scholarly journals We “Other Victorians”? Novelistic Remains, Therapeutic Devices, Contemporary Televisual Dramas

Daedalus ◽  
2020 ◽  
Vol 150 (01) ◽  
pp. 118-133
Author(s):  
Rey Chow ◽  
Austin Sarfan
Keyword(s):  
Michel Foucault ◽  
The Novel ◽  
Cultural Transition ◽  
Breaking Bad ◽  
Narrative Device ◽  
The Sopranos ◽  
Dramatic Narrative ◽  
Communicative Power ◽  
Emotional Style

In reference to the work of Michel Foucault and to residual Victorian novelistic features, this essay explores the biopolitical dimension of contemporary televisual dramas, focusing on the popular crime genre as seen in The Sopranos (1999–2007), Breaking Bad (2008–2013), and The Fall (2013–2016). Emphasizing the confessional context of criminality and policing, we demonstrate how such shows rely on the conventions of modern psychological discourse in depicting criminals, thus foregrounding what Eva Illouz in Saving the Modern Soul (2008) has called the “therapeutic emotional style.” By updating aspects of D. A. Miller's conception of the policing plot in The Novel and the Police (1988), we argue that confession in contemporary televisual dramas exemplifies a cultural transition from power as force to power as communication. The ascendance of communicative power pathologizes aspects of masculinity and introduces a new dramatic/narrative device: the therapeutic couplet.

Restoration Theatre and the Novel

2018 ◽  
Author(s):  
Jenny Davidson
Keyword(s):  
Eighteenth Century ◽  
Literary Form ◽  
The Novel ◽  
Cultural Transition ◽  
Strong Affinity ◽  
History Of ◽  
Restoration Theatre ◽  
Restoration Comedy ◽  
London Stage

This chapter explores the broad cultural transition from drama to novel during the Restoration period, which triggered one of the most productive periods in the history of the London stage. However, when it comes to the eighteenth century proper, the novel is more likely to be identified as the century's most significant and appealing popular genre. The chapter considers why the novel has largely superseded drama as the literary form to which ambitious and imaginative literary types without a strong affinity for verse writing would by default have turned their attention and energies by the middle of the eighteenth century. Something important may have been lost in the broad cultural transition from drama to novel. This chapter, however, contends that many things were preserved: that the novel was able to absorb many of the functions and techniques not just of Restoration comedy but of the theatre more generally.

scholarly journals Interpretation of an Epoch in the Novel "the Big Green Tent" by L. Ulitskaya: Linguistic-Cultural Analysis of Verbal Lexicon

2017 ◽  
Vol 6 (5) ◽  
pp. 116
Author(s):  
Ildar Ch. Safin ◽  
Elena I. Kolosova ◽  
Tatyana A. Gimranova
Keyword(s):  
Careful Analysis ◽  
Literary Text ◽  
Cultural Analysis ◽  
The Novel ◽  
Emotional Experiences ◽  
Russian Verb ◽  
The Creation ◽  
The Individual ◽  
Emotional Style ◽  
Illustrative Material

<p> This article is the verbal lexicon analysis based on the text of the novel "The Big Green Tent" by L. Ulitskaya. The creative manner of the contemporary writer attracts the attention of researchers, her writings describe the emotional experiences of the heroes and also give a generalized image of time full of historical details and features. The language of her stories and short stories is characterized by a special style in the description of time realities. A verb in the text allows the author to express the events and the circumstances that characterize an action in its dynamics due to the fact that verbal categories reflect the real reality in our consciousness. The method of linguistic cultural analysis of verbal lexicon in the novel "The Big Green Tent" made it possible to single out exactly those language units that the writer carefully selects for the creation and interpretation of the era. A special emphasis in the study is made on the creation of an expressive-emotional style of narration using the stylistic capabilities of the Russian verb. The individual author's methods of narration expressiveness creation are singled out: synonymous series, euphemisms, colloquial lexicon, etc. The conducted study and a careful analysis of the selected factual material testifies that, recreating an epoch, the master of the word invariably uses that language arsenal that brightly and fully conveys the color of time. L. Ulitskaya is able to be not only an indifferent witness of the epoch, but also her tenacious observer and interpreter. The analyzed factual material and the main points of this research can be used in the courses on stylistics and linguistic culturology, and also as an illustrative material during the classes on the linguistic analysis of a literary text.</p>

scholarly journals Stranger Things: Complex Serial, Complex Industry. The Institutional, Cultural, and Textual Significance of Internet-Distributed Television

