{"title":"Code: From Information Theory to French TheoryBy Bernard Dionysius Geoghegan, Durham, NC: Duke University Press, 2023. 258 pp. $26.95 (paperback). ISBN: 978-1478019008","authors":"Andrew Kettler","doi":"10.1111/jacc.13604","DOIUrl":"https://doi.org/10.1111/jacc.13604","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 2","pages":"81-82"},"PeriodicalIF":0.1,"publicationDate":"2025-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144300494","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}
Harriet Jacobs's Incidents in the Life of a Slave Girl, originally published in 1861, is a seminal work that provides a profound and emotive account of an enslaved Black woman's struggle for freedom and self-determination. This paper explores the role of ideology and representation in Jacobs's portrayal of Dr. Flint, the primary antagonist, through the lenses of Louis Althusser's and Jacques Lacan's theories. By analyzing the narrative techniques and symbolic language employed by Jacobs, this study reveals how Dr. Flint embodies the systemic oppressive forces of slavery. The paper argues that Jacobs's depiction of Dr. Flint not only underscores the dehumanizing nature of slavery but also serves as a tool of ideological resistance, highlighting the unique challenges faced by enslaved women. This analysis contributes to a deeper understanding of how literary devices in slave narratives can illuminate the broader social and power dynamics of the antebellum South. Ultimately, this paper aims to shed light on the complexities of Jacobs's narrative strategies and their impact on both contemporary and modern readers.
{"title":"Ideology and Oppression: Dr. Flint as the Antagonist in Harriet Jacobs's Incidents in the Life of a Slave Girl","authors":"Eric Brown","doi":"10.1111/jacc.13610","DOIUrl":"https://doi.org/10.1111/jacc.13610","url":null,"abstract":"<div>\u0000 \u0000 <p>Harriet Jacobs's Incidents in the Life of a Slave Girl, originally published in 1861, is a seminal work that provides a profound and emotive account of an enslaved Black woman's struggle for freedom and self-determination. This paper explores the role of ideology and representation in Jacobs's portrayal of Dr. Flint, the primary antagonist, through the lenses of Louis Althusser's and Jacques Lacan's theories. By analyzing the narrative techniques and symbolic language employed by Jacobs, this study reveals how Dr. Flint embodies the systemic oppressive forces of slavery. The paper argues that Jacobs's depiction of Dr. Flint not only underscores the dehumanizing nature of slavery but also serves as a tool of ideological resistance, highlighting the unique challenges faced by enslaved women. This analysis contributes to a deeper understanding of how literary devices in slave narratives can illuminate the broader social and power dynamics of the antebellum South. Ultimately, this paper aims to shed light on the complexities of Jacobs's narrative strategies and their impact on both contemporary and modern readers.</p>\u0000 </div>","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 2","pages":"45-52"},"PeriodicalIF":0.1,"publicationDate":"2025-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144300475","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}
