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1
Beyer, Landon E. Aesthetics and the curriculum: Ideological and cultural form in school practice. Ann Arbor, Mich: University Microfilms International Dissertation Information Service, 1987.
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2
The making of the state reader: Social and aesthetic contexts of the reception of Soviet literature. Stanford, Calif: Stanford University Press, 1997.
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3
Pellegrini, Ernestina, Federico Fastelli, and Diego Salvadori, eds. Firenze per Claudio Magris. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.
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This volume brings together a selection of essays on Claudio Magris’ work, aiming to enrich critical debate with a specific focus on interdisciplinary dimension and continuous dialogue with the main European literary traditions. The outcome is an overall study on Magris’ narrative, essayistic and theatrical production, trying to fix his plural and prismatic identity: from the narration of places to an unavoidable ideological tension; from philosophical alphabets to the weight of History; from Myth’s remediation to the abroad reception; from hypotext filigree to real case studies. According to a diachronic perspective, they focus attention on Magris’ works, such as Microcosmi, Alla cieca, Non luogo a procedere and Tempo curvo a Krems.
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Grabowski, Antoni. The Construction of Ottonian Kingship. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462987234.
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German historians long assumed that the German Kingdom was created with Henry the Fowler's coronation in 919. The reigns of both Henry the Fowler, and his son Otto the Great, were studied and researched mainly through Widukind of Corvey's chronicle Res Gestae Saxonicae. There was one source on Ottonian times that was curiously absent from most of the serious research: Liudprand of Cremona's Antapodosis. The study of this chronicle leads to a reappraisal of the tenth century in Western Europe showing how mythology of the dynasty was constructed. By looking at the later reception (through later Middle Ages and then on 19th and 20th century historiography) the author showcases the longevity of Ottonian myths and the ideological expressions of the tenth century storytellers.
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Siewert, Senta. Performing Moving Images. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985834.
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Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-screenings, re-enactments, and found footage works, that are using archival material? How does the affective experience of the images, sounds and music resonate today? Performing Moving Images: Access, Archive and Affects proposes a theoretical framework from the perspective of the performative practice of programming, curating, and reconstructing, bringing in insights from original interviews with cultural agents together with an interdisciplinary academic discourse.
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Guynes, Sean, and Dan Hassler-Forest, eds. Star Wars and the History of Transmedia Storytelling. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462986213.
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Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies’ projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world’s most profitable transmedia franchise.
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Paszkiewicz, Katarzyna. Genre, Authorship and Contemporary Women Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.001.0001.
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Genre, Authorship and Contemporary Women Filmmakers examines the significance of women’s contribution to genre cinema by highlighting the work of US filmmakers within and outside Hollywood – Kathryn Bigelow, Sofia Coppola, Nancy Meyers, Karyn Kusama and Kelly Reichardt, among others. Exploring genres as diverse as horror, the war movie, the Western, the costume biopic and the romantic comedy, Katarzyna Paszkiewicz interrogates questions of ‘genre’ authorship; the blurring of the borders between commercial and independent cinema and gendered discourses of (de)authorisation that operate within each sphere; ‘male’–‘female’ genre divisions; and the issue of authorial subversion in film and popular culture in a wider sense. With its focus on close analysis of the films themselves and the cultural and ideological meanings involved in the reception of genre texts authored by women, this book expands critical debates around women’s cinema and offers new perspectives on how contemporary filmmakers explore the aesthetic and imaginative power of genre.
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Barnard, Philip, Hilary Emmett, and Stephen Shapiro, eds. The Oxford Handbook of Charles Brockden Brown. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780199860067.001.0001.
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The Oxford Handbook of Charles Brockden Brown provides an up-to-date survey of the life of and full range of writings by Charles Brockden Brown (1771–1810), a key writer of the Atlantic revolutionary age and U.S. Early Republic. Through the late twentieth century, Brockden Brown was best known as an important author of political romances in the gothic mode that were widely influential in romantic era, and has generated large amounts of scholarship as a crucial figure in the history of the American novel. More recent work recognizes him likewise an influential editor, historian, and writer in other genres such as poetry, short fiction, and essays, and as a figure whose work resonated throughout the Atlantic world of the revolutionary age. The Oxford Handbook’s thirty-five chapters build on the research of the most recently scholarly generation to introduce readers to and explore Brown’s wide-ranging work. Its chapters focus on the author’s biography, romances, writings in a range of genres, his key concept of the romance as a form of engaged conjectural history, his engagements in the cultural-ideological struggles of the revolutionary and Napoleonic eras, as well as the aesthetic, political, scientific, and other key dimensions of his corpus. The volume concludes with a survey of Brown’s complex reception history and the state of Brown studies at present.
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Vladimir Nabokov and the Ideological Aesthetic: A Study of His Novels and Plays, 1926-1939. Lang AG International Academic Publishers, Peter, 2017.
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10
Berliner, Todd. Ideology, Emotion, and Aesthetic Pleasure. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0007.
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Chapter 7 examines the ways in which a film’s ideological properties contribute to aesthetic pleasure when they intensify, or when they complicate, viewers’ cognitive and affective responses. The chapter demonstrates the ways in which the ideology of a Hollywood film guides our beliefs, values, and emotional responses. In ideologically unified Hollywood films, such as Die Hard, Independence Day, Pickup on South Street, and Casablanca, narrative and stylistic devices concentrate our beliefs, values, and emotional responses, offering us a purer experience than we can find in most real-life situations. By contrast, ideologically complicated Hollywood films, such as Chinatown, The Third Man, Invasion of the Body Snatchers, The Last Temptation of Christ, and The Dark Knight, advance their worldviews in a novel, ambiguous, or peculiar way, upsetting our appraisals of events and characters and complicating our intellectual and emotional experiences.
