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100%: Brown, Bill / Brown, William: The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play (ISBN: 9780674553811) 1997, Erstausgabe, in Englisch, Taschenbuch.Nur diese Ausgabe anzeigen…
95%: Brown, William: The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play (ISBN: 9780674553804) Harvard University Press, in Englisch, Broschiert.Nur diese Ausgabe anzeigen…
The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play
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The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play (1997)
EN HC USISBN: 9780674553804 bzw. 0674553802, in Englisch, 384 Seiten, Harvard University Press, gebundenes Buch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, Better World Books: North.
Within the ephemera of the everyday--old photographs, circus posters, iron toys--lies a challenge to America's dominant cultural memory. What this memory has left behind, Bill Brown recovers in the "material unconscious" of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's disavowing appropriation of an emerging mass culture--from football games and freak shows to roller coasters and early cinema--the decade reappears as an underexposed moment in the genealogy of modernism and modernity. Brown's story begins on the Jersey Shore, in Asbury Park, where Crane became a writer in the shadow of his father, a grimly serious Methodist minister who vilified the popular amusements his son adored. The coastal resorts became the stage for debates about technology, about the body's visibility, about a black service class and the new mass access to leisure. From this snapshot of a recreational scene that would continue to inspire Crane's sensational modernism, Brown takes us to New York's Bowery. There, in the visual culture established by dime museums, minstrel shows, and the Kodak craze, he exhibits Crane dramatically obscuring the typology of race. Along the way, Brown demonstrates how attitudes toward play transformed the image of war, the idea of childhood and nationhood, and the concept of culture itself. And by developing a new conceptual apparatus (with such notions as "recreational time," "abstract leisure," and the "amusement/knowledge system"), he provides the groundwork for a new politics of pleasure. A crucial theorization of how cultural studies can and should proceed, The Material Unconscious insists that in the very conjuncture of canonical literature and mass culture, we can best understand how proliferating and competing economies of play disrupt the so-called "logic" and "work" of culture. , Hardcover, Label: Harvard University Press, Harvard University Press, Product group: Book, Published: 1997-02-01, Studio: Harvard University Press, Sales rank: 14379378.
Von Händler/Antiquariat, Better World Books: North.
Within the ephemera of the everyday--old photographs, circus posters, iron toys--lies a challenge to America's dominant cultural memory. What this memory has left behind, Bill Brown recovers in the "material unconscious" of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's disavowing appropriation of an emerging mass culture--from football games and freak shows to roller coasters and early cinema--the decade reappears as an underexposed moment in the genealogy of modernism and modernity. Brown's story begins on the Jersey Shore, in Asbury Park, where Crane became a writer in the shadow of his father, a grimly serious Methodist minister who vilified the popular amusements his son adored. The coastal resorts became the stage for debates about technology, about the body's visibility, about a black service class and the new mass access to leisure. From this snapshot of a recreational scene that would continue to inspire Crane's sensational modernism, Brown takes us to New York's Bowery. There, in the visual culture established by dime museums, minstrel shows, and the Kodak craze, he exhibits Crane dramatically obscuring the typology of race. Along the way, Brown demonstrates how attitudes toward play transformed the image of war, the idea of childhood and nationhood, and the concept of culture itself. And by developing a new conceptual apparatus (with such notions as "recreational time," "abstract leisure," and the "amusement/knowledge system"), he provides the groundwork for a new politics of pleasure. A crucial theorization of how cultural studies can and should proceed, The Material Unconscious insists that in the very conjuncture of canonical literature and mass culture, we can best understand how proliferating and competing economies of play disrupt the so-called "logic" and "work" of culture. , Hardcover, Label: Harvard University Press, Harvard University Press, Product group: Book, Published: 1997-02-01, Studio: Harvard University Press, Sales rank: 14379378.
2
The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play (1997)
EN PB NW FEISBN: 9780674553811 bzw. 0674553810, in Englisch, 384 Seiten, Harvard University Press, Taschenbuch, neu, Erstausgabe.
Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, TrueBookStore.
