The review article examines three innovative books: Poetry Unbound by Mike Chaser looks at how to account for poetry in the context of past and contemporary social media, while Why Poetry by Matthew Zapruder and Don’t Read Poetry by Stephanie Burt look at how and why to read poetry in our contemporary culture. The article begins with a discussion of the evolution of poetry from the 1910s when poetry was subject to dramatic technological changes and the rise of radical art movements, attracting new audiences. As poetry became more open-ended, intertextual, playful, and exploratory, the question of what constitutes (good or bad) poetry came to the fore. In their collective defence of poetry, Chaser, Zapruder, and Burt champion poetry, whether accessible or challenging, as popular, relevant, and socially beneficial. Though the three books’ readings of poetry and the examples used are often conventional, in a sense unconscious of their radical forebears, each book in different ways asserts the ongoing presence and power of poetry.
{"title":"Quests for the Power of the Poem (Forgetting the Power of the Past?)","authors":"Lisa Narbeshuber","doi":"10.3138/cras-2023-008","DOIUrl":"https://doi.org/10.3138/cras-2023-008","url":null,"abstract":"The review article examines three innovative books: Poetry Unbound by Mike Chaser looks at how to account for poetry in the context of past and contemporary social media, while Why Poetry by Matthew Zapruder and Don’t Read Poetry by Stephanie Burt look at how and why to read poetry in our contemporary culture. The article begins with a discussion of the evolution of poetry from the 1910s when poetry was subject to dramatic technological changes and the rise of radical art movements, attracting new audiences. As poetry became more open-ended, intertextual, playful, and exploratory, the question of what constitutes (good or bad) poetry came to the fore. In their collective defence of poetry, Chaser, Zapruder, and Burt champion poetry, whether accessible or challenging, as popular, relevant, and socially beneficial. Though the three books’ readings of poetry and the examples used are often conventional, in a sense unconscious of their radical forebears, each book in different ways asserts the ongoing presence and power of poetry.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134996877","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}
Abstract:Ezra Pound was preoccupied with both time and space. But he developed a spatial poetics in order to transform experiences of time into intense moments of relationality and supra-historical awareness. His earlier discovery of a “method of Luminous Detail” was further confirmed by Ernest Fenollosa’s theory of the ideogram. What interested Pound was the superposition of historical and cultural meanings in the present, or, more precisely, in the textual present of the Cantos. It is not that Pound wanted to suppress time; superposition is for him simply the mode of being in the present, which is compounded into the same process of transmission, mediation, translation, and rewriting. Pound’s ideograms slow down the monolinear movement of narrative to allow more complex patterns of awareness and modes of interaction to emerge among the images, facts, and details of a given Cantos sequence.Résumé:Ezra Pound se souciait à la fois de l’espace et du temps. Mais sa poétique de l’espace avait pour but de transformer l’expérience du temps en moments intenses de relationnalité et de conscience suprahistorique. Sa découverte de la « méthode du détail lumineux » a plus tard été confirmée par la théorie de l’idéogramme d’Ernest Fenollosa. Pound s’intéressait en particulier à la superposition des significations historiques et culturelles dans le présent ou, plus exactement, dans le présent textuel des cantos. Pound ne cherchait pas à supprimer le temps : la superposition, pour lui, est simplement le mode de l’être au présent, qui se complexifie dans le processus répété de la transmission, de la médiation, de la traduction et de la réécriture. En ralentissant le mouvement monolinéaire du récit, les idéogrammes de Pound permettent à des circuits de conscience et à des modes d’interaction plus complexes d’émerger parmi les images, les faits et les détails d’une séquence donnée de cantos.
