By Linda Wagner-Martin
* The background of yankee Literature from 1950 to the current offers a complete research of the wide variety of literary works that extends into the twenty first century
* Covers drama, poetry, fiction, non-fiction, memoirs, technology fiction, and detective novels
* gains dialogue of yankee works in the context of such 21st-century matters as globalization, drugs, gender, schooling, and different topics
Read Online or Download A History of American Literature: 1950 to the Present (Wiley-Blackwell Histories of American Literature) PDF
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Extra info for A History of American Literature: 1950 to the Present (Wiley-Blackwell Histories of American Literature)
The investigation of text-music relationships is a vibrant one; however, to date more research has been undertaken on text-image relationships, which is probably due to the fact that for a long time visuality has been taken as modernity’s signature, while more recently the field of literary acoustics has proven that this is not necessarily the case (25 Literary Acoustics; Schweighauser 2006). In intermedial studies, relationships between words and images in particular have become a central field of investigation, which is reflected in the space dedicated to the topic in this handbook.
On the basis of formal (chronology, repetition, teleology, causality/cohesion) and thematic indicators (tellability and singularity; cf. Wolf 2002, 47–51), Wolf has discriminated genuinely narrative genres such as novels that are based on predominantly verbal media (written and oral text) from works that indicate narration, such as picture series and mono- or polyphase pictures. The narrative potential is low whenever a considerable input to the production of narrativity is required from the recipient (cf.
Theories and typologies of intermediality can hence never be anything but heuristic instruments. In spite of this criticism, researchers such as Marie-Laure Ryan (2005), Irina O. Rajewsky (2010) und Werner Wolf (2011) find it problematic to give up the concepts of media borders, “border zones” (Rajewsky 2010, 65) and media specificities altogether. They instead refer to the heuristic potential of these terms in analyses of various intermedial conceptions and specific intermedial manifestations: Currently, efforts are being made to strengthen common and crossover features […] in intermediality studies […].