Feminists, feminism, and advertising: some restrictions apply
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Lanham ; Boulder ; New York ; London
Lexington Books
[2017]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xi, 395 Seiten |
| ISBN: | 9781498528269 |
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Datensatz im Suchindex
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| adam_text | IMAGE 1
TABLE OF CONTENTS
INTRODUCTION 9
BEWILDERING YEARS: WHY STUDY CREATIVE NONFICTION? 9
STRUCTURE AND CONTENTS 14
NOTES ON PRIMARY MATERIALS, SECONDARY SOURCES AND TRANSLATION 16
CHAPTER 1. TOWARDS DEFINING AN AMORPHOUS GENRE 17
1.1 ORIGINS: THE EMERGENCE O F CREATIVE NONFICTION IN A TIME OF CIVIL
DISOBEDIENCE 17
1.2 FROM MOMENT TO MOVEMENT: CREATIVE NONFICTION AFTER THE 1960S 20
1.3 WHAT MAKES CREATIVE NONFICTION (CREATIVE NONFICTION)? 24 1.3.1 LIKE
A NOVEL : THE LITERARY ELEMENTS THAT MAKE CREATIVE NONFICTION 25
1.3.2 THE BIG FIVE O F CREATIVE NONFICTION: A COMPARISON OF
DEFINITIONS 28
1.3.3 THE PRIVATE AND THE PUBLIC IN CREATIVE NONFICTION: TRENDS 34
1.4 PROBLEMS O F DEFINING AN AMORPHOUS GENRE: A POSSIBILITY OF TRANSFER
36
CHAPTER 2. THE MAGPIE S SONG: A WORKING DEFINITION O F CREATIVE
NONFICTION IN SEVEN DYNAMICS 39
2.1 A REMIX O F SORTS 39
2.1.1 FACT-FICTION DYNAMIC 40
2.1.2 WRITER-READER DYNAMIC 41
2.1.3 SYMPATHY-ANTIPATHY DYNAMIC 42
2.1.4 GOOD-AND-BAD DYNAMIC 45
2.1.5 LIFE-ART DYNAMIC 45
2.1.6 WRITING-AND-RIGHTING DYNAMIC 46
2.1.7 SELF-OTHER DYNAMIC 48
2.2 AN INVITATION TO FOUR CONVERSATIONS 51
HTTP://D-NB.INFO/1019998008
IMAGE 2
CHAPTER 3.
FLORIAN ILLIES S GENERATION GOLF: LITERARY JOURNALISM OR POP-LITERATURE?
53
3.1 PROBLEMS O F POP AND POP-LITERATURE 56
3.2 DOCUMENTARY AND LITERARY ELEMENTS: HOW THE FACT-FICTION DYNAMIC IN
ILLIES S WRITING CONNECTS GENERATION G O L F TO THE GENERATION DEBATE
AND DOUGLAS COUPLAND S WORKS 60
3.2.1 GENERATION X, GENERATION G O L F AND SHAMPOO PLANET 64
3.2.2 REBELLION AGAINST FORM: THE PLAYMOBIL BIOGRAPHY 67
3.2.3 A SIGN-WORLD THAT REACHES INTO THE EVERYDAY (MIX O F HIGH AND
LOW CULTURE ELEMENTS) 68
3.3 AUTONOMY AND INTERDEPENDENCE IN GENERATION G O L F REFLECTIONS ON
THE CONTRACT, THE EMPATHY AND THE CRITICAL PERSPECTIVE THE AUTHOR
ESTABLISHES BY LITERARY MEANS IN THE TEXT 69
3.3.1 ILLIES S CONTRACT WITH THE READER 73
3.3.2 CYNICAL AFFIRMATIONS 76
3.3.3 IRONIC REFRACTION 77
3.4 THE INCESSANT REPETITION O F THE EVER-SAME AND THE EVER-NEW: THE
TIMELY AND TIMELESS IN GENERATION G O L F 78
3.4.1 DIE VORGANGERGENERATION (THE PRECEDING GENERATION) 79 3.4.2 IT
KEEPS RUNNING AND RUNNING AND RUNNING 81
