This article explores a dominant turn-of-the-millennium televisual genre, the late Oedipal narrative. Late Oedipal narratives such as The Wire, The Sopranos, Deadwood, Mad Men, and Breaking Bad represent turbulent crises of sovereignty bound up with broader transitions in the spirit of the age. These crises are often connected to a change in the overriding media environment, which the late Oedipal genre tends to represent as a mortal challenge to atavistic, self-destructive “thantagonists” such as Jimmy McNulty, Tony Soprano, Al Swearengen, and Walter White. As such, the late Oedipal genre constitutes a recursive form of television about television as the medium is vacuumed up and remediated by its successor, the Internet. I refer to such palpable rearticulations of televisuality through the universal medium of the Internet as “secondary televisuality.”
{"title":"The Late Oedipal Genre, Thantagonists, and Secondary Televisuality","authors":"Dan Adleman","doi":"10.3138/CRAS-2020-015","DOIUrl":"https://doi.org/10.3138/CRAS-2020-015","url":null,"abstract":"This article explores a dominant turn-of-the-millennium televisual genre, the late Oedipal narrative. Late Oedipal narratives such as The Wire, The Sopranos, Deadwood, Mad Men, and Breaking Bad represent turbulent crises of sovereignty bound up with broader transitions in the spirit of the age. These crises are often connected to a change in the overriding media environment, which the late Oedipal genre tends to represent as a mortal challenge to atavistic, self-destructive “thantagonists” such as Jimmy McNulty, Tony Soprano, Al Swearengen, and Walter White. As such, the late Oedipal genre constitutes a recursive form of television about television as the medium is vacuumed up and remediated by its successor, the Internet. I refer to such palpable rearticulations of televisuality through the universal medium of the Internet as “secondary televisuality.”","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":" ","pages":"-"},"PeriodicalIF":0.1,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42387276","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:Veep (2012–19) and House of Cards (2013–18), as political fictions and adaptations of UK series, provide an opportunity to consider the political significance and thematic mode of Martin Shuster's "new television" within the specific contexts of both American politics and television. In these series' invocations of the family, they challenge the idea that, as the sole remaining grounds for normative justification, family lies outside the vortex of late capitalism. In deploying the motif of natality, they foreground the figure of the pregnant woman complicating the supposed relation between natality, politics, and the political. In so doing, these series suggest that we cannot, through natality incubated in the family, "conceive of politics differently" without addressing politics as it is.Résumé:Veep (2012–2019) et House of Cards (2013–2018), en tant que fictions politiques et adaptations de séries britanniques, offrent une occasion de considérer la signification politique et le mode thématique de la « nouvelle télévision » de Martin Shuster dans les contextes spécifiques de la politique américaine et de la télévision. Dans les invocations de la famille dans ces séries, elles remettent en question l'idée que, en tant que seule base restante de justification normative, la famille se trouve à l'extérieur du vortex du capitalisme tardif. En déployant le motif de natalité, elles mettent de l'avant la figure de la femme enceinte, ce qui complique la prétendue relation entre la natalité, la politique et le politique. Ce faisant, ces séries suggèrent que nous ne pouvons pas, par l'entremise de la natalité incubée dans la famille, « concevoir différemment de la politique » sans adresser la politique telle qu'elle est.
