Tento autor je profesorom na katedre anglického jazyka a literatúry na Ohio University. Jeho odbornosť spočíva v hlbokom porozumení literárnym tradíciám a ich súčasným interpretáciám. Jeho práca sa zameriava na kritické skúmanie textov a ich zasadenie do širšieho kultúrneho kontextu. Čitatelia ocenia jeho schopnosť odhaľovať skryté významy a prepojenia naprieč literárnymi dielami.
Exploring the blurred lines between classical and rock music, this book reveals that classical music is not as autonomous as traditionally thought, sharing the same heteronomy as rock. By challenging the high-low culture divide, the author encourages readers to embrace a new aesthetic experience, essential for navigating contemporary culture. This insightful analysis invites a reevaluation of musical appreciation and its implications in today's society.
The book explores the transition from dialectical negation to cultural-populist affirmation, using figures like Hegel and Madonna to illustrate cultural contradictions in late capitalism. It presents a genealogical analysis of philosophical discourses, focusing on commodity fetishism through the lens of Marx and Freud. The author introduces the concept of the "commodity-body-sign" to critique consumption patterns. Additionally, it examines Madonna Studies as a reflection of contemporary cultural studies, highlighting the complexities of postmodern culture and its political implications.
Critical wisdom has it that we said a long goodbye to film noir in the 1950s. Robert Miklitsch begs to differ. Pursuing leads down the back streets and alleyways of cultural history, The Red and the Black proposes that the received rise-and-fall narrative about the genre radically undervalues the formal and thematic complexity of '50s noir and the dynamic segue it effected between the spectacular expressionism of '40s noir and early, modernist neo-noir. Mixing scholarship with a fan's devotion to the crooked roads of critique, Miklitsch autopsies marquee films like D.O.A., Niagara, and Kiss Me Deadly plus a number of lesser-known classics. Throughout, he addresses the social and technological factors that dealt deuce after deuce to the genre--its celebrated style threatened by new media and technologies such as TV and 3-D, color and widescreen, its born losers replaced like zombies by All-American heroes, the nation rocked by the red menace and nightmares of nuclear annihilation. But against all odds, the author argues, inventive filmmakers continued to make formally daring and socially compelling pictures that remain surprisingly, startlingly alive. Cutting-edge and entertaining, The Red and the Black reconsiders a lost period in the history of American movies.
