{"title":"Excessive Anonymous/The Anonymity of Excess","authors":"Amanda Coyne, Julia Vaingurt","doi":"10.17077/2168-569X.1177","DOIUrl":"https://doi.org/10.17077/2168-569X.1177","url":null,"abstract":"","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123619574","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":"An Interview with Cornel West","authors":"D. Davis","doi":"10.17077/2168-569X.1136","DOIUrl":"https://doi.org/10.17077/2168-569X.1136","url":null,"abstract":"","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127713083","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":"One Second to the Next","authors":"Aaron Anstett","doi":"10.17077/2168-569X.1152","DOIUrl":"https://doi.org/10.17077/2168-569X.1152","url":null,"abstract":"","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127974556","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}
M. Citron, K. Heintz, Niki Nolin, Scott Rettberg, A. Stern, Joseph Tabbi, R. Wittig
{"title":"START HERE> An Interdisciplinary Introduction to Electronic Literature","authors":"M. Citron, K. Heintz, Niki Nolin, Scott Rettberg, A. Stern, Joseph Tabbi, R. Wittig","doi":"10.17077/2168-569X.1022","DOIUrl":"https://doi.org/10.17077/2168-569X.1022","url":null,"abstract":"","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122228664","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":"From Fairest Creatures We Desire Increase","authors":"J. Mcsweeney","doi":"10.17077/2168-569X.1325","DOIUrl":"https://doi.org/10.17077/2168-569X.1325","url":null,"abstract":"","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121698189","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":"Found on Ground at L.A. Zoo","authors":"A. Wilson","doi":"10.17077/2168-569X.1310","DOIUrl":"https://doi.org/10.17077/2168-569X.1310","url":null,"abstract":"","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115960063","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":"\"They're literally shit\": Masculinity and the Work of Art in the Age of Waste Recycling","authors":"Olivia Banner","doi":"10.17077/2168-569X.1084","DOIUrl":"https://doi.org/10.17077/2168-569X.1084","url":null,"abstract":"","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131920179","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":"Writing by Tom Lutz and Gertrude Stein","authors":"T. Lutz","doi":"10.17077/2168-569X.1104","DOIUrl":"https://doi.org/10.17077/2168-569X.1104","url":null,"abstract":"","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126585248","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 academic experiences Everett Hamner describes in the introduction to this issue are, unfortunately, not limited to his education alone. Over the last decade, colleagues and friends have recounted to me such unpleasant tales, similar to my own. During my doctoral work, however much seminar readings in Derrida and Lyotard seemed naturally to cross-pollinate with my interests in religion, well-meaning professors repeatedly warned me not to write about religion in my dissertation, “or people will think this is just a religious project.” (Try replacing the adjective: would anyone have said, “just a political project,” “just a feminist project,” “just a race project”?) Once I landed that coveted, tenure-track research position in spite of it all (thank God), I arrived to be told during my first week on the job that, during my hiring meeting, someone had openly expressed concern that I might “be a religious fundamentalist.” Why? Because I gave a job talk about Christopher Smart? (I did.) Because afterwards I asked the audience to accept Jesus as their personal Savior? (I didn’t.) Besides being illegal, that comment mainly displayed which faculty member wouldn’t know a fundamentalist from Adam. I still shake my head at that one. By my reckoning, these experiences and dozens like them reveal much less about the relevance of religion in contemporary culture (high) and the intellectual mettle of the students and scholars who work on it (varied), and more about the general discomfort with religion in literary and cultural studies that such censures express (indisputable). Of this shall be the theme of this brief coda. But first, a word of hope: happily, I think, change is in the air, as this issue attests. The Centre for Literature, Theology and the Arts at the University of Glasgow has become the catalyst of a new generation of scholarship on religion and the arts, and here at The University of Iowa, an increasing number of Ph.D students in English (this fall, between a quarter and a third of the entering class) comes to the program drawn by our “Religion, Secularism, and Ethics” area (which they regularly report is “the only Coda: Secular Subjects
