This book presents a state-of-the-art overview of the relationship between globalization studies and literature and literary studies, and the bearing that they have on each other. It engages with the manner in which globalization is thematized in literary works; examines the relationship between globalization theory and literary theory; and discusses the impact of globalization processes on the production and reception of literary texts.<br /> <br /> Suman Gupta argues that while literature has registered globalization processes in relevant ways, there has been a missed articulation between globalization studies and literary studies. Some of the ways in which this slippage is now being addressed, and may be taken forward, are indicated. In the course of fleshing out this argument such themes as the following are discussed: the manner in which anti-globalization protests and world cities have figured in literary works, digitization has remoulded concepts of texts and text editing, theories of postmodernism and postcolonialism that are familiar in literary studies have diverged from and converged with globalization studies, English and Comparative/World Literature as institutional disciplinary spaces are being reconfigured, and industries to do with the circulation of literature are becoming globalized.<br /> <br /> This book is intended for university level students and teachers, researchers, and other informed readers with an interest in the above issues, and serves both as a survey of the field and an intervention within it.
As the pace of cultural globalization accelerates, the discipline of literary studies is undergoing dramatic transformation. Scholars and critics focus increasingly on theorizing difference and complicating the geographical framework defining their approaches. At the same time, Anglophone literature is being created by a remarkably transnational, multicultural group of writers exploring many of the same concerns, including the intersecting effects of colonialism, decolonization, migration, and globalization. Paul Jay surveys these developments, highlighting key debates within literary and cultural studies about the impact of globalization over the past two decades. Global Matters provides a concise, informative overview of theoretical, critical, and curricular issues driving the transnational turn in literary studies and how these issues have come to dominate contemporary global fiction as well. Through close, imaginative readings Jay analyzes the intersecting histories of colonialism, decolonization, and globalization engaged by an array of texts from Africa, Europe, South Asia, and the Americas, including Zadie Smith's White Teeth, Junot Diaz's The Brief Wondrous Life of Oscar Wao, Kiran Desai's The Inheritance of Loss, Arundhati Roy's The God of Small Things, Vikram Chandra's Red Earth and Pouring Rain, Mohsin Hamid's Moth Smoke, and Zakes Mda's The Heart of Redness. A timely intervention in the most exciting debates within literary studies, Global Matters is a comprehensive guide to the transnational nature of Anglophone literature today and its relationship to the globalization of Western culture."
"World music" emerged as a commercial and musical category in the 1980s, but in some sense music has always been global. Through the metaphor of encounters, Music and Globalization explores the dynamics that enable or hinder cross-cultural communication through music. In the stories told by the contributors, we meet well-known players such as David Byrne, Peter Gabriel, Sting, Ry Cooder, Fela Kuti, and Gilberto Gil, but also lesser-known characters such as the Senegalese Afro-Cuban singer Laba Sosseh and Raramuri fiddle players from northwest Mexico. This collection demonstrates that careful historical and ethnographic analysis of global music can show us how globalization operates and what, if anything, we as consumers have to do with it.
The geography of the visual arts changed with the end of the Cold War. Contemporary art was no longer defined, exhibited, interpreted, and acquired according to a blueprint drawn up in New York, London, Paris, or Berlin. The art world distributed itself into art worlds. With the emergence of new art scenes in Asia and the Middle East and the explosion of biennials, the visual arts have become globalized as surely as the world economy has. This book offers a new map of contemporary art's new worlds. The Global Contemporary and the Rise of New Art Worlds documents the globalization of the visual arts and the rise of the contemporary over the last twenty years. Lavishly illustrated, with color throughout, it tracks developments ranging from exhibition histories and the rise of new art spaces to art's branding in such emerging markets as Hong Kong and the Gulf States. Essays treat such subjects as curating after the global turn; art and the migration of pictures; the end of the canon; and new strategies of representation.