{"title":"\"We Couldn't Do That Even if We Wanted To\": Family and Natality in Veep and House of Cards (US)","authors":"M. Wales","doi":"10.3138/CRAS-2020-014","DOIUrl":"https://doi.org/10.3138/CRAS-2020-014","url":null,"abstract":"Abstract:Veep (2012–19) and House of Cards (2013–18), as political fictions and adaptations of UK series, provide an opportunity to consider the political significance and thematic mode of Martin Shuster's \"new television\" within the specific contexts of both American politics and television. In these series' invocations of the family, they challenge the idea that, as the sole remaining grounds for normative justification, family lies outside the vortex of late capitalism. In deploying the motif of natality, they foreground the figure of the pregnant woman complicating the supposed relation between natality, politics, and the political. In so doing, these series suggest that we cannot, through natality incubated in the family, \"conceive of politics differently\" without addressing politics as it is.Résumé:Veep (2012–2019) et House of Cards (2013–2018), en tant que fictions politiques et adaptations de séries britanniques, offrent une occasion de considérer la signification politique et le mode thématique de la « nouvelle télévision » de Martin Shuster dans les contextes spécifiques de la politique américaine et de la télévision. Dans les invocations de la famille dans ces séries, elles remettent en question l'idée que, en tant que seule base restante de justification normative, la famille se trouve à l'extérieur du vortex du capitalisme tardif. En déployant le motif de natalité, elles mettent de l'avant la figure de la femme enceinte, ce qui complique la prétendue relation entre la natalité, la politique et le politique. Ce faisant, ces séries suggèrent que nous ne pouvons pas, par l'entremise de la natalité incubée dans la famille, « concevoir différemment de la politique » sans adresser la politique telle qu'elle est.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"51 1","pages":"308 - 323"},"PeriodicalIF":0.1,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45774592","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 examines The Wire (HBO, 2002–8) and The Shield (FX, 2002–8) and the extent to which they employ particular attributes of new television in order to engage with notions of determined behaviour familiar from literary naturalism (and, through them, important contemporary political ideologies). The Wire and The Shield are part of a growing body of neo-naturalist works in contemporary American culture. Like Dexter and Breaking Bad, they portray the actions of their protagonists as heavily determined by outside forces. But while The Shield's deterministic naturalism tends to lend tacit support for more authoritarian social control, The Wire's use of similar architecture is a means to advocate for urgent institutional reform.Résumé:Cet article examine les séries télévisées The Wire (HBO, 2002-2008) et The Shield (FX, 2002-2008) et la manière dont elles utilisent des caractéristiques particulières de la nouvelle télévision pour entamer un dialogue avec des notions de comportement déterminé, lesquelles sont connues du naturalisme littéraire (et, par leur entremise, des idéologies politiques contemporaines importantes). The Wire et The Shield font partie du corpus croissant d'œuvres néonaturalistes dans la culture américaine contemporaine. Tout comme Dexter et Breaking Bad, elles montrent les actions de leurs protagonistes comme étant lourdement déterminées par des forces externes. Mais, tandis que le naturalisme déterministe de The Shield a tendance à soutenir tacitement un plus grand contrôle social autoritaire, l'utilisation d'une architecture similaire dans The Wire sert à défendre une réforme institutionnelle urgente.
摘要:本文研究了《火线》(HBO, 2002-8)和《盾牌》(FX, 2002-8)，以及它们在多大程度上采用了新电视的特定属性，以便与文学自然主义(以及通过它们，重要的当代政治意识形态)中熟悉的确定行为概念相结合。《铁线》和《盾牌》是当代美国文化中越来越多的新自然主义作品的一部分。就像《嗜血法医》和《绝命毒师》一样，它们将主角的行为描绘成严重受外部力量决定的。虽然《盾牌》的决定论自然主义倾向于为更专制的社会控制提供默认支持，但《火线》对类似架构的使用是倡导紧急制度改革的一种手段。这篇文章考察了三个不同的因素，分别是:《The Wire》(HBO, 2002-2008)和《The Shield》(FX, 2002-2008)，以及《maniires not elles utilisent des caracacimristiques speciuli》和《nevelle de comement dancientement dancientise》，以及《lesquelles sonconues du naturalisme licatraire》(et, par leur enterprise, des idacimologies politiques contemporaines importantes)。《Wire》和《The Shield》的字体party du corpus croissant and 'œuvres nsamonnaturalistes dans la culture amsamricaine contemporaine。就像《嗜血法医》和《绝命毒师》一样，所有的人都有自己的行为，所有的主角都有自己的行为，所有的人都有自己的行为，所有的人都有自己的行为，所有的人都有自己的行为。主要的是，《盾牌》的自然主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义与社会专制主义之间的关系》。
{"title":"New Television as Neo-Naturalism: The Wire and The Shield","authors":"A. Gibbs","doi":"10.3138/CRAS-2020-009","DOIUrl":"https://doi.org/10.3138/CRAS-2020-009","url":null,"abstract":"Abstract:This article examines The Wire (HBO, 2002–8) and The Shield (FX, 2002–8) and the extent to which they employ particular attributes of new television in order to engage with notions of determined behaviour familiar from literary naturalism (and, through them, important contemporary political ideologies). The Wire and The Shield are part of a growing body of neo-naturalist works in contemporary American culture. Like Dexter and Breaking Bad, they portray the actions of their protagonists as heavily determined by outside forces. But while The Shield's deterministic naturalism tends to lend tacit support for more authoritarian social control, The Wire's use of similar architecture is a means to advocate for urgent institutional reform.Résumé:Cet article examine les séries télévisées The Wire (HBO, 2002-2008) et The Shield (FX, 2002-2008) et la manière dont elles utilisent des caractéristiques particulières de la nouvelle télévision pour entamer un dialogue avec des notions de comportement déterminé, lesquelles sont connues du naturalisme littéraire (et, par leur entremise, des idéologies politiques contemporaines importantes). The Wire et The Shield font partie du corpus croissant d'œuvres néonaturalistes dans la culture américaine contemporaine. Tout comme Dexter et Breaking Bad, elles montrent les actions de leurs protagonistes comme étant lourdement déterminées par des forces externes. Mais, tandis que le naturalisme déterministe de The Shield a tendance à soutenir tacitement un plus grand contrôle social autoritaire, l'utilisation d'une architecture similaire dans The Wire sert à défendre une réforme institutionnelle urgente.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"51 1","pages":"247 - 260"},"PeriodicalIF":0.1,"publicationDate":"2021-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48609267","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 article reflects on the recent prominence of direct address—characters speaking directly to the camera—within new television. With particular reference to Phoebe Waller-Bridge’s Fleabag (BBC Three, 2016–19), the phenomenon of direct address is in this context situated amid the broader history of pictorial art, especially painting and the problem of theatricality first introduced by Denis Diderot in the eighteenth century and taken up in the last century by Michael Fried. The article concludes by showing how Fleabag’s use of direct address both fits neatly into this art history and moves beyond it, showing especially how Fleabag’s use of direct address substantially comments on modernity, on the status of art (especially new television), and even on the status of religion.
