Search results for "John Meisel"
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Myth of Popular Culture
The Myth of Popular Culture In this fascinating examination of popular culture, esteemed cultural critic Perry Meisel shatters conventionally held notions about the division between “high” and “low” culture with the provocative theory that popular culture has sustained dialectical rhythms. Meisel’s deft critical analysis of three enduring cultural traditions — the American novel, Hollywood, and British and American rock music — leads us to question the very concept of the division between “high” and “low” culture. Meisel begins his engaging discussion by refuting philosopher Theodor Adorno’s assertion that “high” culture is “dialectical” and “pop” is not, showing that popular culture does indeed have a conversation both with its sources and with cultural authority as a whole. In the final section, Meisel turns his attention to Bob Dylan, a figure who, more than any other, shows what it means to synthesize and revise all traditions — music, poetry, iconography — and transform them completely. Brilliantly conceived and clearly articulated, The Myth of Popular Culture from Dante to Dylan redefines the way in which we think about all forms of artistic expression.
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Counterrevolution
The flow and counter flow of revolution and counterrevolution have become the norm of the twentieth century. In this fascinating and well-rounded volume, the author illuminates the revolutionary process as it has developed from antiquity to the present day, from the vantage points of political science, history, and sociology. Meisel's work is presented in the form of twelve absorbing episodes in the history of Western civilization. His remarkable for the detail with which he approaches a subject often difficult to define and even more difficult to explain. He suggests a new and highly useful perspective of history by viewing it as a process of revolution and counterrevolution and their transitional stages. As it is the nature of revolutions to fall short of their objectives and to enjoy only a brief heyday that becomes the stereotype accepted by posterity, the author emphasizes their antithetical closing phases--whose lessons posterity tends to forget. Meisel's belief is that second-echelon figures teach us more about the natural process of revolution than the atypical "men of destiny," and he illustrates his account with many portrayals of comparative unknowns who lived through all the stages of revolution and counterrevolution. But revolutions can also be aborted or be preceded by counterrevolutions, as Meisel demonstrates by enlightening analyses of Mussolini's coup d'utat, the origins of the Spanish Civil War, and General de Gaulle's defeat of a potential army insurrection in behalf of French Algeria. In this profound and wide-ranging work, Meisel achieves an admirable balance between theory, action, and biography. The result is a unique survey of revolutionary history, in which a sophisticated thinker provides on almost every page a deepening understanding of the problems of revolution for the scholar and student of political processes, political theory, and comparative politics. The reader with a lively interest in the modus operandi of history will also find this book compelling reading.
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Capital as Literature
Studies of Marx, particularly of his masterwork Capital (1867), are as a rule tutelary—they attempt to explain him. Even literary readers of Marx from Raymond Williams to Fredric Jameson seek to secure Marxist tenets by means of Marxian style. ‘Capital’ as Literature: Marx Against Himself departs from this tradition by reading Capital as literary in its own right rather than as political economy with style as its filigree rather than its focus. Here Marx emerges in a different light. If literature is writing that calls whatever is settled into question, then Marx's writing is literature, not because of its revolutionary program, but because Marx's rhetoric, particularly its key trope of chiasmus, undoes the coherence of the notions it propounds, especially in Capital. Marx's chiasmatic style turns Capital into a mise en abyme and Marx's enterprise into an example of what it describes rather than its foil or antidote: the structure of capital itself. Capital, like capital, is a self-begetting production machine whose fungibility as a form is one and the same with the money economy it unravels. ‘Capital’ as Literature: Marx Against Himself shows how this irony unfolds and what the implications are for epistemology, cultural studies, and literary criticism.