World literature was long defined in North America as an established canon of European masterpieces, but an emerging global perspective has challenged both this European focus and the very category of "the masterpiece." The first book to look broadly at the contemporary scope and purposes of world literature, What Is World Literature? probes the uses and abuses of world literature in a rapidly changing world. In case studies ranging from the Sumerians to the Aztecs and from medieval mysticism to postmodern metafiction, David Damrosch looks at the ways works change as they move from national to global contexts. Presenting world literature not as a canon of texts but as a mode of circulation and of reading, Damrosch argues that world literature is work that gains in translation. When it is effectively presented, a work of world literature moves into an elliptical space created between the source and receiving cultures, shaped by both but circumscribed by neither alone. Established classics and new discoveries alike participate in this mode of circulation, but they can be seriously mishandled in the process. From the rediscovered Epic of Gilgamesh in the nineteenth century to Rigoberta Menchú's writing today, foreign works have often been distorted by the immediate needs of their own editors and translators. Eloquently written, argued largely by example, and replete with insightful close readings, this book is both an essay in definition and a series of cautionary tales.
David Summers sets forth that current formalist, contextual and post-structural approaches fail to provide an adequate account of all art, particularly art produced outside the Western tradition. He argues that there are profound problems right at the heart of Western thinking about art, and his new framework is an attempt to resolve these problems. At the core of the argument is a proposal to replace the notion of the 'visual arts' with that of the 'spatial arts', comprising two fundamental categories: 'real space' and 'virtual space'. Real space is the space we share with other people and things: the fundamental arts of real space are sculpture (the art of personal space) and architecture (the art of social space). Virtual space - which always entails a format in real space (thus making real space the primary category) - is space represented in two dimensions, as in paintings, drawings and prints. Adopting a wide definition of art that in principle embraces anything that is made, and underpinning his arguments with detailed examination of artefacts and architecture from all over the world, Summers develops his thesis in a series of chapters that broadly trace the progress of human skill in many different traditions: from the simple facture of the first tools to the sophisticated universal three-dimensional grid of modern technology, which he describes as 'metaoptical' space. In a sequence of far-reaching and revealing discussions of facture, places, centres, three-dimensional and planar images, virtuality and perspective, and the centreless metaoptical world of Western modernism, Summers creates a conceptual framework that always relates art to human use, and enables us to treat all traditions on an equal footing within universal categories. At the same time, this infrastructure can help to understand the dynamics of opposition and conflict both within and between cultures. Formalism and other theories of art are not rejected. Rather, in this wider context they can be identified and evaluated within the Western tradition whence they originated, without some naive universal validity being ascribed to them. Within this broad plan there is incredible wealth of detail and energy of description. The author's constant engagement with actual works of art is always lively and convincing; his analysis of the concrete metaphors that lie behind our critical vocabulary is revealing and thought-provoking; and his clear-headed and courageous engagement with important issues is most impressive. Some of the author's language and terminology may, for the novice, prove an alluring challenge at first. However, Summers writes with exceptional clarity: new terms are carefully defined and explained in such a way, that the reader will not only understand them but also appreciate why such terminology is essential to a work of such profound philosophy. What is striking is that the author is always using language in order to think about the real world, and not in order to retreat into a closed world of academic scholasticism. He insists that all art is made to fit human uses, and can never be separated from the primary spatial conditions of those uses. With its universal scope and its sympathetic understanding of the innumerable forms that art can adopt, this is a book that will stimulate people to think in entirely new and fruitful ways about the human purposes of art, and also to think more deeply and critically about the intricate relations between art, political order and technology.
We live in the midst of a revolution in communication technologies that affects the way in which people feel, think, and behave. The media have become the space where power strategies are played out. In the current technological context mass communication goes beyond traditional media and includes the Internet and mobile communication. In this wide-ranging and powerful book, Manuel Castells analyses the transformation of the global media industry by this revolution in communication technologies. He argues that a new communication system, mass self-communication, has emerged, and power relationships have been profoundly modified by the emergence of this new communication environment. Created in the commons of the Internet this communication can be locally based, but globally connected. It is built through messaging, social networks sites, and blogging, and is now being used by the millions around the world who have access to the Internet. Drawing on a wide range of social and psychological theories, Castells presents original research on political processes and social movements. He applies this analysis to numerous recent events--the misinformation of the American public on the Iraq War, the global environmental movement to prevent climate change, the control of information in China and Russia, Barak Obama's internet-based presidential campaigns, and (in this new edition) responses to recent political and economic crises such as the Arab Spring and the Occupy movement. On the basis of these case studies he proposes a new theory of power in the information age based on the management of communication networks Justly celebrated for his analysis of the network society, Castells here builds on that work, offering a well grounded and immensely challenging picture of communication and power in the 21st century. This is a book for anyone who wants to understand the dynamics and character of the modern world.