{"title":"Fleabag, Modernism, and New Television","authors":"Martin Shuster","doi":"10.3138/CRAS-2020-013","DOIUrl":"https://doi.org/10.3138/CRAS-2020-013","url":null,"abstract":"This article reflects on the recent prominence of direct address—characters speaking directly to the camera—within new television. With particular reference to Phoebe Waller-Bridge’s Fleabag (BBC Three, 2016–19), the phenomenon of direct address is in this context situated amid the broader history of pictorial art, especially painting and the problem of theatricality first introduced by Denis Diderot in the eighteenth century and taken up in the last century by Michael Fried. The article concludes by showing how Fleabag’s use of direct address both fits neatly into this art history and moves beyond it, showing especially how Fleabag’s use of direct address substantially comments on modernity, on the status of art (especially new television), and even on the status of religion.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":" ","pages":"-"},"PeriodicalIF":0.1,"publicationDate":"2021-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49252132","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}
AMC’s TV series Breaking Bad and Better Call Saul both feature protagonists who can be seen as victims of institutions that do not appreciate their talents and abilities. Walter White in Breaking Bad, who once won a Nobel Prize in chemistry, is an under-appreciated and underpaid high school chemistry teacher who must work a second job to support his family. Jimmy McGill, a con artist–turned–lawyer who will eventually change his identity to Saul Goodman in Better Call Saul discovers that because of his earlier criminal exploits and non-traditional legal education, he will never be fully accepted within Albuquerque’s legal community. These series exemplify several core concepts from Zygmunt Bauman and Martin Shuster’s works, including liquid modernity and late capitalism, the loss of normative authority and deinstitutionalization, the process of individuation and identity formation, and the centrality of family in living and struggling in liquid times.
{"title":"Breaking Bad and Better Call Saul: Struggling and Living in Liquid Times","authors":"David P. Pierson","doi":"10.3138/CRAS-2020-010","DOIUrl":"https://doi.org/10.3138/CRAS-2020-010","url":null,"abstract":"AMC’s TV series Breaking Bad and Better Call Saul both feature protagonists who can be seen as victims of institutions that do not appreciate their talents and abilities. Walter White in Breaking Bad, who once won a Nobel Prize in chemistry, is an under-appreciated and underpaid high school chemistry teacher who must work a second job to support his family. Jimmy McGill, a con artist–turned–lawyer who will eventually change his identity to Saul Goodman in Better Call Saul discovers that because of his earlier criminal exploits and non-traditional legal education, he will never be fully accepted within Albuquerque’s legal community. These series exemplify several core concepts from Zygmunt Bauman and Martin Shuster’s works, including liquid modernity and late capitalism, the loss of normative authority and deinstitutionalization, the process of individuation and identity formation, and the centrality of family in living and struggling in liquid times.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":" ","pages":"-"},"PeriodicalIF":0.1,"publicationDate":"2021-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45176359","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}
Global capitalism creates a culture of abstraction, described by Fredric Jameson as “a kind of cyberspace in which money capital has reached its ultimate dematerialization, as messages which pass instantaneously from one nodal point to another across the former material world.” The “becoming information” of money has been celebrated by technophiles like David Wolman who contends paper money is now largely the stuff of “crooks and terrorists.” And indeed, the capitalists at the centre of complex televisual crime sagas like Breaking Bad are continually frustrated by the recalcitrant materiality of their paper profits. Martin Shuster suggests that Breaking Bad amounts to a critique of Western science, specifically its tendency to “empty” the material world of meaning by prioritizing “instrumental” reason. I argue that the comical efforts of Walter White (the show’s chemistry-teaching, drug-manufacturing protagonist) and other characters to control the unruly materialism of cash represents this failure of instrumental reason, whether expressed in chemical equations or prices, to achieve fully the “dematerialization,” or what White calls the “disincorporation,” of the world. Ultimately, the unmanageable corporeality of money allegorizes the persistence of non-capitalist, material desires in mass cultural products like Breaking Bad.
