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fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Cunningham, D.I. (2014)
Languages: English
Types: Article
Subjects: UOW10

Classified by OpenAIRE into

ACM Ref: ComputingMilieux_LEGALASPECTSOFCOMPUTING
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • Paradise (1883), this time as cited in Moretti's The
    • n otes 1. I take the latter phrase from Christopher Prendergast, The
    • York, 2000, p. 132. See David Cunningham, 'Here Comes
    • Radical Philosophy 180, July/August 2013, pp. 8-9. For
    • The Wire', Criticism, vol. 52, no. 3-4, Summer/Fall 2010. 2. See, for example, Catherine Belsey, Critical Practice,
    • Methuen, London, 1980, and various essays in Colin
    • Manchester University Press, Manchester, 1985. The key
    • Essay, trans. Richard Miller, Farrar, Straus & Giroux, 1991. 3. Fredric Jameson, Postmodernism, or, the Cultural Logic of
    • Late Capitalism, Verso, London and New York, 1991, pp.
    • 65-6, ix, 410; Fredric Jameson, 'Rimbaud and the Spatial
    • York, 2007, p. 240. 4. Fredric Jameson, Marxism and Form: Twentieth-Century
    • Princeton NJ, 1971, pp. 163, 47. 5. Georg Lukács, The Theory of the Novel, trans. Anna Bostock,
    • Merlin, London, 1971, p. 56. 6. Fredric Jameson, 'Postmodernism, or, the Cultural Logic of
    • Late Capitalism', New Left Review I/146, July-August 1984,
    • p. 66. 7. Jameson,Postmodernism, pp. 415-16. This is also why, to put
    • during the 1930s, albeit in a spatialized or 'synchronic'
    • mode. 8. See David Cunningham, 'Capitalist Epics: Abstraction,
    • 163, September/October, 2010, pp. 11-23. In the words of
    • totality'.Theory of the Novel, p. 56. 9. Jay Bernstein, 'Social Signs and Natural Bodies: On
    • T.J. Clark's Farewell to an Idea', Radical Philosophy 104,
    • November/December 2000, p. 26. Bernstein is describing
    • 'modernism'. 10. Indeed, the inventiveness of such translations antdhe
    • See Jameson, Postmodernism, pp. 51-4, 415. 11. Fredric Jameson, 'Baudelaire as Modernist and Postmo-d
    • “Sublime”' (1985), in The Modernist Papers, pp. 225, 229. 12. Georg Lukács, 'Narrate or Describe?', in Writer and Critic,
    • 1975, pp. 113, 116, 144. Similarly, in the famous scene at the
    • subjective importance of the events' (p. 115). 13. Jean-François Lyotard, 'Answer to the Question: What is
    • London, 1992, p. 15. 14. Jameson, 'Baudelaire as Modernist and Postmodernist',
    • pp. 225, 228, 227. 15. Ibid.; emphasis added. Here, Jameson reads this far more
    • p. 230). This conception seems largely absent from the new
    • book. 16. Ibid., pp. 228-9. 17. Compare Erich Auerbach, Mimesis: The Representation of
    • University Press, Princeton NJ, 1953, pp. 468-73. As
    • atmosphere is suggested' (p. 468). 18. One could compare here Jameson's readings of Balzac and
    • Literature, Verso, London and New York, 2013, pp. 60-61.
    • (p. 62). There is much 'realistic' detail, concreteness and
    • afect . 19. Lukács, 'Narrate or Describe?', p. 112. 20. Roland Barthes,Le Degré zéro de l'écriture, cited in Gabriel
    • sity Press, New Haven CT and London, 2010,180-81. 21. Charles Baudelaire, 'The Painter of Modern Life', in The
    • Mayne, Phaidon, London, 1964, p. 13. 22. See Marshall Berman, All That Is Solid Melts into Air: The
    • Experience of Modernity, Verso, London and New York, 1984,
    • pp. 115-20 (on Marx) and pp. 155-64 (on Baudelaire). As
    • Faber & Faber, London, 1989, p. 166. 23. Franco Moretti,The Modern Epic: The World System from
    • London and New York, 1996, pp. 194-5. See also Franco
    • European Culture, Verso, London and New York, 1987.
    • was solid, became more soT'(he Bourgeois, p. 15). 24. It is at this point that one might raise a number of questions
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