3.5 THE ORIGINS AND SPREAD O F GENERATION GOLF 84
3.6 IMAGINING GENERATION GOLF: BRANDING IDENTITY 89
CHAPTER 4. OTHER VOICES IN MAURICE G. DANTEC S PERIPHERIQUES: CREATIVE
NONFICTION AND THE PUBLIC INTELLECTUAL 93
4.1 THE FICTION, THE AUTHOR AND THE WORLD 95
4.2 OTHER VOICES: THE EDITOR 97
4.2.1 THE PREFACE 98
4.2.2 THE INTERVIEW 99
4.2.3 THE STRUCTURE 104
4.3 FACT AND FICTION - ONE DYNAMIC NETWORK O F TEXTS 113
4.4 EVOLUTION BY LITERARY MEANS: THE BIBLIOTHEKON 120
4.5 THE FICTION O F THE WRITER - EFFECTS ON IDENTITY 126
4.6 CREATIVE NONFICTION WITH A FALSE BOTTOM: THE ORIGIN AND SPREAD O F
PARADOXICAL AUTHORSHIP (A COMPARISON) 130
6
IMAGE 3
CHAPTER 5.
SELF-EXPOSURE AND SELF-MAINTENANCE IN JOSCHKA FISCHER S MEIN LONGER L A
U F ZU MIR SELBST (MY LONG RUN TO MYSELF) 137
5.1 FISCHER S LANGER L A U F 139
5.2 WHAT KIND O F STORY? 146
5.3 THE FICTIONAL CREDIBILITY O F MEIN LANGER L A U F ZU MIR SELBST 153
5.3.1 FISCHER S CLASHES WITH SOCIETY: A WIN-WIN SITUATION BETWEEN THE
POLITICIAN AND THE MEDIA 154
5.3.2 FISCHER S SELF-REFLECTIONS AND THE IMAGINATION O F HUMAN AGENCY
158
5.4 PUBLIC CONFESSIONS AS A WAY O F SHAPING IDENTITY - ON AND BY THE
MEDIA 162
5.5 THE DOOR TO A ROOM O F ONE S OWN: CREATIVE NONFICTION, AUTOBIOGRAPHY
AND LATE MODERN POLITICS 170
CHAPTER 6. FREDERIC BEIGBEDER S WINDOWS ON THE WORLD : A HISTORICAL
NOVEL 175
6.1 WRITING AFTER 9/11: REVIEWS O F WINDOWS ON THE WORLD 177
6.2 THE NOVELIST AS HISTORIAN 183
6.2.1 THE NOVEL FORM 183
6.2.2 CRITICISING OTHER MEDIA 187
6.2.3 THE AMBIGUOUS PROTAGONIST 189
6.2.4 THE POINT O F VIEW 194
6.2.5 THE USE O F TIME 195
6.2.6 THE HOUSE O F MIRRORS 198
6.2.7 THE COLLECTIVE NOVEL 202
6.2.8 THE OBSERVER S ARCHIMEDEAN POINT 204
6.3 CATCHER IN THE WINDOWS: A SIMILAR BUT DIFFERENT APPROACH TO HISTORY
AS A NOVEL 206
CHAPTER 7. CONCLUSION 211
7.1 WHY STUDY CREATIVE NONFICTION IN GERMANY AND FRANCE? 242
REFERENCES 225
ACKNOWLEDGEMENTS 247
7
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| title | Feminists, feminism, and advertising some restrictions apply |
| title_auth | Feminists, feminism, and advertising some restrictions apply |
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| title_full | Feminists, feminism, and advertising some restrictions apply edited by Kim Golombisky and Peggy J. Kreshel |
| title_fullStr | Feminists, feminism, and advertising some restrictions apply edited by Kim Golombisky and Peggy J. Kreshel |
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| title_short | Feminists, feminism, and advertising |
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