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Ignazi, Piero. The Colliding Parties’ Reception: Selective Acceptance and Outright Rejection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198735854.003.0003.
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Chapter 2 expands the analysis of the acceptance of parties by signalling the distinction between theoretical speculation and party politics ‘on the ground’. After the ideological and practical acceptance of parties in late eighteenth-century Britain, parties found their first operation on the ground in revolutionary France and the United States. Particular attention is devoted to the events of the French revolution where the Jacobin clubs set up, albeit for a very short period, the first ever nationwide, organized political party. In the nineteenth century the appearance of political parties was still regarded with suspicion and caution, and they were not yet fully endorsed even by liberal thinkers. The idea of partition and division was still held back by the advocacy of unity and uniformity. By the end of the nineteenth century parties had been ideologically tamed by the rise of the holist dominant value of the nation (France) and state (Germany, and to a lesser extent Italy).
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Simon, Julia. Time, Tradition, Performance, and the Aesthetic Object. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190666552.003.0006.
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The final chapter addresses the temporality of a genre based on tradition. Working from conceptions of tradition gleaned from the epic and historical chronicle, and of modern anxieties about the weight of the past, reveals a resonating, vibrant, multi-temporal field for the blues that employs meta-textual references to the tradition to create ironic distance. Tracing the genealogy of a riff from Robert Johnson’s “If I Had Possession Over Judgment Day” to Muddy Waters’s “Rollin’ and Tumblin’, ” through to Nick Moss and the Flip Tops’ “The Money I Make” reveals the dynamic forms of temporal simultaneity that define the blues as a genre. An investigation of improvisation foregrounds the historical rootedness of all creative expression, while the necessary interplay between tradition and reception enables a final interrogation of the relationship between individual and community in the blues.
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Jenkins, Thomas E. The Reception of Hesiod in the Twentieth and Twenty-first Centuries. Edited by Alexander C. Loney and Stephen Scully. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190209032.013.53.
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This chapter traces the reception of the Works and Days and Theogony in various media throughout the twentieth and twenty-first centuries, including film, television, video games, novels, essays, illustrations, and children’s literature. It argues that the Theogony’s greater emphasis on extended narrative episodes—particularly the violent Titanomachy—has spawned a comparatively greater number of receptions, while the Works and Day’s didactic tone and structure have lent themselves more readily to adaptations that stress the environment and/or management. Hesiod’s representation of women—both mortal and immortal—has engendered some of the most strongly ideological and passionate receptions, especially those concerning Athena, Gaia, and Pandora. The chapter concludes with a glance at the surprising reception of Hesiod in today’s newest media, including Twitter hashtags.
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Berliner, Todd. Crime Films during the Period of the Production Code Administration. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0008.
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Chapter 8 demonstrates the ways in which ideological constraints in studio-era Hollywood shaped the aesthetic properties of an entire body of crime films, now commonly known as film noir. The ideological restrictions of the Production Code Administration posed creative problems that noir filmmakers solved through visual and narrative contortion. The contortions created challenges for audiences, who had to decode and make sense of films that may not show complete clarity or coherence in their storytelling. Film noir remains aesthetically engaging because it operates near the boundaries of classicism without sacrificing classical Hollywood’s accessibility and formal unity.
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Berliner, Todd. Genre and Ideology in Starship Troopers. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0009.
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Whereas chapter 8 demonstrates how ideology can complicate a film’s artistic design, chapter 9 shows how a film’s artistic design can complicate its ideology. Starship Troopers illustrates the commercial risks, and the aesthetic excitement, of a Hollywood film whose formal properties muddle up its ideological content. The film’s unconventional use of genre devices leads to ideological complexities that pose challenges for spectators trying to make sense of the film’s form and meaning. Starship Troopers employs the conventions of the Hollywood war film and the war film satire in ways that make the film’s worldview incoherent. The film’s mercurial form limited its success in a mass market but exhilarated cult audiences engaged by the film’s unusual design.
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Maeseele, Pieter, and Yves Pepermans. Ideology in Climate Change Communication. Oxford University Press, 2017. http://dx.doi.org/10.1093/acrefore/9780190228620.013.578.
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The idea of climate change inspires and reinforces disagreements at all levels of society. Climate change’s integration into public life suggests that there is no evident way of framing and tackling the phenomenon. This brings forward important questions regarding the role of ideology in mediated public discourse on climate change. The existing research literature shows that five ideological filters need to be taken into account to understand the myriad ways in which ideology plays a role in the production, representation, and reception of climate change in (news and entertainment) media: (i) economic factors, (ii) journalistic norms, (iii) political context, (iv) ideological cultures, and (v) citizen decoding. Furthermore, two different interpretations of how ideology precisely serves as a filter of social reality underlie this literature: an interpretation of ideology as an independent variable, on the one hand, and as a constitutive practice, on the other. Moreover, these interpretations underlie a broader discussion in the social sciences on the relation between climate change and ideology and how scholars and activists should deal with it. By considering climate change as a post-ideological issue, a first perspective problematizes the politicization of climate change and calls for its depoliticization to foster consensus and public engagement. In response, a second perspective takes aim against the post-politicization and post-democratization of climate change (resulting from the adoption of the first perspective) for suppressing the role of ideology and, as a result, for stifling democratic debate and citizenship with regard to the climate issue. This latter perspective is in need of further exploration in future research, especially with regard to the concepts of ideological fault lines, ideological hegemony, and ideological strategies.
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Fabianowski, Andrzej, and Ewa Hoffmann-Piotrowska, eds. Mickiewicz – wieszcz i przewodnik. University of Warsaw Press, 2019. http://dx.doi.org/10.31338/uw.9788323539902.
