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Contemporary War in British Literature, Drama, and Film

Janina Wierzoch Home/Fronts Culture & Theory | Volume 226 PS 115:1 Janina Wierzoch has been working as a research assistant at Universität Ham- burg and as a lecturer at Leuphana University, Lüneburg. She holds a degree in British literature and culture, media studies, and German literature. Her research and teaching interests include British prose fiction from the 19th cen- tury onwards as well as contemporary drama; a special focus lies on film and television, also extending to other visual and new media. Janina Wierzoch Home/Fronts Contemporary War in

Gallery; Cambridge, MA: MIT, 2006. Print. 218 | MIRANDA JULY’S INTERMEDIAL ART Bloom, Harold, ed. T.S. Eliot. New York: Infobase, 2011. Print. Bolter, Jay David and Richard Grusin. Remediation. Understanding New Media. Cambridge, MA: The MIT Press, 1999. Print. Boldt, Laurence G. Zen and the Art of Making a Living. New York: Penguin, 1992. Print. Boncza-Tomaszewski. Rev. of No One Belongs Here More Than You by Miran- da July. The Independent. 2 Mar. 2008. Web. 17 April 2013. Bourriaud, Nicolas. Relational Aesthetics. Transl. Simon Pleasance and Fronza Woods

the (clerical) confession is one of the most important institutions for the specific Western form of the self. Its identity implies a certain form of self-thematization and self-conception. Its issue is not only self-control, but also subjectivization, self-approval and appreciation from others (58). In LTLYM, this logic is made futile. Many of the assignments apply the principle of confession by asking for the participants personal narra- tives. Drawing upon Bublitzs argument, LTLYM appears as an art project in the new media that applies the confessional

appropriation and remix, independently and collaboratively. They have created fictitious autobi- ographies and truthful mythologies, experimenting with new media and novel forms of expression. Some authors, like Thomas Pynchon, have practiced privately and outside of the public limelight, thereby creating mystery around their author personae. Others, like Björk, have fully embraced the celebrity world by inventing powerfully public authorial selves.9 Yet all authors have performed their authorship in the world-beyond-the-text. Authors, as agents of self-invention, have

book project is a technological history of the Nielsen ratings that examines the role of audience analytics and consumer surveillance in the foundation and evo- lution of commercial television. She has published work in Television & New Media,The Velvet Light Trap, and Media Fields. Dorothee Marx (née Schneider) is a research associate and PhD candidate at the chair of North American Studies at Kiel University, where she teaches classes in literary studies and works as a coordinator at the Center for North American Studies. Her PhD project is entitled “Bodies

space. With Pierre Nora’s notion of the lieu de memoire, for example, space becomes not only a crucial component of remembering but the medium through which cultural memory is conceptualized. For Nora, a lieu de memoire 2 Benjamin’s historical materialism has been used extensively to explain phenomena in our culture of postmodernity, in which new media, virtual realities, and consumer capitalism have rendered a traditional conception of history or reality obsolete. In a postmodern world, the past can

– with common everyday life, by the integration of high culture into consumer culture. Avant-garde art has lost its possibility for radical critique. Thus, this possibility has moved from the center of society, the white middle- class, to marginalized groups. What is left for the white middle-class is the cri- tique of the self. This class, in its situation of complacency, does not need any radical changes. Nevertheless, it suffers from a certain amount of dissatisfaction. This is the tenor that emanates from Julys art. Graham and Cooks question whether new media

science, which shall be linked to its heightened extent of amalgama- tion with the practices and styles of American popular culture. In accordance with sociological and cultural studies scholarship on boundary work and cultural JUDITH KOHLENBERGER188 map-making, respectively, science will be understood as a space whose borders are increasingly infiltrated by and mingled with popular culture. Conversely, it is the realm of popular culture, above all the channels of film, television, and new media, which readily exploits the literally »awesome authority that science

, the late twentieth century signified not only an era of political and cultural fears but also the era of a more philosophical crisis. When, in the 1980s, Baudrillard noted that Western societies are experiencing “the death of the real,” induced by the new media and simulated spaces such as Disneyworld, he already signaled that information technologies producing copies, clones, and cyborgs were to become a major threat not only to empiricism but also to humanity in general. Postmodern subjectivities and realities, indeed, seem to be uncontrollable and