Suchergebnisse

Lu Jie: Introduction: chinese literary and cultural scenes in the 1990s. Wang Ban: History in a mythical key. Temporality, memory, and tradition in Wang Anyi's fiction. Zhang Xudong: National trauma, global allegory. Reconstruction of collective memory in Tian Zhuangzhuang's "The blue kite". Knight, Deirdre Sabina: Shanghai cosmopolitan. Class, gender and cultural citizenship in Weihui's "Shanghai babe". Ferry, Megan M.: Marketing Chinese women writers in the 1990s, or the politics of self-fashioning

Contents are grouped under the headings: Sex and American society; Special groups; Special problems.

Reprinted from the Nation. "Revised and in several instances greatly enlarged." ; Introduction.--The democracy of Mark Twain.--The Utopian naturalism of H. G. Wells.--The barbaric naturalism of Theodore Dreiser.--The realism of Arnold Bennett.--The aesthetic naturalism of George Moore.--The skepticism of Anatole France.--The exoticism of John Synge.--The complacent Toryism of Alfred Austin.--The aesthetic idealism of Henry James.--The humanism of George Meredith.--Shakespeare, our contemporary. ; Mode of access: Internet.

Contemporary Slovene literature from 1950 to the present has been deeply influenced, above all, by two major factors: first, its own tradition through a century-long development, and secondly, the socio-political position of literature immediately after the Second World War. As concerns tradition, it should be noted that the beginning of literature in the Slovene language coincided with the arrival of Protestantism in the sixteenth century; only sparse religious records are known from previous centuries. This literature remained within the framework of ecclesiastical needs until the late eighteenth century, similar to those found in Lithuania, Estonia or Finland. At the end of the eighteenth century, Slovene literature began to resemble the Central European literature typical of Croatia, Hungary, Czechoslovakia and Poland. This is not only evident in the same literary trends and genres, but above all in the fact that national ideology as well as social and moral ideas acquired a significant role in its concepts.

How does contemporary literature respond to the digitalized media culture in which it takes part? And how do we study literature in order to shed light on these responses? Under the subsections Technology, Subjectivity, and Aesthetics, Literature in Contemporary Media Culture sets out to answer these questions. The book shows how literature over the last decade has charted the impact of new technologies on human conduct. It explores how changes in literary production, distribution, and consumption can be correlated to changes in social practices more generally. And it examines how (and if) contemporary media culture affects our understanding of literary aesthetics. Addressing Scandinavian and Anglo-American poetry and fiction produced around the beginning of the present century, Literature in Contemporary Media Culture highlights both well-known and unfamiliar literary texts. It offers cross-disciplinary methodological tools and reading strategies for studying literary phenomena such as intermedial aesthetics, the autobiographical novel, conceptual literature, and digital poetry, all of which are prevalent across national borders at the outset of the twenty-first century. This book will be of interest to students and established scholars in the fields of literature, film and media studies, and visual studies, as well as to members of the general reading public.