東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

The media assemblage: The twentieth-...

Hackman, Paul Stewart.

FindBook

Google Book

Amazon

博客來

The media assemblage: The twentieth-century novel in dialogue with film, television, and new media.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The media assemblage: The twentieth-century novel in dialogue with film, television, and new media./
作者:	Hackman, Paul Stewart.
面頁冊數:	292 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-06, Section: A, page: .
Contained By:	Dissertation Abstracts International72-06A.
標題:	Multimedia Communications. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3452077
ISBN:	9781124582566

The media assemblage: The twentieth-century novel in dialogue with film, television, and new media.
Hackman, Paul Stewart.

The media assemblage: The twentieth-century novel in dialogue with film, television, and new media. - 292 p.

Source: Dissertation Abstracts International, Volume: 72-06, Section: A, page: .

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2010.

At several moments during the twentieth-century, novelists have been made acutely aware of the novel as a medium due to declarations of the death of the novel. Novelists, at these moments, have found it necessary to define what differentiates the novel from other media and what makes the novel a viable form of art and communication in the age of images. At the same time, writers have expanded the novel form by borrowing conventions from these newer media. I describe this process of differentiation and interaction between the novel and other media as a "media assemblage" and argue that our understanding of the development of the novel in the twentieth century is incomplete if we isolate literature from the other media forms that compete with and influence it.

ISBN: 9781124582566Subjects--Topical Terms:

1057801
Multimedia Communications.

The media assemblage: The twentieth-century novel in dialogue with film, television, and new media.
LDR:05430nam 2200361 4500 001 1398715
005 20110914100031.5
008 130515s2010 ||||||||||||||||| ||eng d
020 $a 9781124582566
035 $a (UMI)AAI3452077
035 $a AAI3452077
040 $a UMI $c UMI
100 1 $a Hackman, Paul Stewart. $3 1677606
245 1 4 $a The media assemblage: The twentieth-century novel in dialogue with film, television, and new media.
300 $a 292 p.
500 $a Source: Dissertation Abstracts International, Volume: 72-06, Section: A, page: .
500 $a Adviser: Michael Rothberg.
502 $a Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2010.
520 $a At several moments during the twentieth-century, novelists have been made acutely aware of the novel as a medium due to declarations of the death of the novel. Novelists, at these moments, have found it necessary to define what differentiates the novel from other media and what makes the novel a viable form of art and communication in the age of images. At the same time, writers have expanded the novel form by borrowing conventions from these newer media. I describe this process of differentiation and interaction between the novel and other media as a "media assemblage" and argue that our understanding of the development of the novel in the twentieth century is incomplete if we isolate literature from the other media forms that compete with and influence it.
520 $a Each of the first three chapters focuses on a distinct medium at a different moment in the twentieth century. Chapter One examines novels by F. Scott Fitzgerald and Nathanael West written in the 1930s. Both novelists spent time working in Hollywood, hoping to make money writing for the rapidly growing film industry. West and Fitzgerald criticize Hollywood even though both were attracted to film and developed writing techniques influenced by their time working as screenwriters. Both writers use a beautiful but shallow young woman as their symbolic representation of Hollywood, a woman who entices and angers the male protagonist. Such an ambivalent and sexist response, I argue, corresponds to the conflicted feelings of the novelists towards the new medium of film and its potential effects on the novel.
520 $a Chapter Two pairs two novels from the middle of the century, Richard Yates's domestic novel Revolutionary Road and Jerzy Kosinski's satire Being There. Both novels bemoan the superficial quality of much of American life post World War II, manifesting their critique in attacks on television and its negative effects on the family and politics, respectively. Both novels connect television to an emasculated male protagonist, arguing that television contributes to a passive and unsophisticated populace. Yet, television's ability to instantly connect millions of people through a common experience and blur the distinction between private and public life proves attractive to the characters and influential on the writing styles of the novels.
520 $a Chapter Three brings together a print novel and a hypertext novel from the mid-90s. Richard Powers's Galatea 2.2 asks whether a computer can be trained to impersonate an English graduate student while Shelley Jackson's Patchwork Girl brings to life the monstrous female companion from Frankenstein as the hypertext novel itself. Both texts discuss the future of the material medium of print through the metaphor of the female body. The protagonist of Galatea interweaves his sexual feelings with his love of the printed page, reversing the gender associations made by Fitzgerald and West sixty years earlier, while Patchwork Girl criticizes the association of the female body with hypertext. Interestingly, the print novel overloads the reader with information and allusions that require frequent references to the internet while the hypertext novel depends on allusions to print to give structure and stability to its malleable electronic form.
520 $a The final chapter moves away from analyzing individual media assemblages to looking at how media assemblages change over time. I organize Don DeLillo's expansive novel Underworld into three separate assemblages active during the Cold War. In so doing I go against the tendency in the scholarship to read DeLillo's novel as critical of or influenced by some monolithic entity known as "the mass media." Instead, the complex relationships at work in not just one static media assemblage but the dynamic shifts between assemblages correspond to the complicated paranoia evoked by the Cold War.
520 $a After analyzing how one novel attempts to better understand the past through changes in the American media assemblage, my epilogue examines how a number of science fiction novels, imagine the media assemblages of the future. As these novels describe a future after the hypothetical death of print they reveal that a media assemblage is much more than a set of technologies, but instead a web of fears, ideologies, and definitions that describe the role of the novelist within the culture. (Abstract shortened by UMI.)
590 $a School code: 0090.
650 4 $a Multimedia Communications. $3 1057801
650 4 $a Literature, American. $3 1017657
650 4 $a Mass Communications. $3 1017395
650 4 $a Cinema. $3 854529
690 $a 0558
690 $a 0591
690 $a 0708
690 $a 0900
710 2 $a University of Illinois at Urbana-Champaign. $3 626646
773 0 $t Dissertation Abstracts International $g 72-06A.
790 1 0 $a Rothberg, Michael, $e advisor
790 $a 0090
791 $a Ph.D.
792 $a 2010
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3452077