2021 ◽  
Author(s):  
◽  
Caitlin Grandy
Keyword(s):  
The United States ◽  
Distributed Networks ◽  
Cultural Significance ◽  
Television Industry ◽  
Breaking Bad ◽  
Cable Networks ◽  
The Sopranos ◽  
The Us ◽  
Streaming Services

<p>This thesis explores the emergence and significance of internet-distributed television by unpacking the industrial, cultural, and textual ramifications of programming originated for an online context. As one of the foremost streaming services both globally and within the United States, Netflix will be the central focus of this thesis. The programmes that Netflix originates facilitate discussions around the potential of this network and its online platform to encourage innovation and novelty in its long-form TV drama. Netflix’s Stranger Things (2016–), a programme concept that was reputedly rejected by a number of cable networks before being accepted by Netflix, provides a compelling case study of the creative possibilities afforded by streaming capabilities.  This exploration is structured into three chapters. The first examines the environmental and institutional factors of the US television industry from which internet-distributed networks emerged. This chapter also explores the different economic models and the associated storytelling methods of each. Chapter 2 demonstrates the cultural significance of streaming on consumption behaviours and explores how broadcast, cable, and internet-distributed TV networks conceive of and pursue audiences. The analysis of several seminal TV dramas, such as The Sopranos (HBO 1999-2007), Game of Thrones (HBO 2011-2019), and Breaking Bad (AMC 2008-2013), provides comparisons from which to better understand the significance of Stranger Things to both the network that commissioned it and to the American television industry at large. The third chapter offers a detailed analysis of Stranger Things as an exemplar of Netflix’s ability to commission what Trisha Dunleavy (2018) terms the ‘complex serial drama’ and in doing so emulate the successful strategies first deployed by US cable networks.</p>

scholarly journals HISTÓRIA, LITERATURA E REPRESENTAÇÃO: EXPERIMENTAÇÕES COM O ROMANCE DE ARIANO SUASSUNA * HISTORY, LITERATURE AND REPRESENTATION: EXPERIMENTS WITH THE NOVEL OF ARIANO SUASSUNA

2016 ◽  
Vol 5 (2) ◽  
pp. 75
Author(s):  
Jossefrania Vieira Martins
Keyword(s):  
Michel Foucault ◽  
The Novel ◽  
Michel De Certeau ◽  
History And Literature ◽  
Hayden White ◽  
The Relationship

Resumo: No artigo abaixo, buscamos refletir sobre os limites e possibilidades da relação entre a história e a literatura ressaltando sua historicidade e os desafios que impõe ao historiador. Optamos por partir da problematização dos jogos dicotômicos – verdade x ficção, por exemplo – clássicos que sustentam a maior parte das distâncias construídas entre ambas, abordando-as com base no conceito de representação, em diálogo principalmente com Roger Chartier e Frank Ankersmit sem deixar de considerar também importantes apontamentos de Michel Foucault, Michel de Certeau, Hayden White e Catherine Gallagher, dentre outros. Por fim, apresentamos alguns aspectos e observações de nossa investigação sobre o romance do escritor Ariano Suassuna, situando-a nesse campo desafiador dos estudos históricos.Palavras-Chave: História; Literatura; Representação; Romance; Ariano Suassuna. Abstract: In Article below, we seek to reflect on the limits and possibilities of the relationship between history and literature emphasizing its historicity and the challenges which imposes the historian. We chose from the problematization of the dichotomous games - truth x fiction, for example - classic that sustain the greater part of distances built between both by approaching them on the basis of the concept of representation in dialog mainly with Roger Chartier and Frank Ankersmit without fail to also consider important notes of Michel Foucault, Michel de Certeau, Hayden White and Catherine Gallagher among others. Finally, we present some aspects and observations from our research on the novel of the writer Ariano Suassuna, placing it in this challenging field of historical studies.Keywords: History; Literature; Representation; Novel; Ariano Suassuna.