摘要:埃兹拉·庞德对时间和空间都很着迷。但他发展了一种空间诗学，以便将时间的体验转化为关系和超历史意识的强烈时刻。他早期发现的“发光细节法”被欧内斯特·费诺罗萨的表意文字理论进一步证实。庞德感兴趣的是历史和文化意义在当下的叠加，或者更准确地说，在《诗篇》的文本当下的叠加。这并不是说庞德想要压抑时间;对他来说，叠加只是一种存在于当下的方式，它被复合成同样的传递、调解、翻译和重写的过程。庞德的表意文字减缓了叙事的单线运动，允许更复杂的意识模式和互动模式出现在特定章节序列的图像、事实和细节中。埃兹拉·庞德(Ezra Pound)说:“我的社会，我的空间，我的时间。”大多数人都认为，“空间是自由的”，“经验是自由的”，“情感是短暂的”，“关系是短暂的”，“良知是超历史的”。Sa decouverte de la«杜方法细节闪光绸»+ tard confirmee par那儿理论de l 'ideogramme d 'Ernest Fenollosa。庞德说:“我认为这是一种特殊的形式，特别是在历史和文化的意义上的重叠。”“这是一种特殊的形式。”Pound ne cherchait pas supsuper le temps: la叠加，pour lui, est simplement le mode de l ' être au pracemode, qui se complexfie dans le procsus racemode racemode transmission, de la macimation, de la traduction和de la pracemode。在这一过程中，只有单一的电子交换器和其他的电子交换器、电子交换器、电子交换器、电子交换器、电子交换器、电子交换器、电子交换器、电子交换器、电子交换器、电子交换器和电子交换器。
{"title":"Ezra Pound and Spatial Poetics","authors":"Ming Xie","doi":"10.3138/cras-2023-005","DOIUrl":"https://doi.org/10.3138/cras-2023-005","url":null,"abstract":"Abstract:Ezra Pound was preoccupied with both time and space. But he developed a spatial poetics in order to transform experiences of time into intense moments of relationality and supra-historical awareness. His earlier discovery of a “method of Luminous Detail” was further confirmed by Ernest Fenollosa’s theory of the ideogram. What interested Pound was the superposition of historical and cultural meanings in the present, or, more precisely, in the textual present of the Cantos. It is not that Pound wanted to suppress time; superposition is for him simply the mode of being in the present, which is compounded into the same process of transmission, mediation, translation, and rewriting. Pound’s ideograms slow down the monolinear movement of narrative to allow more complex patterns of awareness and modes of interaction to emerge among the images, facts, and details of a given Cantos sequence.Résumé:Ezra Pound se souciait à la fois de l’espace et du temps. Mais sa poétique de l’espace avait pour but de transformer l’expérience du temps en moments intenses de relationnalité et de conscience suprahistorique. Sa découverte de la « méthode du détail lumineux » a plus tard été confirmée par la théorie de l’idéogramme d’Ernest Fenollosa. Pound s’intéressait en particulier à la superposition des significations historiques et culturelles dans le présent ou, plus exactement, dans le présent textuel des cantos. Pound ne cherchait pas à supprimer le temps : la superposition, pour lui, est simplement le mode de l’être au présent, qui se complexifie dans le processus répété de la transmission, de la médiation, de la traduction et de la réécriture. En ralentissant le mouvement monolinéaire du récit, les idéogrammes de Pound permettent à des circuits de conscience et à des modes d’interaction plus complexes d’émerger parmi les images, les faits et les détails d’une séquence donnée de cantos.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"53 1","pages":"130 - 140"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42125941","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}
Te border between Canada and the United States came to be fxed but had been in fux in the nineteenth century, for instance in Maine and the Oregon Territory, when Canada was British North America and the boundaries were set in 1908. Peoples moved across those borders before and afer they were agreed to and the mapping was done. Te borders with Mexico and Canada changed and helped to defne the emerging United States, including the purchase of Alaska from Russia in 1867 and the expansion to Hawaii. American geographical, cultural, and literary identity was shifing while those other bordering identities, including Mexican and Canadian, were also shifing. Indigenous, African, European, Asian, and other identities were part of this story. Te making and remaking of American poetry, the subject of this special issue, is something that the contributors are considering from Canada, what Marshall McLuhan aptly called “a borderline case.”
