Genre (Los Angeles, Calif.)最新文献_第5页

Character: Three Inquiries in Literary StudiesCharacter as Form 性格:文学研究中的三个问题——性格即形式

Genre (Los Angeles, Calif.) Pub Date : 2021-07-01 DOI: 10.1215/00166928-9263118

Samuel Fallon

引用次数: 0

The Structure of Scares: Art, Horror, and Immersion in Marisha Pessl's Night Film 恐怖的结构:艺术，恐怖，沉浸在Marisha Pessl的夜间电影

Genre (Los Angeles, Calif.) Pub Date : 2021-07-01 DOI: 10.1215/00166928-9263091

Melissa C. Macero

引用次数: 0

The Mom and the Many: Animal Subplots and Vulnerable Characters in Ducks, Newburyport 母亲和众人:《鸭子》中的动物次要情节和脆弱人物，纽伯里波特

Genre (Los Angeles, Calif.) Pub Date : 2021-07-01 DOI: 10.1215/00166928-9263104

B. de Bruyn

引用次数: 2

“Is an Archive Enough?”: Megatextual Debris in the Work of Rachel Blau DuPlessis “一个档案就够了吗?”:瑞秋·布劳·杜普莱西斯作品中的巨文本碎片

Genre (Los Angeles, Calif.) Pub Date : 2021-04-01 DOI: 10.1215/00166928-8911550

Bradley J. Fest

{"title":"“Is an Archive Enough?”: Megatextual Debris in the Work of Rachel Blau DuPlessis","authors":"Bradley J. Fest","doi":"10.1215/00166928-8911550","DOIUrl":"https://doi.org/10.1215/00166928-8911550","url":null,"abstract":"In the twenty-first century, digital technologies have made it possible for writers and artists to create massively unreadable works through computational and collaborative composition, what the author has elsewhere called megatexts. The ubiquity of texts appearing across media that are quite literally too big to read—from experimental novels to television, film, and video games—signals that the megatext is an emergent form native to the era of neoliberalism. But what happens to other long forms, such as the twentieth-century long poem, when written in an era of megatextuality? Rachel Blau DuPlessis's work, including Drafts (1987–2013) and Traces, with Days (2017–), readily suggests itself as a case study for thinking through a megatextual impulse in the twenty-first-century long poem. Though her work is plainly indebted to its modernist precursors (H.D., Pound, Williams, etc.) while disavowing at every level of its composition a patriarchal will toward totality, DuPlessis's various experiments in the long poem are also thoroughly contemporary and respond to the economic, military, political, and environmental transformations of the neoliberal era by drawing upon and producing fragmentary, megatextual debris. This essay positions DuPlessis's work amidst a larger twenty-first-century media ecology, which includes both the megatext and the big, ambitious novel, and argues that rather than simply (and futilely) resist the neoliberal cultural logic of accumulation without end, DuPlessis hypertrophically uses the megatext's phallogocentric form against itself in order to interrogate more broadly what it means—socially, culturally, economically—to write a long poem in the age of hyperarchival accumulation.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79671268","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Two Paths for the Big Book: Olga Tokarczuk's Shifting Voice 《巨著的两条道路:奥尔加·托卡丘克的转变之声

Genre (Los Angeles, Calif.) Pub Date : 2021-04-01 DOI: 10.1215/00166928-8911511

Katarzyna Bartoszyńska

引用次数: 0

“Kill the Monster!”: My Favorite Thing Is Monsters and the Big, Ambitious (Graphic) Novel “杀死怪物!”:我最喜欢的是《怪物与野心勃勃的(图画)小说》

Genre (Los Angeles, Calif.) Pub Date : 2021-04-01 DOI: 10.1215/00166928-8911485

Maaheen Ahmed, Shiamin Kwa

{"title":"“Kill the Monster!”: My Favorite Thing Is Monsters and the Big, Ambitious (Graphic) Novel","authors":"Maaheen Ahmed, Shiamin Kwa","doi":"10.1215/00166928-8911485","DOIUrl":"https://doi.org/10.1215/00166928-8911485","url":null,"abstract":"In his discussion of the “big, ambitious novel,” James Wood dismisses both male and female authors but singles out Zadie Smith's White Teeth for most of his critique of what he terms “hysterical realism.” For Wood, recent long novels display too much imagination but not enough substance and depth of character; the new novel has become “a picture of life.” With its deliberate foregrounding of inhumanness and spectacularity, Emil Ferris's My Favorite Thing Is Monsters commits many of Wood's list of transgressions against the traditional novel. This article examines how Ferris's book is unaffected by negative reactions to this transgressiveness, championing transgression and ignored voices as the mode of expression best suited to the big, ambitious novel of our times. The book's heroine and purported author of the book touches readers and moves them through the monstrous form she imagines for herself. Her reproductions of comics covers and art works negotiate diverse visual vocabularies and their resulting aesthetic and historical scope. In filtering its story through a young protagonist who is marginalized on all counts (age, class, race, sex, sexual orientation), Ferris's “big, ambitious (graphic) novel” is also a layered response against the criticisms of childishness levied against comics. Transgression in My Favorite Thing Is Monsters becomes a way of rethinking tradition—of comics, of novels, and of graphic novels—in the broader terms of cultural history.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"60 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72729767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A “Hair-Trigger Society” and the Woman Who Felt Something in Anna Burns's Milkman “一触即发的社会”和在安娜·伯恩斯的《送奶工》中有所感触的女人