Transgendering Jesus: Mário Lúcio Sousa’s O Novíssimo Testamento and the Dismantling of Imperial Categories

2018 ◽  
pp. 264-286
Author(s):  
Daniel F. Silva
Keyword(s):  
Michel Foucault ◽  
Jesus Christ ◽  
Skin Color ◽  
The Novel ◽  
Race And Gender ◽  
Face To Face ◽  
Epistemic Violence ◽  
Gayatri Spivak ◽  
The Fantastic ◽  
And Gender

This chapter examines how the novel combines the religious with elements of the fantastic in staging the reincarnation of Jesus Christ. Placed within an existing field of global meanings, especially pertaining to notions of morality and propriety underpinned by racial and sexual discourses, Jesus confronts a world of stigma and suffering. As millions of people flock to Lém to seek out the messiah, many of which requesting miracles, Jesus comes face to face with imperial categorizations of bodies in terms of not only race and gender, but also of disease and disability. In doing so, she is forced to grapple with the construction and lived consequences of particular notions of normativity – of corporal ability, skin color, and gender – that inform privilege within Empire. The resolutions she seeks reveal a mission against what Michel Foucault and Gayatri Spivak call the epistemic violence of power, namely that of Empire.

Tv-serien som vor tids roman?

2012 ◽  
Vol 27 (68) ◽  
Author(s):  
Jakob Isak Nielsen
Keyword(s):  
The Novel ◽  
History Of The Novel ◽  
Mad Men ◽  
The Sopranos ◽  
Art Forms ◽  
History Of ◽  
The Wire

Jakob Isak Nielsen: "Tv-serien som vor tids roman?"AbstractJakob Isak Nielsen: “The TV Series as the Novel of our Time?”In recent years contemporary TV series – particularly American one-hour drama series such as The Sopranos (HBO, 1999-2007), The Wire (HBO, 2002-2008) and Mad Men (AMC, 2007-) – have often been likened to many of the canonic works within the history of the novel. This article discusses the validity of this hypothesis byhighlighting a number of similarities between the two art forms before ultimately demonstrating how they differ from each other and how they are best understood as products of particular media-systemic circumstances.

scholarly journals Foucault’un İktidar Görüşleri Işığında Erdal Öz’ün Yaralısın Romanı / Yaralisin, the Novel by Erdal Oz, in the Light of Foucault’s Power Theory

2017 ◽  
Vol 6 (6) ◽  
pp. 564
Author(s):  
Koray Üstün
Keyword(s):  
Michel Foucault ◽  
Power Structure ◽  
New Order ◽  
The Novel ◽  
Second Person ◽  
Private Space ◽  
Power Theory ◽  
History Of ◽  
The Subject ◽  
The Individual