<p>Like many writers have done, Ruth Wilson Gilmore considers Audre Lorde's powerful statement that “the master's tools will never dismantle the master's house” (<span>2007</span>, 112) in order to wrestle with its parameters and deliberate on its terms. In <i>Abolition Geography: Essays Toward Liberation</i>, Gilmore, in effect, further develops what Lorde states and poses a similar premise in question form: “Rather, who controls the conditions and the ends to which any tools are wielded?” (<span>2022</span>, 79). Gilmore follows this line of inquiry by asserting an expansion of Lorde's original idea: “If the master loses control of the means of production, he is no longer the master” (<span>2022</span>, 79). In other words, if those who labor determine the manner in which something might be made, or, if those who labor decide upon the circumstances in which a tool might be employed, the status quo could then be destabilized. Here, then, lies a possibility for rupture, and, when applied to poetry, the likelihood of something politically provocative as well. A clear parallel can be found between Gilmore's reformulation and the practice of contemporary documentary poetry, which is broadly defined as a subgenre that references, considers, or reformulates historical happenings or integrates sociopolitical, cultural, or historical documentation into poem form wherein the poet themselves may be regarded as “documenter.” With this practice in mind, it is possible for a poet, as text-worker, to identify a tool used by the master and to redeploy that tool for other purposes. An example of such redeployment exists in the documentary poems of Layli Long Soldier, Marwa Helal, and Reginald Dwayne Betts, all of whom repurpose tools in order to disrupt, reclarify, or provide a counter-narrative to that which is declared by the state to be accurate.</p><p>To better examine the manner in which these three writers determine the purpose of poem production, I turn to the concept of “détournement” as developed by Guy Debord in collaboration with Gil J. Wolman. In <i>The Society of the Spectacle</i>, for example, Debord argues for “the reversal of established relationships between concepts” so that the “reversed genitive” may serve “as an expression of historical revolutions distilled into a form of thought” which would intend to “resto[re…] subversive qualities to past critical judgments that have congealed into respectable truths—in other words, that have been transformed into lies” (1994, 144). Debord claims that such a reversal allows for a restoration of a “kernel of truth” that is “capable of disturbing or overthrowing any existing order” as it emerges from a sense of “self-knowledge in conjunction with historical action” (1994, 146). Ian Buchanan synopsizes Debord's and Wolman's use of the concept in their “A User's Guide to Détournement” in his own <i>A Dictionary of Critical Theory</i>. Buchanan writes that détournement “must negate the ideological condition
这种语气也证实了Whereas的立场是对美国政府所宣称的事实的直接回应，从而肯定了Whereas是作为对所宣称的事实的纠正而创作的。因此，文集的目录提供了一个指南，说明诗人希望文本如何被接受和消化。因此，《长兵》在读者接触到诗歌之前，将读者置于官方文本的形式中，类似于由统治力量制定的宣言或条约。“长兵”对官方语言的使用与杰弗里·格雷（Jeffrey Gray）的文章《‘别插手’：当代诗歌中的官方语言》（' Hands Off ': official language in Contemporary Poetry）中所呈现的情况相似，格雷在文章中审视了“……公司或官僚语言在诗歌中的作用——无论这种语言是被讽刺的、被批评的，还是（从表面上看）未经检验的”（2016,88）。格雷决定了这些词族的诗歌如何进入一个特定的话语，为了一个特定的目的，这个目的不是抒情的内在性，而是政治参与。格雷将这种语言描述为“‘官方的’、‘霸权的’、‘制度的’”，它位于一种“以所谓的消除主体性、投射中立性和无可争议的权威为特征”的话语中（2016,88）。感知或执行的“中立性”和“无问题权威”表明语言的（使用者）将自己定位为独立于历史或正在进行的行为的力量。在美国的背景下，我们被教导说，某些话语本身证明了正确性（或真实性）、可信赖性和客观性，例如，最高法院做出的书面决定，期望公民相信对法律的解释不受起草该解释的机构的影响。这些话语为国家的掌权者服务，并试图在口语和国家语言之间制造距离，其中口语与公民相对应，不太可能被认为是准确的。话虽如此，然而，当代诗人采取官方话语的决定将这些观念颠倒了过来。使用相同的语言可以让诗人麻烦有问题的权威，并揭示缺乏中立性。