Search results for ""Author Paula Rabinowitz""

"There is real hope for a culture that makes it as easy to buy a book as it does a pack of cigarettes."--a civic leader quoted in a New American Library ad (1951) American Pulp tells the story of the midcentury golden age of pulp paperbacks and how they brought modernism to Main Street, democratized literature and ideas, spurred social mobility, and helped readers fashion new identities. Drawing on extensive original research, Paula Rabinowitz unearths the far-reaching political, social, and aesthetic impact of the pulps between the late 1930s and early 1960s. Published in vast numbers of titles, available everywhere, and sometimes selling in the millions, pulps were throwaway objects accessible to anyone with a quarter. Conventionally associated with romance, crime, and science fiction, the pulps in fact came in every genre and subject. American Pulp tells how these books ingeniously repackaged highbrow fiction and nonfiction for a mass audience, drawing in readers of every kind with promises of entertainment, enlightenment, and titillation. Focusing on important episodes in pulp history, Rabinowitz looks at the wide-ranging effects of free paperbacks distributed to World War II servicemen and women; how pulps prompted important censorship and First Amendment cases; how some gay women read pulp lesbian novels as how-to-dress manuals; the unlikely appearance in pulp science fiction of early representations of the Holocaust; how writers and artists appropriated pulp as a literary and visual style; and much more. Examining their often-lurid packaging as well as their content, American Pulp is richly illustrated with reproductions of dozens of pulp paperback covers, many in color. A fascinating cultural history, American Pulp will change the way we look at these ephemeral yet enduringly intriguing books.

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"There is real hope for a culture that makes it as easy to buy a book as it does a pack of cigarettes."--a civic leader quoted in a New American Library ad (1951) American Pulp tells the story of the midcentury golden age of pulp paperbacks and how they brought modernism to Main Street, democratized literature and ideas, spurred social mobility, and helped readers fashion new identities. Drawing on extensive original research, Paula Rabinowitz unearths the far-reaching political, social, and aesthetic impact of the pulps between the late 1930s and early 1960s. Published in vast numbers of titles, available everywhere, and sometimes selling in the millions, pulps were throwaway objects accessible to anyone with a quarter. Conventionally associated with romance, crime, and science fiction, the pulps in fact came in every genre and subject. American Pulp tells how these books ingeniously repackaged highbrow fiction and nonfiction for a mass audience, drawing in readers of every kind with promises of entertainment, enlightenment, and titillation. Focusing on important episodes in pulp history, Rabinowitz looks at the wide-ranging effects of free paperbacks distributed to World War II servicemen and women; how pulps prompted important censorship and First Amendment cases; how some gay women read pulp lesbian novels as how-to-dress manuals; the unlikely appearance in pulp science fiction of early representations of the Holocaust; how writers and artists appropriated pulp as a literary and visual style; and much more. Examining their often-lurid packaging as well as their content, American Pulp is richly illustrated with reproductions of dozens of pulp paperback covers, many in color. A fascinating cultural history, American Pulp will change the way we look at these ephemeral yet enduringly intriguing books.

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This final volume in the four-volume series Habits of Being shows how the dialectic between everyday appearance and outrageous acts is mediated through clothing and accessories. It considers how clothing and accessories can move quickly from the ordinary to the extravagant. Employing many different approaches, these essays explore how wearing an object—a crown, a flower, an earring, a corsage, a veil, even a length of material—can stray beyond the bounds of the body on which it is placed into the discrepant territory of flagrantly excessive public signs of love, status, honor, prestige, power, desire, and display. The varied contributions of scholars (historians, ethnographers, literary and film critics) and artists (photographers, sculptors, writers, weavers, and embroiderers) take up the threads of these forays into history, psyche, and aesthetics in surprising and useful ways. With examples from around the world, contributors address how the simple action of ornamenting the body, even with something as common as a button, are open to elaborate interpretations—which themselves offer new understandings of human behavior and artistic endeavor. When our “habits of being” receive close scrutiny, they seem anything but habitual. Contributors: Mariapia Bobbiobi; Camilla Cattarulla, U of Rome Three; Paola Colaiacomo, Sapienza, U of Rome; Maria Damon, Pratt Institute of Art; Joanne B. Eicher, U of Minnesota; Maria Giulia Fabi, U of Ferrara; Margherita di Fazio; Adeena Karasick, Fordham U; Tarrah Krajnak, Pitzer College; Charlotte Nekola, William Paterson U; Victoria R. Pass, Maryland Institute College of Art; Amanda Salvioni, U of Macerata; Maria Anita Stefanelli, U of Rome Three.