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Criticism After Theory from Shakespeare to Virginia Woolf
The argument of this book is a simple one: that criticism after theory is a single movement of thought defined by synthesis and continuity rather than by conflict and change. The most influential figures in criticism since Saussure—Bakhtin, Derrida, and Foucault—are wholly consistent with Saussure's foundational Course in General Linguistics (1916) no matter the traditions of complaint that have followed in Saussure's wake from Bakhtin forward. These complaints vitiate—despite themselves and often hilariously so—the misconceptions that have made cottage industries out of quarrels with Saussurean semiology that are based on notions of Saussure that are incorrect. The materialist criticism dominant today is actually dependent upon on the legacy of a presumably formalist structuralism rather than a step beyond it. New Historicism, postcolonialism, gender studies, environmental criticism, archive studies, even shared and surface reading are, like deconstruction, the by-products of Saussure's structuralism, not its foils. Saussure's sign is sensory and concrete. Language and materiality are not distinct but one and the same—history, society, the psychological subject, even the environment are systems of signs, material archives read and reread by futures that produce the past after the fact. Without Saussure, contemporary criticism would have no identifiable or effective source. The book begins with chapters on Saussure and Derrida, Bakhtin and Shakespeare, and Freud and Foucault followed by chapters on Victorian and American fiction, D.H. Lawrence and modern poetry, Virginia Woolf and Melanie Klein, and the historicist tropology of psychoanalysis. It concludes with a coda in life writing on the author's epileptic disability.
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Literary Freud
In this book, Perry Meisel argues that Freud's texts are properly literary, and casts Freud as both literary theoretician and practitioner. Here, after an introductory reception history of Freud as literature, Meisel provides a series of close readings of Freud's major texts that take literary representation as their central focus. As for Freud's influence on others, it, too, is structured like a literary history, argues Meisel. He discusses Freud's influence on modernism, Strachey's Standard Edition (once again the subject of debate with the recent Penguin retranslations), and Freud's influence on Michel Foucault. Finally, we explore the relationship of Freud and literature. Does an understanding of how Freud himself writes and influences help us to read literature and interpret it anew?
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How Plays Work
Why are readers who are generally at home with narrative and discursive prose, and even readily responsive to poetry, far less confident and intuitive when it comes to plays? The complication lies in the twofold character of the play as it exists on the page - as a script or score to be realized, and as literature. Martin Meisel's engaging account of how we read play plays on the page shows that the path to the fullest imaginative response is an understanding of howplays work. What is entailed is something like learning a language - vocabulary, grammar, syntax - but learning also how the language operates in those concrete situations where it is deployed.Meisel begins with a look at matters often taken for granted in coding and convention, and then - under 'Beginnings' - at what is entailed in establishing and entering the invented world of the play. Each succeeding chapter is a gesture at enlarging the scope: 'Seeing and Hearing', 'The Uses of Place', 'The Role of the Audience', 'The Shape of the Action', and 'The Action of Words'. The final chapters, 'Reading Meanings' and 'Primal Attractions', explore ways in which both the drive forsignificant understanding and the appetite for wonder can and do find satisfaction and delight. Cultivated in tone and jargon-free, How Plays Work is illuminated by dozens of judiciously chosen examples from western drama - from classical Greek dramatists to contemporary playwrights, both canonical and relatively obscure. It will appeal as much to the serious student of the theatre as to the playgoer who likes to read a play before seeing it performed.
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Liebe im Zeitalter der Wissenschaften vom Menschen
Der Physiker, Psychologe, Ingenieur, Offizier und Schriftsteller Robert Musil schreibt Literatur mit Herrschaftsanspruch. Er verfolgt das Ziel, in der Literatur das gesamte Wissen seiner Zeit zu konzentrieren und zu übertrumpfen. Dabei geht Musil von der Annahme aus, daß sich alle kurrenten Sprach- und Wissensordnungen beim "gesprächigsten" Thema treffen: der Liebe. Kunst wird schon beimfrühen Musil zur exakten Wissenschaft, und sein unvollendeter Roman "Der Mann ohne Eigenschaften" ist ein Spiegelbild der Welt imentropischen Verfall."(...) Perhaps the most brilliant and original comprehensive study of Musil of recent years is Gerhard Meisel's monograph of 1991. (...)"Distinguished outsider: Robert Musil and his critics, Columbia 1994
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Conquiste al enemigo llamado promedio
El autor John Mason lanza nuevamente un ataque supremo contra la mediocridad con esta secuela a su famoso libro titulado Un enemigo llamado promedio. Dividido en 52 segmentos de verdad, Conquiste al enemigo llamado promedio es una fuente de sabiduría divina, motivación bíblica y principios prácticos.
