front cover of The UberReader
The UberReader
SELECTED WORKS OF AVITAL RONELL
Edited by Diane Davis
University of Illinois Press, 2007
"Avital Ronell has put together what must be one of the most remarkable critical oeuvres of our era… Zeugmatically yoking the slang of pop culture with philosophical analysis, forcing the confrontation of high literature and technology or drug culture, Avital Ronell produces sentences that startle, irritate, illuminate. At once hilarious and refractory, her books are like no others.”--Jonathan Culler, Diacritics
 
For twenty years Avital Ronell has stood at the forefront of the confrontation between literary study and European philosophy. She has tirelessly investigated the impact of technology on thinking and writing, with groundbreaking work on Heidegger, dependency and drug rhetoric, intelligence and artificial intelligence, and the obsession with testing. Admired for her insights and breadth of field, she has attracted a wide readership by writing with guts, candor, and wit.
 
Coyly alluding to Nietzsche’s “gay science,” The ÜberReader presents a solid introduction to Avital Ronell’s later oeuvre. It includes at least one selection from each of her books, two classic selections from a collection of her early essays (Finitude’s Score), previously uncollected interviews and essays, and some of her most powerful published and unpublished talks. An introduction by Diane Davis surveys Ronell’s career and the critical response to it thus far.
 
With its combination of brevity and power, this Ronell “primer” will be immensely useful to scholars, students, and teachers throughout the humanities, but particularly to graduate and undergraduate courses in contemporary theory.
 
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Under a Bad Sign
Criminal Self-Representation in African American Popular Culture
Jonathan Munby
University of Chicago Press, 2011

What accounts for the persistence of the figure of the black criminal in popular culture created by African Americans? Unearthing the overlooked history of art that has often seemed at odds with the politics of civil rights and racial advancement, Under a Bad Sign explores the rationale behind this tradition of criminal self-representation from the Harlem Renaissance to contemporary gangsta culture.

In this lively exploration, Jonathan Munby takes a uniquely broad view, laying bare the way the criminal appears within and moves among literary, musical, and visual arts. Munby traces the legacy of badness in Rudolph Fisher and Chester Himes’s detective fiction and in Claude McKay, Julian Mayfield, and Donald Goines’s urban experience writing. Ranging from Peetie Wheatstraw’s gangster blues to gangsta rap, he also examines criminals in popular songs. Turning to the screen, the underworld films of Oscar Micheaux and Ralph Cooper, the 1970s blaxploitation cycle, and the 1990s hood movie come under his microscope as well. Ultimately, Munby concludes that this tradition has been a misunderstood aspect of African American civic life and that, rather than undermining black culture, it forms a rich and enduring response to being outcast in America.

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Underground Movements
Modern Culture on the New York City Subway
Sunny Stalter-Pace
University of Massachusetts Press, 2013
For more than a century the New York City subway system has been a vital part of the city's identity, even as judgments of its value have varied. It has been celebrated as the technological embodiment of the American melting pot and reviled as a blighted urban netherworld. Underground Movements explores the many meanings of the subway by looking back at the era when it first ascended to cultural prominence, from its opening in 1904 through the mid-1960s. Sunny Stalter-Pace analyzes a broad range of texts written during this period—news articles, modernist poetry, ethnic plays, migration narratives, as well as canonical works by authors such as Hart Crane, William Carlos Williams, and Ralph Ellison—to illustrate the subway's central importance as a site of abstract connection, both between different parts of the city and between city dwellers who ride the train together.

Writers and artists took up questions that originated in the sphere of urban planning to explore how underground movement changed the ways people understand the city. Modern poets envisioned the subway as a space of literary innovation; playwrights and fiction writers used it to gauge the consequences of migration and immigration; and essayists found that it underscored the fragile relationship between urban development and memory. Even today, the symbolic associations forged by these early texts continue to influence understanding of the cultural significance of the subway and the city it connects.
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Unpackaging Art of the 1980s
Alison Pearlman
University of Chicago Press, 2003
American art of the 1980s is as misunderstood as it is notorious. Critics of the time feared that market hype and self-promotion threatened the integrity of art. They lashed out at contemporary art, questioning the validity of particular media and methods and dividing the art into opposing camps. While controversies have since subsided, critics still view art of the 1980s as a stylistic battlefield. Alison Pearlman rejects this picture, which is truer of the period's criticism than of its art.

Pearlman reassesses the works and careers of six artists who became critics' biggest targets. In each of three chapters, she pairs two artists the critics viewed as emblematic of a given trend: Julian Schnabel and David Salle in association with Neo-Expressionism; Jean-Michel Basquiat and Keith Haring vis-à-vis Graffiti Art; and Peter Halley and Jeff Koons in relation to Simulationism. Pearlman shows how all these artists shared important but unrecognized influences and approaches: a crucial and overwhelming inheritance of 1960s and 1970s Conceptualism, a Warholian understanding of public identity, and a deliberate and nuanced use of past styles and media. Through in-depth discussions of works, from Haring's body-paintings of Grace Jones to Schnabel's movie Basquiat, Pearlman demonstrates how these artists' interests exemplified a broader, generational shift unrecognized by critics. She sees this shift as starting not in the 1980s but in the mid-1970s, when key developments in artistic style, art-world structures, and consumer culture converged to radically alter the course of American art.

Unpackaging Art of the 1980s offers an innovative approach to one of the most significant yet least understood episodes in twentieth-century art.
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Unpopular Culture
Martin Luthe
Amsterdam University Press, 2016
This volume introduces a new concept that boldly breaks through the traditional dichotomy of high and low culture while offering a fresh approach to both: unpopular culture. From the works of David Foster Wallace and Ernest Hemingway to fanfiction and The Simpsons, from natural disasters to 9/11 and beyond, the essays find the unpopular across media and genres, analysing the politics and aesthetics of a side to culture that has been overlooked by previous theories and methods in cultural studies.
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Utopia Limited
The Sixties and the Emergence of the Postmodern
Marianne DeKoven
Duke University Press, 2004
Utopia Limited is an original, engaging account of how postmodernism emerged from the political and cultural upheaval of the 1960s. Marianne DeKoven argues that aspects of sixties radical politics and culture simultaneously embodied the full, final flowering of the modern and the beginning of the postmodern. Analyzing classic sixties texts, DeKoven shows where the utopian master narratives underlying the radical and countercultural movements gave way to the “utopia limited” of the postmodern as a range of competing political values and desires came to the fore. She identifies the pivots where the modern was superseded by the nascent postmodern: where modern mass culture was replaced by postmodern popular culture, modern egalitarianism morphed into postmodern populism, and modern individualism fragmented into postmodern politics and cultures of subjectivity.

DeKoven rigorously analyzes a broad array of cultural and political texts important in the sixties—from popular favorites such as William S. Burroughs’s Naked Lunch to political manifestoes including The Port Huron Statement, the founding document of SDS (Students for a Democratic Society). She examines texts that overtly discuss the conflict in Vietnam, Black Power, and second-wave feminism—including Frances FitzGerald’s Fire in the Lake, James Baldwin’s The Fire Next Time, and Shulamith Firestone’s The Dialectic of Sex; experimental pieces such as The Living Theatre’s Paradise Now; influential philosophical works including Roland Barthes’s Mythologies and Herbert Marcuse’s One-Dimensional Man; and explorations of Las Vegas, the prime location of postmodernity. Providing extensive annotated bibliographies on both the sixties and postmodernism, Utopia Limited is an invaluable resource for understanding the impact of that tumultuous decade on the present.

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