8,238 research outputs found
L'avenir des Cultural Studies en Amérique du Nord
No full textBrantlinger Patrick, Meeùs Elke. L'avenir des Cultural Studies en Amérique du Nord. In: Quaderni, n°47, Printemps 2002. Le multiculturalisme en quête d'universalité ? pp. 57-70
"""Black Armband"" versus ""White Blindfold"" History in Australia: A Review Essay"
No full text"In this essay, Patrick Brantlinger challenges some popular (and distorted) conceptions of Australian History by exploring the uses of terms like ""genocide"" as a means to further political, factional agendas."Submitted by Brian Cleveland ([email protected]) on 2008-01-25T21:08:19Z
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Previous issue date: 2004-10-15Title VI National Resource Center Grant (P015A030066
Review of Patrick Brantlinger, The Reading Lesson: The Threat of Mass Literacy in Nineteenth-Century British Fiction.
No full textPatrick Brantlinger, The Reading Lesson: The Threat of Mass Literacy in Nineteenth-Century British Fiction. Bloomington and Indianapolis: Indiana University Press, 1998. i-iv + 254 pp. ISBN 0253212499 (paperback)
Fictions of state culture and credit in Britain ; 1694 - 1994
No full textIn this ambitious book, Patrick Brantlinger offers a cultural history of Great Britain focused on the concept of "public credit," from the 1694 founding of the Bank of England to the present. He draws on literary texts ranging from Augustan satire such as Gulliver's Travels to postmodern satire such as Martin Amis's Money: A Suicide Note, all of which critique the misrecognition of public credit as wealthThe economic foundations of modern nation-states involved national debt, public credit, and paper money. Brantlinger traces the emergence of modern, imperial Great Britain from those foundations. He analyzes the process whereby nationalism, both the cause and the result of wars and imperial expansion, multiplied national debt and produced crises of public credit resolved only through more nationalism and war. During the first half of the eighteenth century, conservatives attacked public credit as fetishistic and characterized national debt as alchemical. From the 1850s, the stabilizing theories of public credit authored by David Hume, Adam Smith, Henry Thornton, and others helped initiate the first "social science" economicsIn the nineteenth century, literary romanticism both paralleled and questioned early capitalist discourse on public credit and nationalism, while the Victorian novel refigured the national debt as individual, private credit and debt. During the era of high modernism and Keynesian economics, the notion of high culture as genuine value recast the debate over money and national indebtedness. Brantlinger relates this cultural-historical trajectory to Marxist, poststructuralist, and postcolonial theories about the decline of the European empires alter World War II, the global debt crisis, and the weakening of western nation-states in the postmodern er
Patrick Brantlinger, "Postcolonial Studies and Victorian Literature"
No full textL'articolo recensisce il volume di P. Brantlinger sul rapporto fra Vittorianesimo e studi postcoloniali, a livello letterario e e culturale, nel contesto dell'Imperialismo britannico e delle sue rappresentazioni, dentro e fuori l'Inghilterra
Bread and Circuses
No full textLively and well written, Bread and Circuses analyzes theories that have treated mass culture as either a symptom or a cause of social decadence. Discussing many of the most influential and representative theories of mass culture, it ranges widely from Greek and Roman origins, through Marx, Nietzsche, Freud, Ortega y Gasset, T. S. Eliot, and the theorists of the Frankfurt Institute, down to Marshall McLuhan and Daniel Bell, Brantlinger considers the many versions of negative classicism and shows how the belief in the historical inevitability of social decay—a belief today perpetuated by the mass media themselves—has become the dominant view of mass culture in our time. While not defending mass culture in its present form, Brantlinger argues that the view of culture implicit in negative classicism obscures the question of how the media can best be used to help achieve freedom and enlightenment on a truly democratic basis
Bread and Circuses: Theories of Mass Culture As Social Decay
No full textLively and well written, Bread and Circuses analyzes theories that have treated mass culture as either a symptom or a cause of social decadence. Discussing many of the most influential and representative theories of mass culture, it ranges widely from Greek and Roman origins, through Marx, Nietzsche, Freud, Ortega y Gasset, T. S. Eliot, and the theorists of the Frankfurt Institute, down to Marshall McLuhan and Daniel Bell, Brantlinger considers the many versions of negative classicism and shows how the belief in the historical inevitability of social decay—a belief today perpetuated by the mass media themselves—has become the dominant view of mass culture in our time. While not defending mass culture in its present form, Brantlinger argues that the view of culture implicit in negative classicism obscures the question of how the media can best be used to help achieve freedom and enlightenment on a truly democratic basis
Bread and Circuses
No full textLively and well written, Bread and Circuses analyzes theories that have treated mass culture as either a symptom or a cause of social decadence. Discussing many of the most influential and representative theories of mass culture, it ranges widely from Greek and Roman origins, through Marx, Nietzsche, Freud, Ortega y Gasset, T. S. Eliot, and the theorists of the Frankfurt Institute, down to Marshall McLuhan and Daniel Bell. Brantlinger considers the many versions of negative classicism and shows how the belief in the historical inevitability of social decay.<p
\u3cem\u3eCulture and Education in Victorian England\u3c/em\u3e
No full textFifteen essays by Patrick Brantlinger, Linda Peterson, John Reed, Michael Timko, and others
Art, Biography, Sexuality: Patrick Procktor and Keith Vaughan
No full textThis critical review forms a reflection on the research published within the following publications:
Patrick Procktor: Art and Life (Unicorn Press, 2010)
Keith Vaughan: The Mature Oils 1946-1977, (Sansom & Co., 2012)
The research is on two artists, Patrick Procktor (1936-2003), and Keith Vaughan (1912-1977). The monograph on Procktor – previously one of the least documented of the generation of artists who came to prominence in London in the Sixties – positions him in a history of art from which he had been notably absent. The research on Vaughan asserts a new reading of his work, one that is both deeper and more nuanced in its analysis of the ways in which personal experience and sexuality are encoded autobiographically within his work. Crucially, in both artists biography and work are symbiotically linked; the research therefore examines the links between life and art.
Revisionary in intent, the work examines trajectories of experience of gay British (or rather, English) artists in the twentieth century, artists who sought to express themselves and forge careers within the constraints of a heteronormative society, albeit one in which attitudes to sexuality were undergoing change. As gay men, both were constrained by the social mores of their times, and each used painting as a means to affirm personal and sexual identities. A key research interest is in the ways in which sexuality and persona are reflected in critical responses to the artist’s work: in Vaughan, Procktor and other gay male artists of the period. The writing on both Procktor and Vaughan examines the relationship between their personal and professional/artistic lives, framed within a broader socio-political and art historical context. It asserts the place of biography as a means to understand and form new readings of the work. The work adds substantially to the literature and wider discourse on post-war British painting and social history
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