{"title":"From Disincorporation to Rematerialization: Breaking Bad and the Life of Cash","authors":"Joseph Conway","doi":"10.3138/CRAS-2020-011","DOIUrl":"https://doi.org/10.3138/CRAS-2020-011","url":null,"abstract":"Global capitalism creates a culture of abstraction, described by Fredric Jameson as “a kind of cyberspace in which money capital has reached its ultimate dematerialization, as messages which pass instantaneously from one nodal point to another across the former material world.” The “becoming information” of money has been celebrated by technophiles like David Wolman who contends paper money is now largely the stuff of “crooks and terrorists.” And indeed, the capitalists at the centre of complex televisual crime sagas like Breaking Bad are continually frustrated by the recalcitrant materiality of their paper profits. Martin Shuster suggests that Breaking Bad amounts to a critique of Western science, specifically its tendency to “empty” the material world of meaning by prioritizing “instrumental” reason. I argue that the comical efforts of Walter White (the show’s chemistry-teaching, drug-manufacturing protagonist) and other characters to control the unruly materialism of cash represents this failure of instrumental reason, whether expressed in chemical equations or prices, to achieve fully the “dematerialization,” or what White calls the “disincorporation,” of the world. Ultimately, the unmanageable corporeality of money allegorizes the persistence of non-capitalist, material desires in mass cultural products like Breaking Bad.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"1 1","pages":"-"},"PeriodicalIF":0.1,"publicationDate":"2021-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42014707","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 Sopranos, Breaking Bad, and Better Call Saul exemplify what Martin Shuster calls “new television.” Following 9/11, the playful irony that had defined shows such as Seinfeld, Buffy the Vampire Slayer, and The Simpsons was gradually replaced with more morally ambiguous characters. Questions about one’s moral standing operated at the forefront of such television, where previous idols of goodness on the right side of the law, such as Agent Dale Cooper (Twin Peaks), Agents Mulder and Scully (The X-Files), and Buffy Summers, gave way to characters whose moral dubiousness and criminal behaviour utterly destabilized long-standing characteristics of television, asking viewers to sympathize with imperfect, often unscrupulous individuals. In this article, I discuss the moral trajectories of a number of key characters, including Tony Soprano, Walter White, and Jimmy McGill. White’s and McGill’s alter egos (Heisenberg and Saul Goodman, respectively) represent two very different moral compromises in a world defined by white-collar corruption, self-sabotage, and a questionable judicial system that simultaneously protects criminals as it reprimands them. These two characters in particular exemplify a radical break with traditionally morally upstanding characters and have taken audiences into a new frontier of morally ambiguous television that celebrates the complex world of the anti-hero.