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The articles in this collection deal with the reception of Mickiewicz as a poetical, political and ideological mentor. They present him from different angles: as the author of Philomath papers, journalistic pieces, speeches and political and social manifestos, a poet and religious reformer, the co-author and participant of various spiritual projects, the initiator of spiritual renewal in the emigrant community, the originator of the first Polish religious order, as well as the co-founder of the first Polish religious sect and an authority for the future generations of the followers of his ideas and work.
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Kinderman, William. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037160.003.0007.
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This introductory chapter presents the “genetic criticism,” or critique génétique, as an approach to the study of the creative process. The term itself relates to the genesis of cultural works, as regarded in a broad and inclusive manner. The chapter applies this approach by examining how conditions for the production and reception of artworks can be regarded as “intensely ideological formations” in late nineteenth-century works by two influential composers from the European musical tradition: Brahms and Wagner. It first considers the conditions for the production of Brahms's pieces by taking note of his engagement with Beethoven's music and sketchbooks. In Wagner's case, the chapter focuses on issues of reception, particularly how his final drama, Parsifal, was promoted at Bayreuth after his death. The chapter concludes with a brief overview of the succeeding chapters and the scope of the sources which this study draws from.
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Lifschitz, Avi, and Michael Squire, eds. Rethinking Lessing's Laocoon. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.001.0001.
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Ever since its publication in 1766, Gotthold Ephraim Lessing’s treatise Laocoon, or On the Limits of Painting and Poetry has shaped debates about aesthetic experience and the medial distinctions between words and images. Rethinking Lessing’s Laocoon provides a reassessment of this seminal work on its 250th anniversary, examining Lessing’s interpretation of ancient art and poetry, the Enlightenment contexts of the treatise, and its subsequent legacy in the fields of aesthetic, semiotics, and philosophy. Lessing’s essay is focused on an ancient statue and its interpretation, revisiting Greek and Roman texts and images to think about the spatial and temporal ‘limits’ (Grenzen) of what Lessing calls ‘poetry’ and ‘painting’. Yet the text is also embedded within Enlightenment theories of art, perception, and historical interpretation—as well as within the nascent eighteenth-century study of classical antiquity (Altertumswissenschaft). Rethinking Lessing’s Laocoon is concerned not just with Lessing’s reception of antiquity, but also with the reception of that reception up to the present day. It examines Lessing’s work from a variety of disciplinary perspectives, highlighting the importance of Lessing’s Laocoon not only to the Enlightenment, but more generally also within shifting attitudes to the classical past.
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Friedlander, Jennifer. Real Deceptions. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190676124.001.0001.
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Through a study of recent trends within contemporary media and art, this book considers how political transformation might be facilitated from within the much maligned aesthetic category of realism. It challenges both the enduring position that the realist form tends to be complicit with ideological conservatism and the arguments traditionally made for how realism can, on occasion, play a politically transgressive role. In cases where it is appreciated for its disruptive potential, realism is assumed to have the ability to guide spectators toward previously unseen truths by lifting the veil of ideological deception. In short, at its political best, realism is seen to serve a consciousness-raising politics. By contrast, this book contends that realism’s radical political potential emerges not by revealing deception but precisely by staging deceptions—particularly deceptions that imperil the very categories of true and false. Deception, it argues, does not function as an obstacle to truth, but rather as a necessary lure for snaring the truth. In other words, rather than seek to unearth the truth behind fiction, this book argues that we would do better to turn our attention to the truth of fiction. To make the case that particular relationships between realism and deception maximize the potential for realism to disrupt ideological formations, it draws upon insights from a range of cultural theorists, most notably, Jacques Rancière, Jacques Lacan, and Jean Baudrillard. But rather than simply apply these theoretical frameworks to the media and artworks, it also engages in the reverse move of using the “cases” to illuminate and interrogate their theories.
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Urquízar-Herrera, Antonio. Charting the Impact of Historiographical Texts? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198797456.003.0011.
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The concluding chapter deals with an attempt to control the validity of some of the ideas about cultural hybridity and homogenization proposed in previous chapters. In this regard, special attention has been paid to the reception of historiographical narratives on the Spanish Islamic buildings by their early modern contemporaries. This has required a review of several topics: the circumstances surrounding the dissemination of ideas through literature as well as through presence in the public milieu of civil and religious feast days and liturgies; the perpetuation of these lines of thought through intellectual traditions; visual imagery as a selective filtering device for ideas; and the contrast between local ideological agendas and foreign visitors’ perceptions.
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Balakhovskaya, Alexandra S., Maria R. Nenarokova, and Natalya V. Zakharova, eds. Meeting of East and West. Interaction of Literatures and Traditions. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/978-5-9208-0602-4.
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The collective work included articles covering a wide range of issues, but united by one problem: the study of cultural transfer in the works of art in the countries of the East and West, where the East means a region that includes the countries of Africa, the Middle East, Far East and Southeast Asia, and The whole of Europe is included in the West, including Russia. Such a wide geographical scope is determined by the desire to study the mutual influences and ideological image of the phenomena of European, Russian and Oriental literature and cultures; the authors of the articles examine the transformation of the ideological and aesthetic views of European writers in the course of their perception by Eastern writers; analyze the mechanism of adaptation of the phenomena of foreign cultures by Europeans. It is important to study the mechanism for changing the Eurocentric view of the world, the dynamics of the literary process, the definition of the place and role of European literature in the complex process of interaction between the traditional and innovative views of progressive writers who were at the source of the contemporary literature of Eastern countries, including the African continent. The authors of the articles of collective work set as their task the study of the degree of mutual penetration of traditional views and literary and aesthetic concepts of European writers, which gave rise to new literary genres both in the East, and in Russia and Europe. Another task is to understand the internal mechanisms that led to the new status of the eastern region in the global space, the understanding of processes in public and literary thought in these countries and the mutual influence of European and non-European literatures and cultures.