{"title":"Introduction: Making and Remaking American Poetry","authors":"J. Hart","doi":"10.3138/cras-2023-003","DOIUrl":"https://doi.org/10.3138/cras-2023-003","url":null,"abstract":"Te border between Canada and the United States came to be fxed but had been in fux in the nineteenth century, for instance in Maine and the Oregon Territory, when Canada was British North America and the boundaries were set in 1908. Peoples moved across those borders before and afer they were agreed to and the mapping was done. Te borders with Mexico and Canada changed and helped to defne the emerging United States, including the purchase of Alaska from Russia in 1867 and the expansion to Hawaii. American geographical, cultural, and literary identity was shifing while those other bordering identities, including Mexican and Canadian, were also shifing. Indigenous, African, European, Asian, and other identities were part of this story. Te making and remaking of American poetry, the subject of this special issue, is something that the contributors are considering from Canada, what Marshall McLuhan aptly called “a borderline case.”","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"53 1","pages":"101 - 109"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47263463","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}
Abstract:This article analyzes the use of ekphrasis in Solmaz Sharif ’s debut poetry collection, Look (2016). The poems in Look are constructed around terms taken from the United States Department of Defense’s Dictionary of Military and Associated Terms and describe the experiences of Sharif and her Iranian family in the aftermath of the events of 9/11. The prominent presence of sight and visuality in the collection will be analyzed through the concept of the “scopic regime.” Turning attention towards Sharif ’s description of artifacts of family memory, including a video recording of Sharif ’s father and a series of photos of her uncle, it is argued that ekphrasis functions in the collection as a mechanism by which to determine the conditions of visibility within the collection and, in so doing, navigate the problematics of mediating trauma and violence in the contemporary scopic regime.Résumé:Cet article est une analyse de l’emploi de l’ekphrasis dans le premier recueil de poésie de Solmaz Sharif, Look (2016 ; en français : Mire). Les poèmes de Mire, construits sur des termes empruntés au Dictionary of Military and Associated Terms du ministère de la Défense des États-Unis, décrivent les expériences vécues par l’auteure et sa famille, d’origine iranienne, après les évènements du 11 septembre 2001. La présence frappante de la vue dans les poèmes ainsi que leur caractère visuel sont analysés grâce au concept de régime scopique. En s’intéressant à la description par l’auteure d’artéfacts de la mémoire familiale, notamment une vidéo de son père et une série de photos de son oncle, l’article soutient que l’ekphrasis fonctionne comme un mécanisme qui détermine les conditions de visibilité à l’intérieur du recueil et que, ce faisant, elle permet de démêler la problématique de la médiation du traumatisme et de la violence dans le régime scopique contemporain.
摘要:本文分析了索尔马兹·谢里夫(Solmaz Sharif)的处女作诗集《Look》(2016)中短语的使用。《Look》中的诗歌取材于美国国防部的《军事及相关术语词典》，描述了谢里夫和她的伊朗家庭在9/11事件后的经历。通过“视野制度”的概念，将分析该系列中视觉和视觉的突出存在。将注意力转向谢里夫对家庭记忆的人工制品的描述，包括谢里夫父亲的录像和她叔叔的一系列照片，有人认为，ekphr短语在收藏中作为一种机制发挥作用，通过这种机制确定收藏中可见性的条件，并在这样做时，在当代范围政权中调解创伤和暴力的问题。《经济与社会发展》(2016)，《经济与社会发展》(2016)。法语:沼泽)。《军事及相关术语词典》(2001年9月11日版)，《军事及相关术语词典》(2001年9月11日版)，《军事及相关术语词典》(2001年9月11日版)，《军事及相关术语词典》(2001年9月11日版)。依照ainsi La存在frappante de La vue在诗,他们的特征visuel恩典是分析非盟德政权scopique概念。En ' s imimresant - 1描述了关于交换器和交换器的性质、关于交换器和交换器的性质、关于交换器和交换器的性质、关于交换器和交换器的性质、关于交换器和交换器的性质、关于交换器和交换器的性质、关于交换器和交换器的性质、关于交换器和交换器的性质、关于交换器和交换器的性质、关于交换器和交换器的性质、关于交换器和交换器的性质、关于交换器和交换器的性质、关于交换器的性质、关于交换器的性质、关于交换器的性质、关于交换器的性质、关于交换器的性质、关于交换器的性质。
{"title":"“If You Wish a Picture”: Ekphrasis as Technique in Solmaz Sharif’s Look","authors":"Aaron Obedkoff","doi":"10.3138/cras-2023-009","DOIUrl":"https://doi.org/10.3138/cras-2023-009","url":null,"abstract":"Abstract:This article analyzes the use of ekphrasis in Solmaz Sharif ’s debut poetry collection, Look (2016). The poems in Look are constructed around terms taken from the United States Department of Defense’s Dictionary of Military and Associated Terms and describe the experiences of Sharif and her Iranian family in the aftermath of the events of 9/11. The prominent presence of sight and visuality in the collection will be analyzed through the concept of the “scopic regime.” Turning attention towards Sharif ’s description of artifacts of family memory, including a video recording of Sharif ’s father and a series of photos of her uncle, it is argued that ekphrasis