{"title":"The (Anti-)Hero with a Thousand Faces: Reconstructing Villainy in The Sopranos, Breaking Bad, and Better Call Saul","authors":"Siobhan Lyons","doi":"10.3138/CRAS-2020-017","DOIUrl":"https://doi.org/10.3138/CRAS-2020-017","url":null,"abstract":"The Sopranos, Breaking Bad, and Better Call Saul exemplify what Martin Shuster calls “new television.” Following 9/11, the playful irony that had defined shows such as Seinfeld, Buffy the Vampire Slayer, and The Simpsons was gradually replaced with more morally ambiguous characters. Questions about one’s moral standing operated at the forefront of such television, where previous idols of goodness on the right side of the law, such as Agent Dale Cooper (Twin Peaks), Agents Mulder and Scully (The X-Files), and Buffy Summers, gave way to characters whose moral dubiousness and criminal behaviour utterly destabilized long-standing characteristics of television, asking viewers to sympathize with imperfect, often unscrupulous individuals. In this article, I discuss the moral trajectories of a number of key characters, including Tony Soprano, Walter White, and Jimmy McGill. White’s and McGill’s alter egos (Heisenberg and Saul Goodman, respectively) represent two very different moral compromises in a world defined by white-collar corruption, self-sabotage, and a questionable judicial system that simultaneously protects criminals as it reprimands them. These two characters in particular exemplify a radical break with traditionally morally upstanding characters and have taken audiences into a new frontier of morally ambiguous television that celebrates the complex world of the anti-hero.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":" ","pages":"-"},"PeriodicalIF":0.1,"publicationDate":"2021-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42572870","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:The western has long been a staple genre of American television. Starting in the late 1960s, however, the genre began falling out of favour as its stock content—the relatively simple moral exploration of right and wrong—shiſted to detective shows and police procedurals. The "new television" trend, however, brought about a revival of the western. Central to this revival is the TV series Justified, which demonstrates that old western tropes and storylines can be made popular again if the tropes receive socially aware updates and moral questions about right and wrong are not presented with easy or obvious answers. This article provides a rhetorical analysis of the first season of Justified and identifies the specific strategies used to modernize the American western genre: (1) shiſting from episodic to serial narrative structure; (2) presenting male characters struggling with identity roles within the context of contemporary identity/masculinity politics; (3) presenting female characters with more narrative complexity and agency; and (4) updating the setting to better engage cultural themes. It concludes by arguing that these strategies allowed the series to successfully revive the best elements of the old western and return the television western to a culturally relevant position.Résumé:Les westerns ont longtemps été un genre principal de la télévision américaine. À partir de la fin des années 1960, par contre, le genre a commencé à ne plus avoir la cote alors que son contenu classique — l'exploration morale relativement simple du bien et du mal — a changé pour la diffusion d'émissions policières. La mode de la « nouvelle télévision », par contre, a apporté une renaissance des westerns. Au centre de cette renaissance se trouve la série télévisée Justified, qui démontre que les vieux stéréotypes et les vieilles intrigues des westerns peuvent être à nouveau populaires si ces stéréotypes deviennent socialement conscients et si les questions morales du bien et du mal n'ont pas de réponses faciles et évidentes. Cet article offre une analyse rhétorique de la première saison de Justified et identifie les stratégies spécifiques utilisées pour moderniser le genre western américain : (1) le passage d'une structure épisodique à une narration sérielle ; (2) la présentation de personnages masculins qui luttent avec les rôles identitaires au sein du contexte de politiques d'identité/masculinité contemporaines ; (3) la présentation de personnages féminins qui ont une complexité et une agentivité narratives accrues ; et (4) la mise à jour de l'environnement pour mieux présenter les thèmes culturels. Il conclut en soutenant que ces stratégies ont permis à la série de faire renaître les meilleurs éléments des vieux westerns et de remettre les westerns télévisuels dans une position culturellement pertinente.