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Formisano, Marco, and Christina Shuttleworth Kraus. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198818489.003.0001.
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The introductory chapter considers the discipline of classical literature as a field in tension between canonization and marginality. On the one hand, it devotes particular attention to the role played by reception studies, the classical tradition, and their more recent declinations. On the other hand, it discusses the implications of the particular disciplinary constellation of classics for an academic career and for the academic profession, which are differently organized in continental Europe and in the Anglo-American world. The main concern here is not to discuss or contest the idea of canon in itself—its various cultural, ideological, and political implications, as explored for instance in postcolonial studies—but rather to explore canonicity as an invisible, yet nonetheless ruling principle within the disciplinary discourse and scholarly practice of classics.
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Moody, Alys. The Art of Hunger. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828891.001.0001.
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As literary modernism was emerging in the late nineteenth and early twentieth centuries, a number of its most important figures and precursors began to talk about their own writing as a kind of starvation. The Art of Hunger: Aesthetic Autonomy and the Afterlives of Modernism uses this trope as a lens through which to examine contemporary literature’s engagement with modernism, arguing that hunger offers a way of grappling with the fate of aesthetic autonomy through modernism’s late twentieth-century afterlives. The art of hunger appears at moments where aesthetic autonomy enters a period of crisis, and in this context, the writers examined here develop an alternate theory of aesthetic autonomy, which imagines art not as a conduit for freedom, but rather as an enactment of unfreedom. This book traces this theme from the origins of modernism to the end of the twentieth century, focusing particularly on three authors who redeploy the modernist art of hunger as a response to key moments in the history of modernist aesthetic autonomy’s delegitimization: Samuel Beckett in post-Vichy France; Paul Auster in post-1968 Paris and New York; and J. M. Coetzee in late apartheid South Africa. Combining historical analysis of these literary fields with close readings of individual texts, and drawing extensively on new archival research, this book offers a counter-history of modernism’s post-World War II reception and a new theory of aesthetic autonomy as a practice of unfreedom.
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Morgan, Donn F., ed. The Oxford Handbook of the Writings of the Hebrew Bible. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190212438.001.0001.
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This handbook provides a comprehensive overview of the Writings, the third division of the Hebrew Bible canon, from historical, literary, and canonical perspectives through the contributions of twenty-eight scholars. A first major section deals with the postexilic period of ancient Israel when most of the Writings were either written or collected, looking at its major events, literary traditions, and archeology. The second major section looks creatively at each book of the Writings from many different perspectives (literary, historical, theological, sociological, ideological, etc.). Finally, the handbook concludes with a section examining the Writings from the perspectives of the Dead Sea Scrolls, the Ancient Near East, Asian religions, the history of Israelite religion and canon formation, scripture, and the reception history of this literature in music and the visual arts, Judaism, and Christianity. Each chapter concludes with a bibliography for future research and study.
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Rebeggiani, Stefano. Thebes and Rome. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190251819.003.0005.
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This chapter considers the political and ideological implications of Statius’ reception of Lucan’s Bellum Ciuile. The author shows that the Thebaid draws on Lucan’s seemingly inconsistent view of imperial power in the Bellum Ciuile. The Thebaid builds on Lucan’s initial presentation of imperial power as the only force able to protect and grant stability to a world always on the verge of returning to chaos. At the same time, Statius adopts a reading of Lucan whereby criticism of imperial power in the Bellum Ciuile is interpreted as denigration of Nero in particular and not of imperial power in general. Thus, Statius can represent Domitian as the illuminated sovereign who fulfills the promises encoded in Lucan’s praise of Nero. Statius also uses allusions to Lucan to connect his mythical narrative with Roman historical experiences of civil war.
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Arrington, Lauren. The Abbey Theatre and the Irish State. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.12.
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The aesthetic principles of education and representation that Yeats and Gregory set out at the founding of the Abbey Theatre enabled the directorate to cultivate a relationship with the state that ensured the theatre’s place as the Irish National Theatre. Yet this was a relationship that demanded compromises on both sides—in the negotiation for a state subsidy, finally granted in 1925, in issues of censorship over controversial plays such asThe Plough and the Starsin 1926, and in the uneasy relationship with the Fianna Fáil government that came to power in 1932. Even so, at least during Yeats’s lifetime, the Abbey directors were able to resist the complete ideological co-option of the theatre, and any compromises to artistic freedom were made willingly in order to ensure the continued alliance of the theatre and the state.
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Vogan, Travis. The Shakespeares of Sports Films. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0005.
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This chapter examines how NFL Films' engagements with aesthetic traditions, the discourses surrounding the company, and its selective incorporation of positive critical reception into its publicity materials separate the organization from other sports media outlets and, by extension, distinguish the National Football League (NFL) from competing sports organizations. Throughout its history, NFL Films has taken great pains to emphasize its distinction within sports media and in the broader contexts of art and media culture. The company places its productions in dialogue with established aesthetic traditions, reinforces its producers' status as legitimate artists, advertises the various accolades it has received, and distances itself from NFL's commercial motives. This chapter explains NFL Films' use of aesthetic traditions and discourses to craft its image and position the company as part of an artworld—a status that is remarkably rare in sports television and in sports media more generally. It also considers how NFL Films situates Ed and Steve Sabol as artistic visionaries who play central roles in reinforcing its efforts to claim status as a site that produces art.
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Simon, Julia. Concluding Remarks. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190666552.003.0007.