functions in the collection as a mechanism by which to determine the conditions of visibility within the collection and, in so doing, navigate the problematics of mediating trauma and violence in the contemporary scopic regime.Résumé:Cet article est une analyse de l’emploi de l’ekphrasis dans le premier recueil de poésie de Solmaz Sharif, Look (2016 ; en français : Mire). Les poèmes de Mire, construits sur des termes empruntés au Dictionary of Military and Associated Terms du ministère de la Défense des États-Unis, décrivent les expériences vécues par l’auteure et sa famille, d’origine iranienne, après les évènements du 11 septembre 2001. La présence frappante de la vue dans les poèmes ainsi que leur caractère visuel sont analysés grâce au concept de régime scopique. En s’intéressant à la description par l’auteure d’artéfacts de la mémoire familiale, notamment une vidéo de son père et une série de photos de son oncle, l’article soutient que l’ekphrasis fonctionne comme un mécanisme qui détermine les conditions de visibilité à l’intérieur du recueil et que, ce faisant, elle permet de démêler la problématique de la médiation du traumatisme et de la violence dans le régime scopique contemporain.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"53 1","pages":"173 - 186"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44362571","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}
The 1970s energy crises was a decisive point in US culture and in the development of neo-liberal geographies. After the post-war period of rapid economic growth, Western economies sputtered and stalled. Cutting across political, economic, and cultural spheres, the discourse of energy crisis brought narrative coherence to what was, in fact, a heterogenous historical moment. In doing so, energy crisis discourse facilitated dramatic social and economic restructuring, as well as shifts in the distributions of lived spaces and times. More broadly, energy crisis discourse played a significant role in configuring the emerging processes of neo-liberalization and bringing about a set of historical outcomes, herein elucidated in three figures: the suburb, energy, and the entrepreneur.
{"title":"Petrocultural Formations: Crisis Discourse, Energy Geographies, and Neo-liberalism","authors":"David Janzen","doi":"10.3138/cras-2022-011","DOIUrl":"https://doi.org/10.3138/cras-2022-011","url":null,"abstract":"The 1970s energy crises was a decisive point in US culture and in the development of neo-liberal geographies. After the post-war period of rapid economic growth, Western economies sputtered and stalled. Cutting across political, economic, and cultural spheres, the discourse of energy crisis brought narrative coherence to what was, in fact, a heterogenous historical moment. In doing so, energy crisis discourse facilitated dramatic social and economic restructuring, as well as shifts in the distributions of lived spaces and times. More broadly, energy crisis discourse played a significant role in configuring the emerging processes of neo-liberalization and bringing about a set of historical outcomes, herein elucidated in three figures: the suburb, energy, and the entrepreneur.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"1 1","pages":"-"},"PeriodicalIF":0.1,"publicationDate":"2023-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41772971","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}
Pub Date : 2023-01-01Epub Date: 2023-08-31DOI: 10.1007/s41244-023-00294-2
Lukas Kosch, Günther Stocker, Annika Schwabe, Hajo G Boomgaarden
With e‑readers, smartphones, notebooks, and tablets, new reading media have emerged whose haptics, spatiality, visuality, and materiality differ fundamentally from those of the traditional book. Electronic reading devices are characterized by a range of different text representations and distinct associated reading practices. This article will address the question of the concrete practices of literary reading on screens and the specific literary reading experiences on the basis of a laboratory experiment (N=207), a focus group study (N=34), and a quota-based online survey (N=779). The synoptic evaluation of these three published studies shows that a praxeological perspective in particular can yield important insights for understanding the differences between reading printed books and e‑books. The different material conditions of digitized and printed books result in different practices, both in terms of the quantity of what is read and the choice of text, the reading locations and reading situations, and the forms of acquisition and storage. However, both reading media fulfill different functions, go hand in hand with different reading practices, and complement rather than replace each other.