诗人这样做是在提醒读者，在语言的使用背后，总有一个构成词语的主体，因此也有一个位置性和语境。在《鉴于》中，《长兵》试图反思官方话语本身，以唤起人们对被抹去的东西的关注，并展示一种不被承认或不被公开播出的历史叙述。Long Soldier歪曲了她所反对的话语，以揭示美美条约本身是如何通过剥夺对土著社区犯下的原始暴力行为的。正是通过Long Soldier对dastimment的运用，她体现了这个概念扰乱现有秩序的能力（Debord 1994,146）。这些诗节敦促人们回到长士兵早期的诗，这首诗位于第一节（“这些是关注”）的末尾，标题为“38”（2017,49 - 53）。“38”将读者引向文集的第二部分（“鉴于”），该部分的组织方式使其明确地参与了官方或国会的传统。“38”就像长战士的其他诗歌一样，将个人和公众与现在和过去联系在一起，因为，正如她所阐明的那样，“这些问题一直在进行”（2017,95）。“38”主要是用单字写的，使用的语言反映了国家认可的模式。在这里，《长兵》证明了一首诗的作品可以是多重的。通过模仿政府文件的形式，诗歌可以打破主叙事，同时通过个人经历重申一个社区的历史。通过Long Soldier对官方话语和形式的运用，反映了政府文件的结构，她偏离了主流叙事，并明确了林肯处决这些人的决定，2009年美国国会对土著人民的道歉，以及当代美国政府对立岩水保护者反对拟议的达科他输油管道的非暴力运动的反应之间的联系。正如在《38》和《然而》中所体现的那样，“长士兵”对纪实诗歌的处理方式是与娜塔莎·特雷希维的《天意》和《本土守卫》中的“事件”进行对话，正如詹姆斯·麦克尔所描述的那样，特雷希维的“诗歌讲述了特定的历史，家庭和亲密的历史；然而，他们也定义了一段错位的国家历史，因此它不会将美国白人与自己的暴力联系起来”（2016,159）。 在Trethewey的pantoum《事件》（Incident, 2006, 41）中，演讲者记录了一个特别的晚上，当时三k党在她父母的家外竖起了一个燃烧的十字架：“我们每年都讲述这个故事——/我们如何从窗户里，拉着窗帘往外看”（1-2行）和“十字架像圣诞树一样桁架着，/几个男人聚集在一起，穿着长袍，像天使一样白”（9-10行）。虽然Trethewey表达了她和她自己的家人被迫承受的创伤，但他们的经历讲述了民权运动期间在她的家乡密西西比州，美国南部和全国发生的事情。正如McCorkle所说，个人确实可以为国家提供定义。Trethewey所做的，和《长兵》一样，是以历史学家或记录者的身份参与进来的。Trethewey在《Native Guard》中的诗歌与《Long Soldier》中的一样，在《Whereas》中，个人经历与个人身体和更大的群体相对应，从而证实了在全国范围内已经发生或正在发生的事情。历史叙事的重新制作通过诗歌的组成，拒绝已经凝固的真理，并提供意义的恢复。Marwa Helal的第一个作品集《入侵物种》模糊了边界、类型和国家身份的定义。希拉尔通过纪实风格的诗歌展示了美国移民制度是不受欢迎的。希拉尔的诗歌将新殖民主义、种族主义、宗教偏见和抗议需求等普遍存在的问题带到了表面上，这在一定程度上是通过希拉尔的诗歌采用官方交流的形式和利用新闻记录来实现的。在《入侵物种》的第二部分，Helal包含了一个扩展的入门教程，题为“作为第二语言的移民”，其中每个字母对应一个单独的strophe。希拉尔决定使用初级形式，一种包括英语字母的诗节结构，诗的标题加强了这一点，诗的标题指的是语言的习得，并扩大了诗人有意识的决策，同时颠覆主流叙事，揭露其谬误。这种选择的形式可以追溯到Helal对Chinua Achebe的声明的使用（“不要让任何人被我们可以用英语写作的事实所愚弄，因为我们打算用它来做前所未闻的事情”）（Helal 2019, 3）。当根据Achebe早期的铭文来理解标题和形式时，可以认为Helal选择的strophes表明了一种反代表性策略（Trier 2014, 10）。希拉尔的这种反代表性的策略将她的诗歌置于dastimement的范围内。Helal的初学者讲述了她在申请美国新签证时经历的912.5天的僵局，当时她的家庭申请因担心炭疽而被移民和归化局销毁(2019年，76年；35)。Helal在美国生活了18年后被迫离开家人独自回到埃及（2019,43-44）。在这些诗中，希拉尔详细描述了在开罗的美国大使馆发生的事情，以及她是如何被官员对待的。希拉尔的启蒙揭示了制度是如何容纳腐败行为和维持权力和特权的功能的。在诗节“E”中，Helal采用了两种结构形式，反映了报道文学和通信，两者都使用了与新闻产生共鸣的寄存器。通过选择使用这些形式，Helal解决了有效性和讲真话的问题。因为这些形式看起来与被接受为新闻报道的形式相似，所以文本将被视为合法的。希拉尔意识到这种解读，因此以一种支持她选择揭示的方式来定位形态。希拉尔因此认识到诗歌传达真相的能力，而这是政府报告写作或主流报告文学所无法做到的。因为她以诗歌的形式呈现她的材料，她有机会发展意义，因为它与她对经验的理解联系在一起，抛弃了官僚主义声称要维护的客观性，并在她报告的证据中形成了一个反叙事。如上所述，Helal使用的语法反映了新闻语言，避免了意象或比喻技术。在结构上，Helal开发的小节看起来类似于军官或记者提交的报告，并附有时间戳。这些特征有助于合法化和确认，使针对她本人的行动的后果明确无
{"title":"Poetic Form as Détournement in the Documentary Work of Layli Long Soldier, Marwa Helal, and Reginald Dwayne Betts","authors":"Tara Ballard","doi":"10.1111/jacc.13609","DOIUrl":"https://doi.org/10.1111/jacc.13609","url":null,"abstract":"<p>Like many writers have done, Ruth Wilson Gilmore considers Audre Lorde's powerful statement that “the master's tools will never dismantle the master's house” (<span>2007</span>, 112) in order to wrestle with its parameters and deliberate on its terms. In <i>Abolition Geography: Essays Toward Liberation</i>, Gilmore, in effect, further develops what Lorde states and poses a similar premise in question form: “Rather, who controls the conditions and the ends to which any tools are wielded?” (<span>2022</span>, 79). Gilmore follows this line of inquiry by asserting an expansion of Lorde's original idea: “If the master loses control of the means of production, he is no longer the master” (<span>2022</span>, 79). In other words, if those who labor determine the manner in which something might be made, or, if those who labor decide upon the circumstances in which a tool might be employed, the status quo could then be destabilized. Here, then, lies a possibility for rupture, and, when applied to