摘要:西部片一直是美国电视剧的主要类型。然而，从20世纪60年代末开始，这种类型的电视剧开始失宠，因为它一贯的内容——对是非的相对简单的道德探索——转向了侦探剧和警察程序。然而，“新电视”潮流带来了西部片的复兴。这次复兴的核心是电视剧《正义伸张》(Justified)，它表明，如果这些比喻得到社会意识的更新，关于是非的道德问题没有简单或明显的答案，那么旧的西方比喻和故事情节可以再次流行起来。本文对《律正传》第一季进行了修辞分析，并指出了美国西部剧现代化的具体策略:(1)从情节式叙事结构转向系列化叙事结构;(2)呈现当代身份/男性政治背景下挣扎于身份角色中的男性角色;(3)呈现更具叙事复杂性和能动性的女性角色;(4)更新设置，更好地融入文化主题。文章的结论是，这些策略使这部剧成功地恢复了老西部片的最佳元素，并使西部片电视回归到与文化相关的位置。拉西姆斯-拉西姆斯-拉西姆斯-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆-拉西姆。从de la鳍排1960,相反地,le流派一开始不加得到象牙海岸那么,儿子contenu—l 'exploration士气就相对简单的du好杜等不良变化倒拉扩散d 'emissions policieres。与此相反，“新模式”(La mode de La nouvelle tsamuise)是西方文艺复兴的典范。有理由的是，我认为，我的父亲是一名男子，我的父亲是一名男子，我的父亲是一名男子，我的父亲是一名男子，我的父亲是一名男子，我的父亲是一名男子，我的父亲是一名男子，我的父亲是一名男子，我的父亲是一名男子。本文分析了现代主义和西方主义的交换制和交换制和交换制和交换制和交换制和交换制和交换制和交换制和交换制和交换制。(2) la pracrisientation de personages masculins qui luttent avec les rôles identitaires au sein du contexte de politiques d' identitest / masculinit contemporaines;(3)由一个复杂的事件、一个代理事件、一个叙述累积而成的对事件人物的描述;(4)从环境的角度出发，从文化的角度出发。我将得出结论，在不同的文化背景下，不同的文化背景下，不同的文化背景下，不同的文化背景下，不同的文化背景下，不同的文化背景下，不同的文化背景下，不同的文化背景下，不同的文化背景下，不同的文化背景下，不同的文化背景下，不同的文化背景下。
{"title":"Justified: Transitioning the Old TV Western Lawman into a New Television Protagonist","authors":"Karen A. Stewart","doi":"10.3138/CRAS-2020-012","DOIUrl":"https://doi.org/10.3138/CRAS-2020-012","url":null,"abstract":"Abstract:The western has long been a staple genre of American television. Starting in the late 1960s, however, the genre began falling out of favour as its stock content—the relatively simple moral exploration of right and wrong—shiſted to detective shows and police procedurals. The \"new television\" trend, however, brought about a revival of the western. Central to this revival is the TV series Justified, which demonstrates that old western tropes and storylines can be made popular again if the tropes receive socially aware updates and moral questions about right and wrong are not presented with easy or obvious answers. This article provides a rhetorical analysis of the first season of Justified and identifies the specific strategies used to modernize the American western genre: (1) shiſting from episodic to serial narrative structure; (2) presenting male characters struggling with identity roles within the context of contemporary identity/masculinity politics; (3) presenting female characters with more narrative complexity and agency; and (4) updating the setting to better engage cultural themes. It concludes by arguing that these strategies allowed the series to successfully revive the best elements of the old western and return the television western to a culturally relevant position.Résumé:Les westerns ont longtemps été un genre principal de la télévision américaine. À partir de la fin des années 1960, par contre, le genre a commencé à ne plus avoir la cote alors que son contenu classique — l'exploration morale relativement simple du bien et du mal — a changé pour la diffusion d'émissions policières. La mode de la « nouvelle télévision », par contre, a apporté une renaissance des westerns. Au centre de cette renaissance se trouve la série télévisée Justified, qui démontre que les vieux stéréotypes et les vieilles intrigues des westerns peuvent être à nouveau populaires si ces stéréotypes deviennent socialement conscients et si les questions morales du bien et du mal n'ont pas de réponses faciles et évidentes. Cet article offre une analyse rhétorique de la première saison de Justified et identifie les stratégies spécifiques utilisées pour moderniser le genre western américain : (1) le passage d'une structure épisodique à une narration sérielle ; (2) la présentation de personnages masculins qui luttent avec les rôles identitaires au sein du contexte de politiques d'identité/masculinité contemporaines ; (3) la présentation de personnages féminins qui ont une complexité et une agentivité narratives accrues ; et (4) la mise à jour de l'environnement pour mieux présenter les thèmes culturels. Il conclut en soutenant que ces stratégies ont permis à la série de faire renaître les meilleurs éléments des vieux westerns et de remettre les westerns télévisuels dans une position culturellement pertinente.","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"51 