{"title":"[Books on Screen].","authors":"Lukas Kosch, Günther Stocker, Annika Schwabe, Hajo G Boomgaarden","doi":"10.1007/s41244-023-00294-2","DOIUrl":"10.1007/s41244-023-00294-2","url":null,"abstract":"<p><p>With e‑readers, smartphones, notebooks, and tablets, new reading media have emerged whose haptics, spatiality, visuality, and materiality differ fundamentally from those of the traditional book. Electronic reading devices are characterized by a range of different text representations and distinct associated reading practices. This article will address the question of the concrete practices of literary reading on screens and the specific literary reading experiences on the basis of a laboratory experiment (<i>N</i>=207), a focus group study (<i>N</i>=34), and a quota-based online survey (<i>N</i>=779). The synoptic evaluation of these three published studies shows that a praxeological perspective in particular can yield important insights for understanding the differences between reading printed books and e‑books. The different material conditions of digitized and printed books result in different practices, both in terms of the quantity of what is read and the choice of text, the reading locations and reading situations, and the forms of acquisition and storage. However, both reading media fulfill different functions, go hand in hand with different reading practices, and complement rather than replace each other.</p>","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"23 1","pages":"761-780"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10668330/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88013243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since winning the Academy Award for Best Picture in 1968, Norman Jewison’s In the Heat of the Night has been considered a landmark of Hollywood civil rights cinema. In Virgil Tibbs, generally considered the silver screen’s first Black detective, Sidney Poitier captured widespread anger over the glacial pace of social change in the early 1960s. Yet In the Heat of the Night also works to reproduce post-war Hollywood’s narrative regionalization of racism, in which discrimination, racial violence, and forms of institutional and structural racism are construed as distinctly southern phenomena. With emphasis on specific production decisions involving Stirling Silliphant’s screenplay, Jewison’s directorial choices, and the calculations of industry executives, this article considers how Hollywood’s “redneckification” of racism works to efface not only histories of racism in the American North and West but also the Canadian racism which marked Jewison’s Toronto childhood and animated his anti-racist sensibilities as a filmmaker.
{"title":"“Don’t Pray for Me, Pray for Them!”: Norman Jewison’s In the Heat of the Night and Hollywood “Redneckification” of Anti-Black Racism","authors":"I. Wells","doi":"10.3138/cras-2022-014","DOIUrl":"https://doi.org/10.3138/cras-2022-014","url":null,"abstract":"Since winning the Academy Award for Best Picture in 1968, Norman Jewison’s In the Heat of the Night has been considered a landmark of Hollywood civil rights cinema. In Virgil Tibbs, generally considered the silver screen’s first Black detective, Sidney Poitier captured widespread anger over the glacial pace of social change in the early 1960s. Yet In the Heat of the Night also works to reproduce post-war Hollywood’s narrative regionalization of racism, in which discrimination, racial violence, and forms of institutional and structural racism are construed as distinctly southern phenomena. With emphasis on specific production decisions involving Stirling Silliphant’s screenplay, Jewison’s directorial choices, and the calculations of industry executives, this article considers how Hollywood’s “redneckification” of racism works to efface not only histories of racism in the American North and West but also the Canadian racism which marked Jewison’s Toronto childhood and animated his anti-racist sensibilities as a filmmaker.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":" ","pages":"-"},"PeriodicalIF":0.1,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44244399","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}
Through the recontextualization of John Barth’s “textual exhaustion,” this paper explores the cause of unsuccessful textual impact in the modern popular culture sphere. Using the popular American television series The Simpsons as a case study, the author attempts to track the longest-running sitcom’s success or recent lack thereof through the use of intertextuality and textual exhaustion to understand what has caused a decline in ratings, receptions, and recreations. This paper brings reference to The Simpsons’ dual existence: first as a popular television show and second as an online hydra with a separate identity and fan base from the show itself.