Within the ephemera of the everyday--old photographs, circus posters, iron toys--lies a challenge to America's ***nt cultural memory. What this memory has left behind, Bill Brown recovers in the "material unconscious" of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's disavowing appropriation of an emerging mass culture--from football games and freak shows to roller coasters and early cinema--the decade reappears as an underexposed moment in the genealogy of modernism and modernity.Brown's story begins on the Jersey Shore, in Asbury Park, where Crane became a writer in the shadow of his father, a grimly serious Methodist minister who vilified the popular amusements his son adored. The coastal resorts became the stage for debates about technology, about the body's visibility, about a black service class and the new mass access to leisure. From this snapshot of a recreational scene that would continue to inspire Crane's sensational modernism, Brown takes us to New York's Bowery. There, in the visual culture established by dime museums, minstrel shows, and the Kodak craze, he exhibits Crane dramatically obscuring the typology of race.Along the way, Brown demonstrates how attitudes toward play transformed the image of war, the idea of childhood and nationhood, and the concept of culture itself. And by developing a new conceptual apparatus (with such notions as "recreational time," "abstract leisure," and the "amusement/knowledge system"), he provides the groundwork for a new politics of pleasure. A crucial theorization of how cultural studies can and should proceed, The Material Unconscious insists that in the very conjuncture of canonical literature and mass culture, we can best understand how proliferating and competing economies of play disrupt the so-called "logic" and "work" of culture., Paperback, Ausgabe: First Edition, Label: Harvard University Press, Harvard University Press, Produktgruppe: Book, Publiziert: 1997-02-01, Freigegeben: 1997-01-27, Studio: Harvard University Press, Verkaufsrang: 2678992.
Von Händler/Antiquariat, TrueBookStore.
Within the ephemera of the everyday--old photographs, circus posters, iron toys--lies a challenge to America's ***nt cultural memory. What this memory has left behind, Bill Brown recovers in the "material unconscious" of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's disavowing appropriation of an emerging mass culture--from football games and freak shows to roller coasters and early cinema--the decade reappears as an underexposed moment in the genealogy of modernism and modernity.Brown's story begins on the Jersey Shore, in Asbury Park, where Crane became a writer in the shadow of his father, a grimly serious Methodist minister who vilified the popular amusements his son adored. The coastal resorts became the stage for debates about technology, about the body's visibility, about a black service class and the new mass access to leisure. From this snapshot of a recreational scene that would continue to inspire Crane's sensational modernism, Brown takes us to New York's Bowery. There, in the visual culture established by dime museums, minstrel shows, and the Kodak craze, he exhibits Crane dramatically obscuring the typology of race.Along the way, Brown demonstrates how attitudes toward play transformed the image of war, the idea of childhood and nationhood, and the concept of culture itself. And by developing a new conceptual apparatus (with such notions as "recreational time," "abstract leisure," and the "amusement/knowledge system"), he provides the groundwork for a new politics of pleasure. A crucial theorization of how cultural studies can and should proceed, The Material Unconscious insists that in the very conjuncture of canonical literature and mass culture, we can best understand how proliferating and competing economies of play disrupt the so-called "logic" and "work" of culture., Paperback, Ausgabe: First Edition, Label: Harvard University Press, Harvard University Press, Produktgruppe: Book, Publiziert: 1997-02-01, Freigegeben: 1997-01-27, Studio: Harvard University Press, Verkaufsrang: 2678992.
3
The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play (1997)
EN PB US FEISBN: 9780674553811 bzw. 0674553810, in Englisch, 384 Seiten, Harvard University Press, Taschenbuch, gebraucht, Erstausgabe.
Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, bookcultureny.