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Clothing may not make the man (or woman), but it helps. How clothing as a vestige and artifact and as transmitter of identity moves from one use to another, from one fantasy to another fad, from one literary source to another visual one: these are the concerns of the essays in this volume. The second in a four-part series charting the social, cultural, and political expression of clothing, dress, and accessories, Exchanging Clothes focuses on the concept of transnational “circulation and exchange”—not only the global exchange of material commodities across time and space but also of the ideas, images, colors, and textures related to fashion. Essays examine the parade of heroes past, from Homer and Virgil to Dante and Ariosto, wearing armor or nothing; the social power of a tie or of a safety pin sprung from punk fashion to the red carpet; a Midwestern thrift store, from cheap labor to cheap purchase, as a microcosm of global circulation; and lesbian pulp fiction as how-to-dress manuals.Whether looking at Kate Chopin’s silk stockings, Nellie Bly’s capacious bag, Audrey Hepburn’s cross-Atlantic travels, rings in James Merrill’s poetry, or feminine ornaments in Algeria, these essays offer an ever-expanding vision of how fashion moves through culture and the economy, reflecting and determining identity at every stage and turn of the transaction.Contributors: Nello Barile, IULM U, Milan; Vittoria C. Caratozzolo, Sapienza, U of Rome; Alisia Grace Chase, SUNY, Brockport; Chafika Dib-Marouf, Jules Verne U, Picardie; Anne Hollander; Mariuccia Mandelli (Krizia); Andrea Mariani, Gabriele d’Annunzio U, Chieti-Pescara; Katalin Medvedev, U of Georgia; Laura Montani; Karen Reimer; Cristina Scatamacchia, U of Perugia.

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Noir Affect proposes a new understanding of noir as defined by negative affect. This new understanding emphasizes that noir is, first and foremost, an affective disposition rather than a specific cycle of films or novels associated with a given time period or national tradition. Instead, the essays in Noir Affect trace noir’s negativity as it manifests in different national contexts from the United States to Mexico, France, and Japan and in a range of different media, including films, novels, video games, and manga. The forms of affect associated with noir are resolutely negative: These are narratives centered on loss, sadness, rage, shame, guilt, regret, anxiety, humiliation, resentment, resistance, and refusal. Moreover, noir often asks us to identify with those on the losing end of cultural narratives, especially the criminal, the lost, the compromised, the haunted, the unlucky, the cast-aside, and the erotically “perverse,” including those whose greatest erotic attachment is to death. Drawing on contemporary work in affect theory, while also re-orienting some of its core assumptions to address the resolutely negative affects narrated by noir, Noir Affect is invested in thinking through the material, bodily, social, and political–economic impact of the various forms noir affect takes. If much affect theory asks us to consider affect as a space of possibility and becoming, Noir Affect asks us to consider affect as also a site of repetition, dissolution, redundancy, unmaking, and decay. It also asks us to consider the way in which the affective dimensions of noir enable the staging of various forms of social antagonism, including those associated with racial, gendered, sexual, and economic inequality. Featuring an Afterword by the celebrated noir scholar Paula Rabinowitz and essays by an array of leading scholars, Noir Affect aims to fundamentally re-orient our understanding of noir. Contributors: Alexander Dunst, Sean Grattan, Peter Hitchcock, Justus Nieland, Andrew Pepper, Ignacio Sánchez Prado, Brian Rejack, Pamela Thoma, Kirin Wachter-Grene

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