1","pages":"276 - 289"},"PeriodicalIF":0.1,"publicationDate":"2021-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69927381","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:University of Chicago German-Jewish studies scholar Eric L. Santner is a singular psychoanalytic thinker. His criticism stands out for the finesse with which he brings Lacanian thought into resonance with Foucault’s ideas about the advent of modernity. To this end, Santner’s My Own Private Germany performs a nuanced meta-reading of Lacan’s reading of Freud’s reading of finde-siècle Saxon jurist Daniel Paul Schreber’s Memoirs of My Nervous Illness (1903). Surprisingly, many psychoanalytic humanities scholars have never encountered the Schreber affair and know little of Lacan’s work beyond his “Seminar on The Purloined Letter.” However, the portrait Santner paints of what I call Schreber’s “purloined paranoia” is arguably even more replete with significance for the future of Lacanian thought across the disciplines. His supple analysis of the travails of Schreber’s “psychotic” text, as it passes hands from thinker to thinker, tracks the itinerary of subjectivity in a paranoid milieu defined by the impossibility of a metalanguage or God’s-eye-view. Through this lens, Schreber’s gender-bending text, and the cascade of interpretations it produced (and continues to produce), indexes a modern “crisis of sovereignty” whereby phallic authority is slowly divested of its long-standing libidinal buttressing as the calamity of media modernity sends seismic tremors through the architecture of the Lacanian unconscious. Drawing on the work of the aforementioned thinkers and others, this article works through the import of Schreber to our particular historical moment. As Santner’s work reveals, a historiography of Schreber’s text and its cascade of effects gestures toward vital new pathways for Lacanian reading strategies in the digital twenty-first century.Résumé:Eric L. Santner, chercheur en études germano-juives à l’Université de Chicago, est un penseur psychanalytique particulier. Ses critiques se démarquent par la finesse avec laquelle il jumelle la pensée lacanienne aux idées de Foucault en ce qui concerne la venue de la modernité. C’est dans ce but que Santner, dans My Own Private Germany, fait une métalecture de la lecture que Lacan a faite de la lecture que Freud a faite du mémoire intitulé Memoirs of My Nervous Illness (1903), écrit par le juriste saxon Daniel Paul Schreber. Étonnamment, de nombreux chercheurs en sciences humaines psychanalytiques n’ont jamais eu connaissance de l’affaire Schreber et en savent peu sur le travail de Lacan au-delà de son « Séminaire sur La Lettre volée ». Par contre, le portrait que Santner peint de ce que j’appelle la « paranoïa volée » de Schreber est encore plus rempli d’importance en ce qui concerne l’avenir de la pensée lacanienne à travers les disciplines. Son analyse fine des peines du texte « psychotique » de Schreber, alors qu’il va de penseur à penseur, trace l’itinéraire de la subjectivité dans un milieu paranoïaque défini par l’impossibilité d’un métalangage ou de point de vue de Dieu. De ce point de v
摘要:芝加哥大学德裔犹太研究学者埃里克·桑特纳是一位杰出的精神分析思想家。他的批评因为他巧妙地将拉康的思想与福柯关于现代性来临的观点相呼应而脱颖而出。为此，桑特纳的《我的私人德国》对拉康对弗洛伊德对萨克森法学家丹尼尔·保罗·施雷伯的《我的神经疾病回忆录》(1903)的解读进行了细致入微的元解读。令人惊讶的是，许多精神分析人文学者从来没有遇到过舒伯事件，除了他的“被盗信件研讨会”之外，对拉康的工作知之甚少。然而，桑特纳所描绘的，我称之为Schreber的“被偷走的偏执”的肖像，可以说对拉康学派跨学科思想的未来更有意义。他对Schreber的“精神病”文本的痛苦进行了细致的分析，从一个思想者到另一个思想者，追踪了主体性在偏执环境中的行程，这种偏执环境由元语言或上帝视角的不可能性所定义。通过这个镜头，Schreber的性别扭曲的文本，以及它产生的(并继续产生的)一连串的解释，索引了一个现代的“主权危机”，在这个危机中，随着媒介现代性的灾难通过拉康无意识的架构发出地震般的震动，生殖器权威慢慢地被剥夺了其长期存在的力比多的支撑。借鉴上述思想家和其他人的作品，本文通过Schreber对我们特定历史时刻的重要性进行研究。正如Santner的著作所揭示的，史学研究Schreber的文本及其连锁效应为拉康阅读策略在数字化的21世纪指明了重要的新途径。* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *。他的批评认为，在福柯的任期内，他的任期内，他的任期内，他的任期内，他的任期内，他的任期内，他的任期内，他的任期内。《我的私人德国》《我的私人德国》《我的个人德国》《我的个人德国》《我的个人德国》《我的精神疾病回忆录》《我的个人德国》《我的个人德国》《我的个人德国》《我的个人德国》《我的个人德国》《我的个人德国》Étonnamment，《人类科学与精神分析》，《人类科学与精神分析》，《人类科学与精神分析》，《人类科学与精神分析》，《人类科学与精神分析》，《人类科学与精神分析》，《人类科学与精神分析》，《人类科学与精神分析》。与此相反，桑坦纳的肖像和他在“paranoïa volsamae”中的表现一样重要，他在“paranoïa volsamae”中的表现同样重要，他在“volsamae”中的表现同样重要。我们来分析一下Schreber的fine des peines du text«psychotique»de Schreber, alors qu 'il va de penseur«penseur«penseur»，追查一下' itinsamraire de la subjectivitvitous ' danci.com/ ' unposilious ' danci.com/ ' danci.com/ ' danci.com/ ' danci.com/ ' danci.com/ ' danci.com/ ' danci.com/ ' danci.com/ ' danci.com/ ' danci.com/ ' danci.com/ ' danci.com/ ' danci.com/ ' danci.com/ ' diue de Dieu。