<p><strong>Abstract</strong></p><p>In the light of the power concepts theorized by Michel Foucault, this article investigates Erdal Oz's novel Yaralisin (You’re Wounded). Foucault’s power structure that systematized in Subject and Power (1961), History of Sexuality (1984), Birth of Prison (1975), The Birth of Biopolitics (2004), has similarities with crime production that the novel reflects. Accordingly, individuals are being standardized in the prison through programs, strategies and technics that the power structure determined. In this process, there is no direct enforcement on the individual. The power structure connects the individual to itself through knowledge and body. In Oz’s novel the subject depending on space changing are being standardized and transformed into the “Nuri” character, as we read in the text. At the base of becoming standard individual through lost of identity, there is crime production. As for crime production, it takes shape in accordance with space. In the novel, space dependent suffering, inflicted on individuals, places the subject on a hierarchical plane, as Foucault has also indicated, and brings an end to existence. The power structure, cutting off the individual from his private space, taking him first into the interrogation room, and then to the prison, has made him a part of the system and has objectified him. The digestive effect of the power structure has become even more concrete with the presence of the second person narrator within the narrative plane; depersonalization has taken place within the new order.</p><p><strong>Öz</strong></p><p>Bu makalede Michel Foucault’un kuramsallaştırdığı iktidar kavramı ışığında Erdal Öz’ün <em>Yaralısın</em> romanı incelenmiştir. Foucault’nun <em>Özne ve İktidar </em>(1961),<em> Cinselliğin Tarihi </em>(1984)<em>, Hapishanenin Doğuşu </em>(1975)<em>, Biyopolitikanın Doğuşu</em> (2004) gibi kitaplarında sistemleştirdiği iktidar, romanda aktarılan suç üretimi ile paralellik taşımaktadır. Bireyler, iktidar tarafından belirlenen program, strateji ve tekniklerle hapishanelerde tek tipleştirilmektedir. Bu süreçte bireyler üzerine doğrudan bir yaptırım uygulanmaz; iktidar, bilgi ve beden yönetimi üzerinden bireyi kendine bağlar. Öz’ün romanında da uzamsal değişimlere bağlı olarak tekil özneler, tek tipleştirilerek metindeki karşılığıyla “Nuri”lere dönüşür. Bireyin kendi kimliğini yitirerek tek tipleşmesinin temelinde suç üretimi vardır. Suç üretimi ise uzama göre şekillenir. Romanda uzama göre değişen çektirilen azaplar, Foucault’un da belirttiği gibi özneyi hiyerarşik düzleme yerleştirir ve varoluşu sona erdirir. İktidar, özneyi kişisel mekânından ayırıp önce sorgu odasına ardından da hapishaneye götürerek onu düzenin bir parçası hâline getirmiş ve nesneleştirmiştir. İktidarın sindirici etkisi, anlatı düzlemindeki ikinci tekil anlatıcının varlığıyla daha da somutlaşmış; kurulan düzen içerisinde özne yitimi gerçekleşmiştir. </p>

scholarly journals You’re Part of Something Bigger: Macrorealist TV

2014 ◽  
Author(s):  
Liz Maynes-Aminzade
Keyword(s):  
Breaking Bad ◽  
The Sopranos ◽  
The Wire

“Dickensian” has become a buzzword in recent TV criticism not only because the term connotes a large character ensemble, but also because it connotes adiffuseensemble. In TV series such asThe Sopranos, The Wire,andBreaking Bad, many characters live and work so far apart from each other—whether in different neighborhoods of a city or different regions of the globe—that they fail to recognize how their actions affect each other. Through its wide spatial scope, this type of macroscopic “stranger narrative” explores a type of ethical confusion that is a byproduct of globalization. Namely, these narratives reveal to readers or viewers how they might be connected to and responsible for people they don’t even know.

scholarly journals Migración, espacio y exclusión en 2020 de Javier Moreno

2019 ◽  
Vol 10 (1) ◽  
pp. 9
Author(s):  
Carolina Leon Vegas
Keyword(s):  
Financial Crisis ◽  
Michel Foucault ◽  
Theoretical Framework ◽  
The Novel ◽  
Time And Space ◽  
Secondary Role ◽  
The Relationship

A number of novels about the financial crisis and its consequences have been written in Spain in recent years. In most, migrants are represented in a secondary role, often as short allusions or as mere ornaments. This article aims to highlight one novel, 2020 by Javier Moreno, that breaks that pattern since it features migrant characters in key roles. The article further aims to analyse the relationship between space and the representation of the migrant in the context of a society in crisis. The notions of non-place by Marc Augé and heterotopia by Michel Foucault will serve as the theoretical framework that will allow for an exploration of phenomena such as the inversion of non-places into places, the connection of crisis and deviation, the role of certain spaces as both shelters and containers of the unwanted, the role of gaze in the construction of an exclusion, and the circular movement of powerless characters in time and space throughout the novel.

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