poetry, the likelihood of something politically provocative as well. A clear parallel can be found between Gilmore's reformulation and the practice of contemporary documentary poetry, which is broadly defined as a subgenre that references, considers, or reformulates historical happenings or integrates sociopolitical, cultural, or historical documentation into poem form wherein the poet themselves may be regarded as “documenter.” With this practice in mind, it is possible for a poet, as text-worker, to identify a tool used by the master and to redeploy that tool for other purposes. An example of such redeployment exists in the documentary poems of Layli Long Soldier, Marwa Helal, and Reginald Dwayne Betts, all of whom repurpose tools in order to disrupt, reclarify, or provide a counter-narrative to that which is declared by the state to be accurate.</p><p>To better examine the manner in which these three writers determine the purpose of poem production, I turn to the concept of “détournement” as developed by Guy Debord in collaboration with Gil J. Wolman. In <i>The Society of the Spectacle</i>, for example, Debord argues for “the reversal of established relationships between concepts” so that the “reversed genitive” may serve “as an expression of historical revolutions distilled into a form of thought” which would intend to “resto[re…] subversive qualities to past critical judgments that have congealed into respectable truths—in other words, that have been transformed into lies” (1994, 144). Debord claims that such a reversal allows for a restoration of a “kernel of truth” that is “capable of disturbing or overthrowing any existing order” as it emerges from a sense of “self-knowledge in conjunction with historical action” (1994, 146). Ian Buchanan synopsizes Debord's and Wolman's use of the concept in their “A User's Guide to Détournement” in his own <i>A Dictionary of Critical Theory</i>. Buchanan writes that détournement “must negate the ideological condition","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 1","pages":"23-31"},"PeriodicalIF":0.1,"publicationDate":"2025-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/jacc.13609","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143581700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Poor Things: How Those With Money Depict Those Without ItBy Lennard J. Davis, Durham, NC: Duke University Press, 2024. 291 pp. ISBN: 978-1-4780-3102-4","authors":"Theodore Bain","doi":"10.1111/jacc.13613","DOIUrl":"https://doi.org/10.1111/jacc.13613","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 2","pages":"91-92"},"PeriodicalIF":0.1,"publicationDate":"2025-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144299714","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}
The following article argues that Naughty Dog's The Last of Us is a Weird Western that, despite imaginatively reinventing the Western genre by setting it in a near-future, postapocalyptic United States, reiterates many of its core tenets. Among these are the inclusion of a cowboy-like, white, male hero, namely the game's protagonist, Joel Miller, and the depiction of gruesome violence as both regenerative and justified. To conduct this analysis, the article adopts a cultural studies perspective, bringing together different disciplines that engage in the field of American studies, namely literary criticism, film studies, gender studies, and game studies, while also relying heavily on Bogost's concept of procedural rhetoric.