{"title":"Die a Hero or Live Long Enough to See Yourself Become a Traditional American Family Sitcom: Exhausting Parody and Thirty-Three Years of The Simpsons","authors":"B. Anderson","doi":"10.3138/cras-2022-012","DOIUrl":"https://doi.org/10.3138/cras-2022-012","url":null,"abstract":"Through the recontextualization of John Barth’s “textual exhaustion,” this paper explores the cause of unsuccessful textual impact in the modern popular culture sphere. Using the popular American television series The Simpsons as a case study, the author attempts to track the longest-running sitcom’s success or recent lack thereof through the use of intertextuality and textual exhaustion to understand what has caused a decline in ratings, receptions, and recreations. This paper brings reference to The Simpsons’ dual existence: first as a popular television show and second as an online hydra with a separate identity and fan base from the show itself.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":" ","pages":"-"},"PeriodicalIF":0.1,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45618662","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}
This essay explores Ralph Ellison’s engagement with social psychiatry in Invisible Man as it pertains to psychiatrist Harry Stack Sullivan’s interpersonal theory of psychiatry. The novel renders traumatic experiences of psychiatric violence into a comprehensible form of political expression and dissent. Ellison’s representation of violence, particularly through electric shock, constitutes a deinstitutionalized psychiatric subject that challenges the role of institutionalized psychiatry in adjusting subjects to Fordist production through a form of deinstitutionalized, individual therapy of withdrawal and self-regulation. However, this deinstitutionalized therapy would later be appropriated by mental health consumerism in a post-institutionalization era beginning in the 1970s.
{"title":"Towards Post-Institutional Individualism: Ralph Ellison’s Invisible Man and the Therapeutic Politics of Dissent","authors":"Christopher Mcintyre","doi":"10.3138/cras-2022-013","DOIUrl":"https://doi.org/10.3138/cras-2022-013","url":null,"abstract":"This essay explores Ralph Ellison’s engagement with social psychiatry in Invisible Man as it pertains to psychiatrist Harry Stack Sullivan’s interpersonal theory of psychiatry. The novel renders traumatic experiences of psychiatric violence into a comprehensible form of political expression and dissent. Ellison’s representation of violence, particularly through electric shock, constitutes a deinstitutionalized psychiatric subject that challenges the role of institutionalized psychiatry in adjusting subjects to Fordist production through a form of deinstitutionalized, individual therapy of withdrawal and self-regulation. However, this deinstitutionalized therapy would later be appropriated by mental health consumerism in a post-institutionalization era beginning in the 1970s.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":" ","pages":"-"},"PeriodicalIF":0.1,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44864583","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}
In her non-fiction and Appalachian fiction, Barbara Kingsolver uses “place as the filter” to represent human-place interaction and her perception of “place-attachment” in the context of the global environmental crises. This article examines her works through the perspective of bioregionalism to foreground the transition from local to global, merging Kingsolver’s bioregional thinking, living, and the narratives of places. Her works focus on place-specific issues of a bioregion and connect with what Heise calls “a variety of ecological imaginations of the global” (Heise 2008). The paper devotes attention to Kingsolver's works and the theoretical perspective of bioregionalism based on the “four” waves of ecocriticism.
{"title":"“Knowing Our Place”: Reading Barbara Kingsolver’s Works from a Bioregional Perspective","authors":"A. Paul, V. Sarveswaran","doi":"10.3138/cras-2022-010","DOIUrl":"https://doi.org/10.3138/cras-2022-010","url":null,"abstract":"In her non-fiction and Appalachian fiction, Barbara Kingsolver uses “place as the filter” to represent human-place interaction and her perception of “place-attachment” in the context of the global environmental crises. This article examines her works through the perspective of bioregionalism to foreground the transition from local to global, merging Kingsolver’s bioregional thinking, living, and the narratives of places. Her works focus on place-specific issues of a bioregion and connect with what Heise calls “a variety of ecological imaginations of the global” (Heise 2008). The paper devotes attention to Kingsolver's works and the theoretical perspective of bioregionalism based on the “four” waves of ecocriticism.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"1 1","pages":"-"},"PeriodicalIF":0.1,"publicationDate":"2022-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41589622","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：