Social media has come to deeply penetrate our lives: Facebook, YouTube, Twitter and many other platforms define many of our daily habits of communication and creative production. The Culture of Connectivity studies the rise of social media in the first decade of the twenty-first century upuntil 2012, providing both a historical and a critical analysis of the emergence of major platforms in the context of a rapidly changing ecosystem of connective media. Such history is needed to understand how these media have come to profoundly affect our experience of online sociality. The firststage of their development shows a fundamental shift. While most sites started out as amateur-driven community platforms, half a decade later they have turned into large corporations that do not just facilitate user connectedness, but have become global information and data mining companiesextracting and exploiting user connectivity. Author and media scholar Jose van Dijck offers an analytical prism to examine techno-cultural as well as socio-economic aspects of this transformation. She dissects five major platforms: Facebook, Twitter, Flickr, YouTube, and Wikipedia. Each of these microsystems occupies a distinct position in thelarger ecology of connective media, and yet, their underlying mechanisms for coding interfaces, steering users, and filtering content rely on shared ideological principles. At the level of management and organization, we can also observe striking similarities between these platforms' shiftingownership status, governance strategies, and business models.Reconstructing the premises on which these platforms are built, this study highlights how norms for online interaction and communication gradually changed. "Sharing," "friending," "liking," "following," "trending," and "favoriting" have come to denote online practices imbued with specifictechnological and economic meanings. This process of normalization, the author argues, is part of a larger political and ideological battle over information control in an online world where everything is bound to become social. Crossing lines of technological, historical, sociological, and culturalinquiry, The Culture of Connectivity will reshape the way we think about interpersonal connection in the digital age.
'Here Comes Everybody' is an examination of how the spread of new forms of social interaction enabled by technology is changing the way humans form and exist within groups, with profound long-term economic and social effects, for good and for ill.
"The revolution will be Twittered!" declared journalist Andrew Sullivan after protests erupted in Iran in June 2009. Yet for all the talk about the democratizing power of the Internet, regimes in Iran and China are as stable and repressive as ever. In fact, authoritarian governments are effectively using the Internet to suppress free speech, hone their surveillance techniques, disseminate cutting-edge propaganda, and pacify their populations with digital entertainment. Could the recent Western obsession with promoting democracy by digital means backfire? In this spirited book, journalist and social commentator Evgeny Morozov shows that by falling for the supposedly democratizing nature of the Internet, Western do-gooders may have missed how it also entrenches dictators, threatens dissidents, and makes it harder--not easier--to promote democracy. Buzzwords like "21st-century statecraft" sound good in PowerPoint presentations, but the reality is that "digital diplomacy" requires just as much oversight and consideration as any other kind of diplomacy. Marshaling compelling evidence, Morozov shows why we must stop thinking of the Internet and social media as inherently liberating and why ambitious and seemingly noble initiatives like the promotion of "Internet freedom" might have disastrous implications for the future of democracy as a whole.
via Sage Journals Online. Includes the full-text of the following SAGE published journals: Communication Research, Convergence, Discourse & Society, Discourse Studies, European Journal of Communication, Games and Culture, Gazette - The International Journal for Communication Studies, Global Media and Communication, International Journal of Press/Politics, Journal of Business and Technical Communication, Journal of Communication Inquiry,Journalism, Management Communication Quarterly, Media, Culture & Society, New Media & Society, Knowledge/ Science Communication,Television & New Media, Visual Communication, Written Communication. Dates of coverage: 1982 to present.
The MLA International Bibliography provides bibliographic records for books, book chapters, journal articles, and dissertations published in the fields of modern languages, literatures, folklore, and linguistics. Full text is available for some articles. The MLAIB covers items published from around 1920 to the present.