Genre (Los Angeles, Calif.) Pub Date : 2021-04-01 DOI: 10.1215/00166928-8911537

Sian White

{"title":"A “Hair-Trigger Society” and the Woman Who Felt Something in Anna Burns's Milkman","authors":"Sian White","doi":"10.1215/00166928-8911537","DOIUrl":"https://doi.org/10.1215/00166928-8911537","url":null,"abstract":"This article responds to debates about the “big, ambitious novel” and “hysterical realism” by challenging several prevailing scholarly orthodoxies about large-scale fiction: that whole world-building precludes the rendering of a single, feeling human; that mimesis and “hysterical” traits, like absurdity, are mutually exclusive; or that a whole-world view requires third-person narrative omniscience. The analysis centers on Anna Burns's Milkman (2018), a novel set in Troubles-era Northern Ireland that connects a young woman's experience with gendered and sexual power to the behavior, prejudices, and tacit understandings that undergird a society locked in sectarian conflict. The article argues that the novel's form—a first-person, past-tense narration—lends the character-narrator unique credibility as a teller because she has both firsthand experience and the critical distance of hindsight. To avoid postures of certainty and authority that come with both political power and narrative omniscience, the narrator uses irony and self-consciousness to critique storyworld power dynamics and expectations of literary realism. Burns's big, ambitious novel reveals that conveying a whole world and portraying a single, feeling human are in fact mutually constitutive aims. Moreover, the digressive and often absurd narration is precisely what makes the storyworld a persuasively plausible, if not verisimilar, rendering of Troubles-era Northern Ireland. By linking nationalism to problems of gender and sexual politics at the time, Burns's novel issues a warning about the reactionary postures and polarization in the contemporary moment surrounding Brexit, the #MeToo movement, and surging violence in Northern Ireland.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"44 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88372949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

“We'll Make Magic”: Zen Writers and Autofictional Readers in A Tale for the Time Being “我们将创造奇迹”:暂时故事中的禅宗作家和自编小说读者

Genre (Los Angeles, Calif.) Pub Date : 2021-04-01 DOI: 10.1215/00166928-8911524

M. Worthington

引用次数: 0

Writing Refugee Crisis in the Age of Amazon: Lost Children Archive's Reenactment Play 书写亚马逊时代的难民危机:失散儿童档案的重演剧

Genre (Los Angeles, Calif.) Pub Date : 2021-04-01 DOI: 10.1215/00166928-8911498

Patricia Stuelke

{"title":"Writing Refugee Crisis in the Age of Amazon: Lost Children Archive's Reenactment Play","authors":"Patricia Stuelke","doi":"10.1215/00166928-8911498","DOIUrl":"https://doi.org/10.1215/00166928-8911498","url":null,"abstract":"This essay analyzes Valeria Luiselli's 2019 novel Lost Children Archive's attempt to imagine anti-imperialist solidarity aesthetics in a moment of the increasing imbrication of the US literary sphere and settler colonial capitalist surveillance of the US-Mexico border, as well as the nonprofit care regime that has arisen to oppose and ameliorate its effects. Because these structures converge around overt and subterranean investments in settler colonial frontier fantasy, the essay focuses particularly on Lost Children Archive's engagement with the tradition of the white male road novel Western in the Americas—Luiselli's attempts to write both through and against this form—as part of the novel's larger attempt to grapple with the formal problems that adhere in representing the temporality and scale of ongoing Central American Indigenous dispossession and refugee displacement in settler colonial capitalism. In exploring the degree to which the Western genre's tradition of, per Philip Deloria, “playing Indian” might oppose the brutal bureaucratic violence of the xenophobic carceral settler US state, the novel builds a critique of the frontier road novel fantasy that it cannot quite sustain.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"57 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75004700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Poetry in a World of Things: Aesthetics and Empiricism in Renaissance Ekphrasis 事物世界中的诗歌:文艺复兴时期词汇中的美学与经验主义

Genre (Los Angeles, Calif.) Pub Date : 2020-12-01 DOI: 10.1215/00166928-8847214

D. Mitchell

{"title":"Poetry in a World of Things: Aesthetics and Empiricism in Renaissance Ekphrasis","authors":"D. Mitchell","doi":"10.1215/00166928-8847214","DOIUrl":"https://doi.org/10.1215/00166928-8847214","url":null,"abstract":"Les Amours would lead to more profitable long-term patronage. This approach to craftsmanship is reflected both thematically in his poetry and economically in his publishing practices. Kennedy reveals how Ronsard recycled poems between one collection of poetry dedicated to Cassandra Salviati and a later one dedicated to Marie de Bourgueil, making his complaints against the beloveds interchangeable. Ronsard also cleverly profited twice from the set of poems commissioned by French king Henri III for his recently deceased lover Marie de Clèves, when he repurposed and published them in a new collection, Sur la Mort de Marie, dedicated to his beloved Marie de Bourgueil. Part 3 analyzes Shakespeare’s sonnets within the framework of the Petrarchan homo economicus and a “dynamics of maturation” that characterized the poetry of Sidney and Spenser. Kennedy theorizes that, based on the opaque quality of the Young Man poems, Shakespeare continued to revise them after he composed the Dark Lady poems, and right up to the quarto’s publication in 1609. Indeed, it is in the Young Man cycle, where the figures of the homo economicus and homo literarum come together, where we see more explicit references to economics, enterprise, and work alongside the poetic expression of love, desire, and male friendship/homosociality. Kennedy closes the book by returning to the “shape-shifting” figure of Mercury as a model for the poets—and their respective contextual economies—examined throughout the book. He ultimately shows how Petrarch’s legacy was as economic as it was poetic, that the act of poetic revision and emendation should be understood within both theoretical frames of Platonic furor and Aristotelian craftsmanship. Kennedy’s command of the source materials and close readings of poetic variants are exceptional. With Petrarchism at Work he has written another authoritative and original study of Petrarch’s legacy that will greatly impact the field.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82225819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0