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The conclusion provides a summary of the central arguments of the book concerning time in the blues and, specifically, the temporal fields explored in the analysis. A defense of the archive covered in the analyses—the inclusive and capacious understanding of the blues as a genre—asserts the interconnection between the historical context of origin and aesthetic production. The book concludes with a consideration of how sympathy enters into music reception, raising the possibility of an ethical dimension to listening to the blues.
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Desan, Philippe. Montaigne’s. Edited by Philippe Desan. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780190215330.013.1.
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The creator of the “essay,” Michel de Montaigne serves as a bridge between what we call the early modern and modernity. The Essays resemble a patchwork of personal reflections that tend toward a single goal: to live better in the present and to prepare for death. Montaigne constantly redefines the nature of his task in order to fashion himself anew and, in the end, offers an impressionistic model of descriptions based on momentary experiences. Over the centuries, the reception of Montaigne has been anything but simple. The institutionalization of an author depends on what one might call his or her “ideological and historical trajectory.” An effect of “globalization” has even reached Montaigne in recent years, bringing him sudden, worldwide visibility. His thought has become internationalized, and he is read, studied, and commented in most European countries as well as in North America, Latin America, and Asia.
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Tiemeyer, Lena-Sofia. The Prophets. Edited by Carolyn J. Sharp. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859559.013.37.
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This chapter explores some of the challenges for future scholarship on the Latter Prophets. It highlights the difficulty of bridging the methodological gap that sometimes exists between different scholarly approaches, for example between evangelical and secular research methods or between synchronic and diachronic reading strategies; yet it also draws attention to existing scholarly collaborations across this divide. The chapter further points out some issues that scholars face who are involved in the ideological study of the prophets (such as feminist scholarship). The chapter also surveys some of the recent changes in the understanding of prophecy as a phenomenon and of prophetic texts as a scribal endeavor. Is the prophet a visionary, a scribe, a redactor, a literary persona? Who created the prophetic texts and what purposes did those texts fulfill in ancient Israelite society? Finally, the chapter calls for more studies on the reception of prophetic texts.
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Baker, Courtney R., ed. Framed and Shamed. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039485.003.0003.
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This chapter examines the recoding of images of lynchings that transformed the look from one of private pleasure to one of public disgust. It highlights an example of this counter-look, or look that endeavors to undo and even vilify the initial approving looks that lynching images invited: the look of shame that operates as a kind of social policing mechanism, one that diminishes the possibility for the consumption of lynching imagery as pleasurable and entertaining. The chapter compares a recent exhibition of lynching photography with a mid-century exhibition of antilynching artwork, suggesting that different evaluative criteria—aesthetic, ideological, realist, documentary—imply different political interpretations of lynching imagery. By analyzing the aesthetics of lynching, the chapter shows how a particular kind of looking is privileged and compels the recognition of certain bodies as human. Lynching, as an event, makes obvious the presence and potency of white humanity as it obliterated the possibility of black humanity.
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James, David. Discrepant Solace. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198789758.001.0001.
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Consolation has always played an uncomfortable part in the literary history of loss. But in recent decades its affective meanings and ethical implications have been recast by narratives that appear to foil solace altogether. Illuminating this striking archive, Discrepant Solace considers writers who engage with consolation not as an aesthetic salve but as an enduring problematic for late twentieth- and twenty-first-century fiction and memoir. Making close readings of emotion crucial to understanding literature’s work in the precarious present, David James examines writers who are rarely considered in conversation, including Sonali Deraniyagala, Colson Whitehead, Cormac McCarthy, W.G. Sebald, Doris Lessing, Joan Didion, J. M. Coetzee, Marilynne Robinson, Julian Barnes, Helen Macdonald, Ian McEwan, Colm Tóibín, Kazuo Ishiguro, Denise Riley, and David Grossman. These figures overturn critical suppositions about consolation’s kinship with ideological complaisance or dubious distraction, producing unsettling perceptions of solace that shape the formal and political contours of their writing.
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Schwain, Kristin. The Bible and Art. Edited by Paul C. Gutjahr. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.013.35.
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An artwork picturing biblical subject matter is never a straightforward depiction of a scriptural text. It is a visual translation of it, shaped by available models of interpretation, the aesthetic styles and visual cultures of the era, and the cultural contexts of its production, display, circulation, and reception. This chapter analyzes specific examples of American art to showcase the four primary functions performed by biblical subject matter throughout the nation’s history: to deliver moral instruction, engage sociopolitical concerns, assert communal identity, and render cultural criticism. The expansive and varied visual landscape that results testifies to the bible’s centrality in American art history.
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Cox, Fiona. Ovid's Presence in Contemporary Women's Writing. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198779889.001.0001.
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This monograph explores an understudied aspect of classical reception—the extraordinary response to Ovid on the part of contemporary women writers. To date, work on classical reception has focused predominantly upon the second-wave feminism preoccupations of recovering the silenced female voices and establishing a woman’s perspective within canonical works. This monograph extends this work by examining the intersections between Ovid’s imaginative universe and the political and aesthetic agenda of third-wave feminism. Ovid enters a new phase of feminism which emphasizes the imperatives of social responsibility and democratization of learning, while also exploring the fluidity of gender boundaries and the ways in which new virtual universes have modified our attitudes to both sexuality and fame. Authors selected for particular case studies include A. S. Byatt, Ali Smith, Marina Warner, Yoko Tawada, Alice Oswald, Saviana Stanescu, Mary Zimmerman, Jo Shapcott, Marie Darrieussecq, Josephine Balmer, Averill Curdy, Clare Pollard, Michèle Roberts, and Jane Alison. Through an analysis of the novels, memoirs, short stories, poems, plays, and translations/adaptations of these writers, Cox opens up the field of classical reception to third-wave feminism, while also casting new light upon the extraordinary plasticity of Ovid’s writing and the acuity of his psychological imagination.