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Intellektuellen
Aus dem Buch: "Olga war in der verflossenen Nacht durch jene unerwartete und au�ergew�hnliche Begegnung an das schmerzlichste Erlebnis ihrer Jugend erinnert worden. Diese "Jugend" schien f�r sie selbst hinter ihr zu liegen, und, was das Seltsame war, sie beklagte das nicht. Denn ihr war, als h�tte sie sich all ihre "Jugend" hindurch gegen niederziehende, schwerlastende M�chte zur Wehr gesetzt, als h�tte sie ihre ganze, junge Kraft gegen den Druck eines dunklen Schicksals stemmen m�ssen, bis es endlich, endlich ein wenig lichter und freier um sie geworden war." Grete Meisel-He� (1879-1922) verheiratete Gellert, war eine �sterreichische Schriftstellerin.
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Die sexuelle Krise
Aus dem Buch: "Diese Arbeit befaßt sich mit einem Thema, über welches dermalen mehr geredet und geschrieben wird, als vielleicht über jedes andere. Wenn aber so viel geredet wird von einer Sache, so ist das immer ein Zeichen großer Not durch sie. So wie der menschliche Körper nur dann gesund ist, wenn man seine einzelnen Teile nicht spürt, so der gesellschaftliche Organismus, wenn sich seine einzelnen Probleme nicht allzusehr aus dem Gesamtgefüge herausheben. Und wenn Hunderte von Stimmen über einer einzigen Frage laut werden, so ist das keinesfalls eine Modeströmung, sondern Not, die nach Ausdruck ringt." Inhalt: - Kritik der Ehe in ihrer heutigen Gestalt - Das Wesen der ehelichen Gemeinschaft - Das legitime Moment der Ehe - Das soziale Moment der Ehe - Das Suggestionsmoment der Ehe - Kant und die Metaphysik der Sitten - Völkergeschichtliches zur Moralfrage - Die Errichtung von Extremforderungen - Vom Wesen der Liebe - Liebesspiel - Das Dämonium der Liebe - Der Liebeshaß - Liebesnot - Wesen und Ursprung der Prostitution - Die Nötigung zur Prostitution - Die melancholische Travestie - Der Geldpunkt - Zur Reform der Prostitution - Ursprung und Notwendigkeit der Frauenbewegung - Die Bekämpfung der Frauenbewegung - Die Berechtigung zum tätigen Leben - Die schädigenden Momente der Frauenbewegung - Allgemeine Rassenprobleme - Der Sexualkampf - Sozialismus und Selektionstheorie - Zeugungsreformation - Psychologie des Geschlechtskampfes - Geschlechtspsychologie des Mannes - Kapitel - Die Berechtigung zum Sexualleben - Die Ursachen des Elends - Das besondere Sexualelend der Frau - Die psychopathischen Folgen des sexuellen Elends - Resolutionen - Grete Meisel-Heß (1879 - 1922) war eine österreichische Schriftstellerin und Frauenrechtlerin.
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Memoirs of Antonio Canova
The foremost neoclassical sculptor of his age, Antonio Canova (1757–1822) is best known for his masterpiece The Three Graces, embodying in marble an ideal of feminine beauty. Descended from stonecutters, Canova was apprenticed to the sculptor Giuseppe Bernardi, quickly establishing his reputation for originality through works such as Psyche Revived by Cupid's Kiss. The idealism of his art, moving away from ornate baroque style, did much to increase the popularity of contemporary sculpture, and his skills were greatly acclaimed and in demand during his lifetime. The present work, first published in 1825 by the Scottish minister John Smythe Memes (1795–1858), is one of the many eulogistic works that appeared soon after Canova's death. Opening with a contextualising history of the development of modern sculpture, the book closely studies Canova's body of work and also contains a chronological catalogue of his creations with details of their owners and locations.
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