以下文章认为Naughty Dog的《The Last of Us》是一部怪异的西部片，尽管它将故事背景设定在不久的将来，即后世界末日的美国，从而创造性地重塑了西部片类型，但却重申了其许多核心原则。其中包括一个牛仔般的白人男性英雄，即游戏的主角Joel Miller，以及对可怕暴力的描述，这既是再生的，也是合理的。为了进行这一分析，本文采用了文化研究的视角，汇集了从事美国研究领域的不同学科，即文学批评、电影研究、性别研究和游戏研究，同时也严重依赖于Bogost的程序修辞学概念。
{"title":"The Postapocalyptic Frontier Hero: The (Weird) Western, Cowboy Masculinity, and Regenerative Violence in The Last of Us (2013)","authors":"Teresa Pereira","doi":"10.1111/jacc.13612","DOIUrl":"https://doi.org/10.1111/jacc.13612","url":null,"abstract":"<div>\u0000 \u0000 <p>The following article argues that Naughty Dog's The Last of Us is a Weird Western that, despite imaginatively reinventing the Western genre by setting it in a near-future, postapocalyptic United States, reiterates many of its core tenets. Among these are the inclusion of a cowboy-like, white, male hero, namely the game's protagonist, Joel Miller, and the depiction of gruesome violence as both regenerative and justified. To conduct this analysis, the article adopts a cultural studies perspective, bringing together different disciplines that engage in the field of American studies, namely literary criticism, film studies, gender studies, and game studies, while also relying heavily on Bogost's concept of procedural rhetoric.</p>\u0000 </div>","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 2","pages":"63-74"},"PeriodicalIF":0.1,"publicationDate":"2025-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144299791","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}
{"title":"The Politics of Kinship: Race, Family, GovernanceBy Mark Rifkin, Durham, NC: Duke University Press, 2024. 392 pp. ISBN: 978-1478030003","authors":"Andrew Kettler","doi":"10.1111/jacc.13606","DOIUrl":"https://doi.org/10.1111/jacc.13606","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 2","pages":"85-86"},"PeriodicalIF":0.1,"publicationDate":"2025-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144299803","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}
{"title":"Terrence Malick and the Examined LifeBy Martin Woessner, Philadelphia: University of Pennsylvania Press, 2024. 416 pp. ISBN: 9781512825602","authors":"Daniel C. Charlton","doi":"10.1111/jacc.13608","DOIUrl":"https://doi.org/10.1111/jacc.13608","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 2","pages":"89-90"},"PeriodicalIF":0.1,"publicationDate":"2025-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144299641","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}
{"title":"Making Machines of Animals: The International Livestock ExhibitionBy Neal Knapp, Baltimore: Johns Hopkins University Press, 2023. 202 pp. $60.00 (hardcover) ISBN: 978-1421446554","authors":"Andrew Kettler","doi":"10.1111/jacc.13607","DOIUrl":"https://doi.org/10.1111/jacc.13607","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 2","pages":"87-88"},"PeriodicalIF":0.1,"publicationDate":"2024-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144300071","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}
{"title":"Gun Country: Gun Capitalism, Culture, and Control in Cold War AmericaBy Andrew McKevitt, Chapel Hill, NC: University of North Carolina Press, 2023. 319 pp. $24.95 (Paperback). ISBN: 978-1469677248","authors":"Andrew Kettler","doi":"10.1111/jacc.13605","DOIUrl":"https://doi.org/10.1111/jacc.13605","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 2","pages":"83-84"},"PeriodicalIF":0.1,"publicationDate":"2024-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144300419","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}
{"title":"Perspectives on Values: The Network of Satire and Humor, the Tragic and the Absurd, the Grotesque and the Monstrous, Play and Irony, Parody and the Comic ModeBy Gerhard Hoffman, Heidelberg, Germany: Universitatsverlag Winter GmbH, 2024. 812 pp. ISBN: 978-3825395865","authors":"Theodore Bain","doi":"10.1111/jacc.13603","DOIUrl":"https://doi.org/10.1111/jacc.13603","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 2","pages":"79-80"},"PeriodicalIF":0.1,"publicationDate":"2024-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144300312","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}
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