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Sharp, Carolyn J., ed. The Oxford Handbook of the Prophets. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859559.001.0001.
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This volume explores historical, literary, and ideological dimensions of the books of the Latter Prophets of the Hebrew Bible—Isaiah, Jeremiah, Ezekiel, and the Book of the Twelve—along with Daniel. The prophetic books comprise oracles, narratives, and vision reports from ancient Israel and Judah spanning several centuries. Analysis of these texts sheds light on the cultural norms, theological convictions, and political disputes of Israelite and Judean communities in the shadow of the empires of ancient Egypt, Babylonia, and Persia. ThisHandbookfeatures discussion of ancient Near Eastern social and cultic contexts; exploration of focused topics such as divination and other ritual practices of intermediation; textual criticism of the prophetic books, constructions of the persona of the prophet, and the problem of violence in prophetic rhetoric; historical and literary analysis of key prophetic texts; issues in reception history, from early reinterpretation of prophetic texts at Qumran and readings in rabbinic midrash to medieval ecclesial interpretations and modern Christian homiletical appropriations; and feminist, womanist, materialist, postcolonial, and queer readings of prophetic texts in conversation with contemporary theorists.
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Lieu, Judith M., and Martinus C. de Boer, eds. The Oxford Handbook of Johannine Studies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198739982.001.0001.
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The Oxford Handbook of Johannine Studies offers a comprehensive introduction to and discussion of contemporary study of the Gospel and Letters of John. The 24 chapters, all written by leading specialists in the field, cover the text and literary sources of the Johannine literature; its historical origins and context; and its conceptual background in Greek and Jewish thought, as well as its relationship to and reception among the Gnostics. Separate chapters discuss recent approaches to the Gospel and Letters from narrative, gender-related, ideological, and sociological perspectives, as well as their use of symbolism. The major Johannine theological themes are all discussed, including the role of ‘the Jews’, the attitude to Scripture and law, dualism, eschatology, the person and purpose of Jesus, the experience of eternal life and the Spirit, and ethics. The place of the Johannine literature in the church’s canon and the emergence of a commentary tradition close the volume. Each chapter gives a balanced overview of scholarly debate, while also offering a clearly presented response from the perspective of the author.
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Newcomb, John Timberman. Gutter and Skyline. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036798.003.0007.
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This chapter examines the little magazines' shift to a poetry of modern life between 1910 and 1925 by discarding long-standing generic strictures of style and subject matter in favor of themes dealing with the industrialized metropolis. Soon after 1910, many poets such as T. S. Eliot, Claude McKay, and Carl Sandburg began to write verses about life in the modern city. This turn toward urban subject matter marked a decisive change in American poetry's relationship to modernity and an epochal departure from national traditions. This chapter considers the integral connection between verse and the visual arts as many American poets focused on investigating urban modernity as a subject. It also discusses the different ways that these poets learned to represent the machine-age metropolis after 1910 and challenged the aesthetic and ideological verities of class, ethnicity, and gender underlying their romantic-genteel inheritance; acts of observation in American cityscape verse that operate at both microscopic and panoramic levels; and poems of gutters, street pavements, and skylines that are complementary within an emerging poetics of urban materiality.
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Miklitsch, Robert. The Woman on Pier 13. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040689.003.0002.
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Part one of this chapter examines the production history of The Woman on Pier 13 to highlight the ideological mutability of the film’s ostensible, “right-wing” agenda, one endorsed by RKO’s head of production at the time, Howard Hughes. Part two aims to counter the claim that the anticommunist noir is without aesthetic interest by proffering a close textual analysis of a number of noir sequences in The Woman on Pier 13. Part three argues that--as the film’s original title, I Married a Communist, indexes--the political discourse of anticommunism cannot be divorced from questions about genre (melodrama, film noir, gangster film) and from contemporary socio-cultural notions about marriage, notions which receive their most charged expression in the picture’s figuration of gender and sexuality, in particular femininity (the femme fatale), masculinity (the “bad boy”), and homosexuality (the queer “Commie”). Part four revisits the issue of form—here, mise-en-scène--by exploring issues of labor and union subversion via the role of the cargo-hook and Diego Rivera’s painting, The Flower Carrier (1935), in the film.
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Eigler, Ulrich. Between Voß and Schröder. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810810.003.0025.
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This chapter argues that German translations of Virgil are the result of a complicated process, in which history of reception and history of translations move alongside one another. It explores the interaction between translations of Virgil and translations of Homer, giving particular attention to the role of the authoritative translation of Homer by Johann Heinrich Voß. It demonstrates that the discourse on translations of Virgil since the eighteenth century is deeply entwined with literary, aesthetic, and political questions, which are closely entangled with the German struggle for unity and cultural identity. The chapter tries to show this by looking briefly at translations of the Aeneid beginning with Friedrich Schiller’s experimental work, focusing particularly on the nineteenth and twentieth centuries.
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Guyer, Paul. Hume, Kant, and the Standard of Taste. Edited by Paul Russell. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199742844.013.12.
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Kant suggests that the chief advantage of his theory of taste over Hume’s is its a priori rather than empirical foundation. But his claim to have provided such a foundation for judgments of taste is questionable, and, in the end, both authors ground judgments of taste in a canon of proven or classical objects of taste rather than in determinate principles of taste. However, Kant does go beyond Hume in sketching a theory of aesthetic production, as well as reception in the form of his theory of artistic genius, according to which works of genius can be exemplars for the originality of subsequent artists as well as stimuli for the free play of imagination and understanding in their audiences.
