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Machine generated contents note: -- IntroductionErich Hertz and Jeffrey RoessnerPart 1: Negotiating Pop Styles1. More Than Zero: Post-Punk Ideology (And Its Rejection) in Bret Easton Ellis Matthew Luter, Faculty Member, Webb School, USA 2. "Consistently Original, Perennially Unheard Of": Punk, Margin and Mainstream in Jonathan Franzen's FreedomMark Bresnan, Assistant Professor of Academic Writing, Marymount Manhattan College, USA 3. A Novel Idea for a Soundtrack: Tim Winton's Dirt Music Tanya Dalziell, Professor in English and Cultural Studies, University of Western Australia, Australia4. "Where the Beat Sounds the Same": American Psycho and the Cultural Capital of Pop Music Carl Miller, Assistant Professor of English, Palm Beach Atlantic University, USA 5. Playing (in) Seattle: Grunge as a Narrative Soundscape in Mark Lindquist's Never Mind Nirvana Fiorenzo Iuliano, Lecturer in American Literature, University of Cagliari, Italy Part 2: Gendering Rock and Jazz6. Masculinity and Jazz in Jackie Kay's Trumpet, Jim Crace's All That Follows and Alan Plater's The Beiderbecke Trilogy Aidan Byrne, Senior Lecturer in English and Cultural Studies, University of Wolverhampton, UK Nicola Allen, University of Wolverhampton, UK7. Queer Time, Queer Space, and Queer Edge in Lynn Breedlove's Godspeed Joseph P. Fisher, George Washington's College of Professional Studies and North Virginia Community College, Alexandria, USA8. The Popular Music Experiments of Rick Moody's Connecticut WASPs in The Ice Storm Zachary Snider, Writer, USA9. "Every song ends": Musical Pauses, Gendered Nostalgia, and Loss in Jennifer Egan's A Visit from the Goon Squad Danica van de Velde, University of Western Australia, AustraliaPart 3: Sounding Race and Nation10. "It's me or the. Eggplant": Pleasure, Politics, and Prince in Hanif Kureishi'sThe Black Album Eric Berlatsky, Associate Professor of English, Florida Atlantic University, USA11. Rock Music as Cosmopolitan Touchstone in Salman Rushdie's The Ground Beneath Her Feet Tim Gauthier, Director of the Interdisciplinary Degree Programs, University of Nevada, Las Vegas, USA 12. Music Consumption and the Remix of Self in Colson Whitehead's Sag Harbor John Joseph Hess, Visiting Assistant Professor of American Literature, Florida Atlantic University, USA13. Static Signals: Celia Cruz, Santeri;a and Markets of Latinidad in Jennine Cap{acute}o Crucet's How to Leave Hialeah Elena Machado S{acute}aez, Associate Professor of English, Florida Atlantic University, USA Part 4: Making Pop Art14. Incommensurate Nostalgias: Changin' Times in Watchmen Benjamin J. Robertson, Instructor, University of Colorado, Boulder 15. "To see the world in a liner note": The Limits of Song in Jonathan Lethem's The Fortress of Solitude Christopher Gonz{acute}alez, Assistant Professor of English, Texas A&M University, Commerce, USA16. Unrest and Silence: The Faithless Music of the Contemporary British Novel Will May, Senior Lecturer in English, University of Southampton, UK 17. The Rock Star's Responsibility: Privacy, Industry, and Artistry in Novels by DeLillo, Lethem, and FranzenD. Quentin Miller, Professor of English, Suffolk University, UKContributor BiographiesMusic in Contemporary Fiction: Selected BibliographyIndex. |