De ce point De vue, De De Schreber和De De Schreber的文本和De De Schreber的文本和De De Schreber的文本和De De Schreber的文本和De De Schreber的文本(et qui continue d 'en danalicer)，索引和De«危机De souverainetress»modern - De De autoritrous phallique De De pelier libidinal De lonque De catititsche De la moderente, De De Schreber的文本和De conententlacanien的文本，De De Schreber的文本和De conconentlacanien的文本和De conententlacanien。À我的研究报告中提到了物质和物质的结合，这篇文章特别研究了物质和物质的结合的重要性。在桑坦纳，史考尔伯的历史文献中，他发现了一系列的影响，这些影响表明，在新的化学过程中，有很多的化学行为，在新的化学行为中，有很多的化学行为，在新的化学行为中，有很多的化学行为，在新的化学行为中，有很多的化学行为，在新的化学行为中，有很多的化学行为，在新的化学行为中，有很多的化学行为，在新的化学行为中，有很多的化学行为。
{"title":"Purloined Paranoia: The Insistence of Schreber","authors":"Dan Adleman","doi":"10.3138/CRAS-2019-011","DOIUrl":"https://doi.org/10.3138/CRAS-2019-011","url":null,"abstract":"Abstract:University of Chicago German-Jewish studies scholar Eric L. Santner is a singular psychoanalytic thinker. His criticism stands out for the finesse with which he brings Lacanian thought into resonance with Foucault’s ideas about the advent of modernity. To this end, Santner’s My Own Private Germany performs a nuanced meta-reading of Lacan’s reading of Freud’s reading of finde-siècle Saxon jurist Daniel Paul Schreber’s Memoirs of My Nervous Illness (1903). Surprisingly, many psychoanalytic humanities scholars have never encountered the Schreber affair and know little of Lacan’s work beyond his “Seminar on The Purloined Letter.” However, the portrait Santner paints of what I call Schreber’s “purloined paranoia” is arguably even more replete with significance for the future of Lacanian thought across the disciplines. His supple analysis of the travails of Schreber’s “psychotic” text, as it passes hands from thinker to thinker, tracks the itinerary of subjectivity in a paranoid milieu defined by the impossibility of a metalanguage or God’s-eye-view. Through this lens, Schreber’s gender-bending text, and the cascade of interpretations it produced (and continues to produce), indexes a modern “crisis of sovereignty” whereby phallic authority is slowly divested of its long-standing libidinal buttressing as the calamity of media modernity sends seismic tremors through the architecture of the Lacanian unconscious. Drawing on the work of the aforementioned thinkers and others, this article works through the import of Schreber to our particular historical moment. As Santner’s work reveals, a historiography of Schreber’s text and its cascade of effects gestures toward vital new pathways for Lacanian reading strategies in the digital twenty-first century.Résumé:Eric L. Santner, chercheur en études germano-juives à l’Université de Chicago, est un penseur psychanalytique particulier. Ses critiques se démarquent par la finesse avec laquelle il jumelle la pensée lacanienne aux idées de Foucault en ce qui concerne la venue de la modernité. C’est dans ce but que Santner, dans My Own Private Germany, fait une métalecture de la lecture que Lacan a faite de la lecture que Freud a faite du mémoire intitulé Memoirs of My Nervous Illness (1903), écrit par le juriste saxon Daniel Paul Schreber. Étonnamment, de nombreux chercheurs en sciences humaines psychanalytiques n’ont jamais eu connaissance de l’affaire Schreber et en savent peu sur le travail de Lacan au-delà de son « Séminaire sur La Lettre volée ». Par contre, le portrait que Santner peint de ce que j’appelle la « paranoïa volée » de Schreber est encore plus rempli d’importance en ce qui concerne l’avenir de la pensée lacanienne à travers les disciplines. Son analyse fine des peines du texte « psychotique » de Schreber, alors qu’il va de penseur à penseur, trace l’itinéraire de la subjectivité dans un milieu paranoïaque défini par l’impossibilité d’un métalangage ou de point de vue de Dieu. De ce point de v","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"51 1","pages":"44 - 62"},"PeriodicalIF":0.1,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43106719","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—Lacan in America","authors":"Chris Vanderwees","doi":"10.3138/CRAS-2019-015","DOIUrl":"https://doi.org/10.3138/CRAS-2019-015","url":null,"abstract":"","PeriodicalId":53953,"journal":{"name":"CANADIAN REVIEW OF AMERICAN STUDIES","volume":"51 1","pages":"1 - 2"},"PeriodicalIF":0.1,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44941549","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：