Kitsch

Abstract: * A Note on the Texts * Editors' Introduction I. The Production, Reproduction, and Reception of the Work of Art * The Work of Art in the Age of Its Technological Reproducibility: Second Version * Theory of Distraction * To the Planetarium * Garlanded Entrance * The Rigorous Study of Art * Imperial Panorama * The Telephone * The Author as Producer * Paris, the Capital of the Nineteenth Century * Eduard Fuchs, Collector and Historian * Review of Sternberger's Panorama II. Script, Image, Script-Image * Attested Auditor of Books * This Space for Rent * The Antinomies of Allegorical Exegesis * The Ruin * Dismemberment of Language * Graphology Old and New III. Painting and Graphics * Painting and the Graphic Arts * On Painting, or Sign and Mark * A Glimpse into the World of Children's Books * Dream Kitsch * Moonlit Nights on the Rue La Boetie * Chambermaids' Romances of the Past Century * Antoine Wiertz: Thoughts and Visions of a Severed Head * Some Remarks on Folk Art * Chinese Paintings at the Bibliotheque Nationale IV. Photography * News about Flowers * Little History of Photography * Letter from Paris (2): Painting and Photography * Review of Freund's Photographie en France au dix-neuvieme siecle V. Film * On the Present Situation of Russian Film * Reply to Oscar A. H. Schmitz * Chaplin * Chaplin in Retrospect * Mickey Mouse * The Formula in Which the Dialectical Structure of Film Finds Expression VI. The Publishing Industry and Radio * Journalism * A Critique of the Publishing Industry * The Newspaper * Karl Kraus * Reflections on Radio * Theater and Radio * Conversation with Ernst Schoen * Two Types of Popularity: Fundamental Reflections on a Radio Play * On the Minute * Index

Abstract: During the past two decades, the 1970s have been trivialized, misunderstood, or dismissed as having kitsch value only. But as we move into a new millennium, the seventies are passing from pop culture into history. Bruce Schulman, the first historian to grapple with the seventies, here provides the only comprehensive history of America between 1968 and 1984. He argues persuasively that the "long decade" -- from Nixon's election to Reagan's reelection -- involved a crucial cultural and political shift.Beginning with Richard Nixon's "southern" strategy in 1968, to the rise of the Sunbelt cities and the explosion of country music, the 1970s saw the decline of the North's cultural dominance. By the end of the decade, the South had shed its rural, agricultural heritage and erased its reputation as hopelessly backward and impoverished. A transformed, commercialized southern white culture flourished and spread across the country.In an engaging blend of anecdote and analysis, Changes in Latitude provides the first real assessment of these crucial years, and the ways in which they changed America forever.

Abstract: 1 The Wily Homosexual (First-and Necessarily Hasty-Notes) 2 Dissident Globalizations, Emancipatory Methods, Social-Erotics 3 "There Are No Lesbians Here": Lesbianisms, Feminisms, and Global Gay Formations 4 Can Homosexuals End Western Civilization As We Know It? Family Values in a Global Economy 5 Family Affairs: The Discourse of Global/Localization 6 Redecorating the International Economy: Keynes, Grant, and the Queering of Bretton Woods 7 Consuming Lifestyle: Commodity Capitalism and Transformations in Gay Identity 8 Local Sites/Global Contexts: The Transnational Trajectories of Deepa Mehta's Fire\ 9 Dancing La Vida Loca: The Queer Nuyorican Performances of Arthur Aviles and Elizabeth Marrero 10 Syncretic Religion and Dissident Sexualities 11 Stealth Bombers of Desire: The Globalization of "Alterity" in Emerging Democracies 12 "Strangers on a Train": Sexual Citizenship and the Politics of Public Transportation in Apartheid Cape Town 13 Like Blood for Chocolate, Like Queers for Vampires: Border and Global Consumption in Rodriguez, Tarantino, Arau, Esquivel, and Troyano (Notes on Baroque, Camp, Kitsch, and Hybridization)

Abstract: Five Faces of Modernity is a series of semantic and cultural biographies of words that have taken on special significance in the last century and a half or so: modernity, avant-garde, decadence, kitsch, and postmodernism. The concept of modernity-the notion that we, the living, are different and somehow superior to our predecessors and that our civilization is likely to be succeeded by one even superior to ours-is a relatively recent Western invention and one whose time may already have passed, if we believe its postmodern challengers. Calinescu documents the rise of cultural modernity and, in tracing the shifting senses of the five terms under scrutiny, illustrates the intricate value judgments, conflicting orientations, and intellectual paradoxes to which it has given rise. Five Faces of Modernity attempts to do for the foundations of the modernist critical lexicon what earlier terminological studies have done for such complex categories as classicism, baroque, romanticism, realism, or symbolism and thereby fill a gap in literary scholarship. On another, more ambitious level, Calinescu deals at length with the larger issues, dilemmas, ideological tensions, and perplexities brought about by the assertion of modernity.