéma et — de façon encore plus importante — du roman sériel. Néanmoins, cette déclaration se doit de survivre l'argument de Jason Mittell dans Complex TV: The Poetics of Contemporary Television Storytelling. Mittell rejette la perspective que la nouvelle sorte de télévision est une forme hybride; au contraire, il affirme que c'est une forme unique à la télévision même et très différente du roman et du cinéma. En effet, Mittell tente de développer une terminologie spécifique au médium pour capturer et limiter ce prétendu nouvel espace conceptuel. Je soutiens, au contraire, que la forme résiste à cette purification catégorique; elle est tellement liée au roman et au cinéma qu'elle cesserait tout simplement d'exister sans eux. La définition de Mittell d'une « TV complexe » expose involontairement à quel point l'analogie au roman et au cinéma est centrale à la télévision long-format et, au final, sa position dépend sur cette analogie. Sa résistance au cinématique et au romanesque est important : nous constatons que son affirmation de l'indépendance de la télévision appauvrit sa lecture de ce qui est probablement la meilleure série long format, The Wire.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"51 1","pages":"261 - 275"},"PeriodicalIF":0.1,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41582789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}