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Krzych, Scott. Beyond Bias. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197551219.001.0001.
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“Bias” is a term that circulates frequently in the contemporary landscape of political media, a term intended to diagnose a failure when media outlets fail to maintain journalistic objectivity. Beyond Bias interrogates what would seem, at first glance, to be examples of utterly biased political media—contemporary conservative documentary films. However, rather than dismiss such cases of political representation as exemplars of ideological nonsense, reactionary propaganda, and so on, Beyond Bias locates in conservative media a mode of discourse central to contemporary democratic debate in the United States. Specifically, this book identifies conservative media as a mode of hysterical discourse. As the book makes clear, hysterical political discourse occurs when debate is simulated as a means to avoid a more substantive exchange. Drawing from psychoanalytic theories of hysteria and aesthetic politics, and likewise by placing conservative documentaries in the context of many concerns central to Documentary Studies (participation, observation, representation, the archive, etc.), Beyond Bias views conservative documentary, and conservative media and politics more generally, not as the biased excesses of the contemporary political landscape but rather as texts central to understanding the implicit, though sometimes affectively traumatic, antagonisms inevitable in democracy and constitutive of democratic debate.
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Hazzard, Oli. ‘we are where we exchanged / positions’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198822011.003.0005.
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Chapter 4 considers Ashbery’s engagement with and reception by English poets from the late 1980s onwards, particularly in relation to Mark Ford. It is the first discussion of these two poets that attends to their extensive correspondence. It portrays Ashbery’s relationship with Ford as a successful enactment of the idea of reciprocal influence, a form of engagement which allows Ashbery a means to ‘shake off his own influence’ late in his career, and to retain his status as a ‘major minor writer’. It presents Ford as a particularly subtle inheritor of Ashbery’s aesthetic: one who has perceived and elaborated on Ashbery’s ‘other tradition’ of English poetry, rather than the more direct and explicit forms of imitation and appropriation practised by other younger poets, including John Ash.
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Song, Weijie. Mapping Modern Beijing. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190200671.001.0001.
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Mapping Modern Beijing investigates five methods of representing Beijing- a warped hometown, a city of snapshots and manners, an aesthetic city, an imperial capital in comparative and cross-cultural perspective, and a displaced city on the Sinophone and diasporic postmemory—by authors traveling across mainland China, Taiwan, Hong Kong, and overseas Sinophone and non-Chinese communities. The metamorphosis of Beijing’s everyday spaces and the structural transformation of private and public emotions unfold Manchu writer Lao She’s Beijing complex about a warped native city. Zhang Henshui’s popular snapshots of fleeting shocks and everlasting sorrows illustrate his affective mapping of urban transition and human manners in Republican Beijing. Female poet and architect Lin Huiyin captures an aesthetic and picturesque city vis-à-vis the political and ideological urban planning. The imagined imperial capital constructed in bilingual, transcultural, and comparative works by Lin Yutang, Princess Der Ling, and Victor Segalen highlights the pleasures and pitfalls of collecting local knowledge and presenting Orientalist and Cosmopolitan visions. In the shadow of World Wars and Cold War, a multilayered displaced Beijing appears in the Sinophone postmemory by diasporic Beijing natives Liang Shiqiu, Taiwan sojourners Zhong Lihe and Lin Haiyin, and émigré martial-arts novelist Jin Yong in Hong Kong. Weijie Song situates Beijing in a larger context of modern Chinese-language urban imaginations, and charts the emotional topography of the city against the backdrop of the downfall of the Manchu Empire, the rise of modern nation-state, the 1949 great divide, and the formation of Cold War and globalizing world. Drawing from literary canons to exotic narratives, from modernist poetry to chivalric fantasy, from popular culture to urban planning, this book explores the complex nexus of urban spaces, archives of emotions, and literary topography of Beijing in its long journey from imperial capital to Republican city and to socialist metropolis.
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Warren, Shilyh. Subject to Reality. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042539.001.0001.
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This book reconsiders the history and study of women’s documentary filmmaking in the United States from 1920 to 1940, and during the long 1970s--when significant transformations in cinematic technologies coincided with major transformations in sociopolitical discourses surrounding gender and race. Rather than comprehensive, the approach is transhistorical, setting women’s cultural expression during these two periods into conversation, and thereby provoking a reconsideration of a number of key debates about subjectivity, feminism, realism, and documentary that have had lasting epistemological and material consequences for film and feminist studies. The book excavates a lost ethnographic history of women’s documentary production and investigates the political and aesthetic legacy of this early history in later, more deliberately feminist and yet equally misremembered periods, especially the 1970s. In particular, Subject to Reality asks how ethnographic thinking and seeing shaped the historical arc and aesthetic, ethical, and political commitments of women’s realist documentaries throughout the twentieth century. The shared interests of women in anthropology, academic film studies, and political feminism have long shaped the production and reception of documentary in the United States. Subject to Reality explores the consequences of this cross-pollination as it has shaped women’s documentaries, and especially the realist films that have been glossed over as “boring” “organizing tools” or merely “talking head films.”
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Harris, Laura. Experiments in Exile. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279784.001.0001.