{"title":"Coda: Secular Subjects","authors":"Lori Branch","doi":"10.17077/2168-569X.1066","DOIUrl":"https://doi.org/10.17077/2168-569X.1066","url":null,"abstract":"The academic experiences Everett Hamner describes in the introduction to this issue are, unfortunately, not limited to his education alone. Over the last decade, colleagues and friends have recounted to me such unpleasant tales, similar to my own. During my doctoral work, however much seminar readings in Derrida and Lyotard seemed naturally to cross-pollinate with my interests in religion, well-meaning professors repeatedly warned me not to write about religion in my dissertation, “or people will think this is just a religious project.” (Try replacing the adjective: would anyone have said, “just a political project,” “just a feminist project,” “just a race project”?) Once I landed that coveted, tenure-track research position in spite of it all (thank God), I arrived to be told during my first week on the job that, during my hiring meeting, someone had openly expressed concern that I might “be a religious fundamentalist.” Why? Because I gave a job talk about Christopher Smart? (I did.) Because afterwards I asked the audience to accept Jesus as their personal Savior? (I didn’t.) Besides being illegal, that comment mainly displayed which faculty member wouldn’t know a fundamentalist from Adam. I still shake my head at that one. By my reckoning, these experiences and dozens like them reveal much less about the relevance of religion in contemporary culture (high) and the intellectual mettle of the students and scholars who work on it (varied), and more about the general discomfort with religion in literary and cultural studies that such censures express (indisputable). Of this shall be the theme of this brief coda. But first, a word of hope: happily, I think, change is in the air, as this issue attests. The Centre for Literature, Theology and the Arts at the University of Glasgow has become the catalyst of a new generation of scholarship on religion and the arts, and here at The University of Iowa, an increasing number of Ph.D students in English (this fall, between a quarter and a third of the entering class) comes to the program drawn by our “Religion, Secularism, and Ethics” area (which they regularly report is “the only Coda: Secular Subjects","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130702558","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}
Recently, as I was finishing a book about class in 1970s U.S. cinema, I foundmyself thinking more and more about a particular moment in Saturday Night Fever (John Badham, 1977) that always leavesme unsettled. It occurswhenTony (JohnTravolta) helps Stephanie (Karen Lynn Gorney) move into a Manhattan apartment, where they happen upon its former owner Jay, a producer Stephanie knows from work and who is, we quickly discern, her ex-lover. At this point in the film, we already know that Stephanie, who hails from the same working-class Brooklyn neighborhood (Bay Ridge) as Tony, is a lower-middle-class striver who self-consciously and anxiously parades her newfound cultural knowledge and half-secured sense of class ascendancy. (Tony’s attraction to and occasional animosity toward her stems in large part from her efforts to distance herself from the world he knows.) Jay’s presence, however, immediately puts Stephanie in her place: he draws attention to her failed attempts at cosmopolitan sophistication by noting her incorrect speech (he reminds her that “no one says ‘super’anymore”) and incompletemastery of cultural references (he chides her for buying the wrong book). Tony, meanwhile, shrinks into the background of the scene, only to confront Stephanie angrily outside about her relationship with Jay. The scene closes with Stephanie tearfully explaining that she needed Jay’s help at her office because she felt out of her depths there—that she was tired of saying “I don’t know” all the time.
{"title":"The Gaze at Work: Knowledge Relations and Class Spectatorship","authors":"Derek Nystrom","doi":"10.17077/2168-569X.1089","DOIUrl":"https://doi.org/10.17077/2168-569X.1089","url":null,"abstract":"Recently, as I was finishing a book about class in 1970s U.S. cinema, I foundmyself thinking more and more about a particular moment in Saturday Night Fever (John Badham, 1977) that always leavesme unsettled. It occurswhenTony (JohnTravolta) helps Stephanie (Karen Lynn Gorney) move into a Manhattan apartment, where they happen upon its former owner Jay, a producer Stephanie knows from work and who is, we quickly discern, her ex-lover. At this point in the film, we already know that Stephanie, who hails from the same working-class Brooklyn neighborhood (Bay Ridge) as Tony, is a lower-middle-class striver who self-consciously and anxiously parades her newfound cultural knowledge and half-secured sense of class ascendancy. (Tony’s attraction to and occasional animosity toward her stems in large part from her efforts to distance herself from the world he knows.) Jay’s presence, however, immediately puts Stephanie in her place: he draws attention to her failed attempts at cosmopolitan sophistication by noting her incorrect speech (he reminds her that “no one says ‘super’anymore”) and incompletemastery of cultural references (he chides her for buying the wrong book). Tony, meanwhile, shrinks into the background of the scene, only to confront Stephanie angrily outside about her relationship with Jay. The scene closes with Stephanie tearfully explaining that she needed Jay’s help at her office because she felt out of her depths there—that she was tired of saying “I don’t know” all the time.","PeriodicalId":448595,"journal":{"name":"The Iowa Journal of Cultural Studies","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131223852","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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