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Comparing the radical aesthetic and social experiments undertaken by two exile intellectuals, James and Oiticica, Harris chart a desire in their work to formulate alternative theories of citizenship, wherein common reception of popular cultural forms is linked to a potentially expanded, non-exclusive polity. By carefully analyzing the materiality of the multiply-lined, multiply voiced writing of the “undocuments” that record these social experiments and relay their prophetic descriptions of and instructions for the new social worlds they wished to forge and inhabit, however, Harris argue that their projects ultimately challenge rather than seek to rehabilitate normative conceptions of citizens and polities as well as authors and artworks. James and Oiticica’s experiments recall the insurgent sociality of “the motley crew” historians Peter Linebaugh and Marcus Rediker describe in The Many-Headed Hydra, their study of the trans-Atlantic, cross-gendered, multi-racial working class of the seventeenth and eighteenth centuries. Reading James’s and Oiticica’s projects against the grain of Linebaugh and Rediker’s inability to find evidence of that sociality’s persistence or futurity, Harris show how James and Oiticica gravitate toward and seek to relay the ongoing renewal of dissident, dissonant social forms, which are for them always also aesthetic forms, in the barrack-yards of Port-of-Spain and the favelas of Rio de Janeiro, the assembly lines of Detroit and the streets of the New York. The formal openness and performative multiplicity that manifests itself at the place where writing and organizing converge invokes that sociality and provokes its ongoing re-invention. Their writing extends a radical, collective Afro-diasporic intellectuality, an aesthetic sociality of blackness, where blackness is understood not as the eclipse, but the ongoing transformative conservation of the motley crew’s multi-raciality. Blackness is further instantiated in the interracial and queer sexual relations, and in a new sexual metaphorics of production and reproduction, whose disruption and reconfiguration of gender structures the collaborations from which James’s and Oiticica’s undocuments emerge, orienting them towards new forms of social, aesthetic and intellectual life.
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Fluhrer, Sandra, and Alexander Waszynski, eds. Tangieren - Szenen des Berührens. Rombach Wissenschaft, 2020. http://dx.doi.org/10.5771/9783968210032.
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Scenic representations in the arts and cultural practices create countless forms of contact. Not only are film, theatre, opera, performance and exhibitions forms of expression that evoke tactile and emotional responses, that is, that allow us to touch or that touch us in some way, but so are cultural theory and philology. This is achieved just as much through closeness and detachment and illusions of immediacy, or of an infectious or spellbinding nature as through forms of imagery, conceptuality and corporeality. Based on the concept of touching someone emotionally and from both historical and systematic perspectives, this book examines scenes which affect their viewers in some way. How can the tension between loss of distance and modulation in the process of evoking an emotional response at the point where aesthetic behaviour and reception meet and interact be described?
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Wheeldon, Marianne. Debussyism, Anti-debussyism, Neoclassicism. Oxford University Press, 2018. http://dx.doi.org/10.1093/acprof:oso/9780190631222.003.0003.
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Chapter 3 considers the effects of the contingencies of music and cultural history on reputation. The arrival of new artists or aesthetic tendencies on the Parisian scene forced writers to reconsider the recent musical past and to reshape it in accordance with present-day concerns. Cocteau, Les Six, Stravinsky, and Schoenberg all had significant implications for Debussy’s posthumous reception as historical frameworks were revised to integrate or denigrate Debussy’s position vis-à-vis recent musical developments. Chapter 3 examines three musical currents of the 1920s—debussyism, anti-debussyism, and neoclassicism—all of which had a notable impact on the early formation of Debussy’s legacy. Whereas the postwar turn to anti-debussyism was undoubtedly harmful for the composer’s legacy, Chapter 3 considers how the development of neoclassicism over the course of the 1920s was ultimately beneficial for the first stages of its recovery.
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Melamed, Daniel R. Listening to Bach. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190881054.001.0001.
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Modern audiences can learn to listen to Johann Sebastian Bach’s Mass in B Minor BWV 232 and Christmas Oratorio BWV 248 in ways that reflect eighteenth-century sensibilities and that recognize our place in the tradition of the works’ performance and interpretation. The sacred music of Bach’s time recognized both old and new styles. In the Mass in B Minor, Bach contrasts, combines, and reconciles them to make a musical point. Listeners can also learn to hear musical types and musical topics that were significant in the eighteenth century, including sleep arias, love duets, and secular choral arias, and how Bach put these types to use. A sensitivity to musical style also offers ways to listen to and think about music created by parody—the reuse of music with new words—like almost all of the Mass in B Minor and most of the Christmas Oratorio. Parody, though interesting, is almost never audible and is of little consequence compared with what listening tells us about a piece. Modern performances are stamped with audible consequences of our place in the twenty-first century. The ideological choices we make in performing the Mass and the Oratorio, the present-day way of performing the Christmas work in relation to the calendar, and the legacy of reception and interpretation have all affected the way his music is understood and heard today.
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Hughey, Matthew W., and Emma González-Lesser, eds. Racialized Media. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479811076.001.0001.
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This book examines the design (imagining and producing), delivery (distribution, gatekeeping, and cultural mediation), and decoding (reception, consumption, and debate) of varied genres and styles of contemporary racialized media. In line with what the late great media sociologist Stuart Hall called the “circuit of culture,” the authors herein collectively analyze, first, the production side of imagining and encoding ideological meanings and narratives, the material structures, the people involved, and global political economy of media; second, the arena of distribution in which marketing strategies, gatekeeping traditions, laws and policies, and professional customs structure where and how media is framed; and third, the practices of consumption whereby audience receive, interpret, and debate racialized media. Despite pronouncements that we have reached a “postracial” or “colorblind” society or that racial—and racist—meanings are only the domains of extremist activism and political rhetoric, we demonstrate how dominant racial meanings are deployed, negotiated, and contested in the behind-the-scenes productive activity with, distributive processes regarding, and consumer reactions to racialized media. The chapters highlight the multidirectional influences between media, the racialized climate of politics and culture, reverberations of media meanings in society, and experiences of media consumption along the lines of race, class, and gender positionalities. To analyze these complex relationships, contributing authors utilize various forms of media, including film, television, books, newspapers, social media, video games, and comics, among others.