Within the ephemera of the everyday--old photographs, circus posters, iron toys--lies a challenge to America's ***nt cultural memory. What this memory has left behind, Bill Brown recovers in the "material unconscious" of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's disavowing appropriation of an emerging mass culture--from football games and freak shows to roller coasters and early cinema--the decade reappears as an underexposed moment in the genealogy of modernism and modernity.Brown's story begins on the Jersey Shore, in Asbury Park, where Crane became a writer in the shadow of his father, a grimly serious Methodist minister who vilified the popular amusements his son adored. The coastal resorts became the stage for debates about technology, about the body's visibility, about a black service class and the new mass access to leisure. From this snapshot of a recreational scene that would continue to inspire Crane's sensational modernism, Brown takes us to New York's Bowery. There, in the visual culture established by dime museums, minstrel shows, and the Kodak craze, he exhibits Crane dramatically obscuring the typology of race.Along the way, Brown demonstrates how attitudes toward play transformed the image of war, the idea of childhood and nationhood, and the concept of culture itself. And by developing a new conceptual apparatus (with such notions as "recreational time," "abstract leisure," and the "amusement/knowledge system"), he provides the groundwork for a new politics of pleasure. A crucial theorization of how cultural studies can and should proceed, The Material Unconscious insists that in the very conjuncture of canonical literature and mass culture, we can best understand how proliferating and competing economies of play disrupt the so-called "logic" and "work" of culture., Paperback, Ausgabe: First Edition, Label: Harvard University Press, Harvard University Press, Produktgruppe: Book, Publiziert: 1997-02-01, Freigegeben: 1997-01-27, Studio: Harvard University Press, Verkaufsrang: 2678992.
Von Händler/Antiquariat, bookcultureny.
Within the ephemera of the everyday--old photographs, circus posters, iron toys--lies a challenge to America's ***nt cultural memory. What this memory has left behind, Bill Brown recovers in the "material unconscious" of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's disavowing appropriation of an emerging mass culture--from football games and freak shows to roller coasters and early cinema--the decade reappears as an underexposed moment in the genealogy of modernism and modernity.Brown's story begins on the Jersey Shore, in Asbury Park, where Crane became a writer in the shadow of his father, a grimly serious Methodist minister who vilified the popular amusements his son adored. The coastal resorts became the stage for debates about technology, about the body's visibility, about a black service class and the new mass access to leisure. From this snapshot of a recreational scene that would continue to inspire Crane's sensational modernism, Brown takes us to New York's Bowery. There, in the visual culture established by dime museums, minstrel shows, and the Kodak craze, he exhibits Crane dramatically obscuring the typology of race.Along the way, Brown demonstrates how attitudes toward play transformed the image of war, the idea of childhood and nationhood, and the concept of culture itself. And by developing a new conceptual apparatus (with such notions as "recreational time," "abstract leisure," and the "amusement/knowledge system"), he provides the groundwork for a new politics of pleasure. A crucial theorization of how cultural studies can and should proceed, The Material Unconscious insists that in the very conjuncture of canonical literature and mass culture, we can best understand how proliferating and competing economies of play disrupt the so-called "logic" and "work" of culture., Paperback, Ausgabe: First Edition, Label: Harvard University Press, Harvard University Press, Produktgruppe: Book, Publiziert: 1997-02-01, Freigegeben: 1997-01-27, Studio: Harvard University Press, Verkaufsrang: 2678992.
4
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The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play
EN USISBN: 9780674553804 bzw. 0674553802, in Englisch, Harvard University Press, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, free shipping to: USA.
Von Händler/Antiquariat, Better World Books.
Harvard University Press. Used - Very Good. Great condition for a used book! Minimal wear. 100% Money Back Guarantee. Shipped to over one million happy customers. Your purchase benefits world literacy!
Von Händler/Antiquariat, Better World Books.
Harvard University Press. Used - Very Good. Great condition for a used book! Minimal wear. 100% Money Back Guarantee. Shipped to over one million happy customers. Your purchase benefits world literacy!
5
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The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play
ENISBN: 9780674553811 bzw. 0674553810, in Englisch, Harvard University Press.
Lieferung aus: Vereinigte Staaten von Amerika, Lagernd, zzgl. Versandkosten.
The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play Brown, Bill / Brown, William, Within the ephemera of the everyday--old photographs, circus posters, iron toys--lies a challenge to America's ***nt cultural memory. What this memory has left behind, Bill Brown recovers in the "material unconscious" of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's disavowing appropriation of an emerging mass culture--from football games and freak shows to roller coasters and early cinema--the decade reappears as an underexposed moment in the genealogy of modernism and modernity. Brown's story begins on the Jersey Shore, in Asbury Park, where Crane became a writer in the shadow of his father, a grimly serious Methodist minister who vilified the popular amusements his son adored. The coastal resorts became the stage for debates about technology, about the body's visibility, about a black service class and the new mass access to leisure. From this snapshot of a recreational scene that would continue to inspire Crane's sensational modernism, Brown takes us to New York's Bowery. There, in the visual culture established by dime museums, minstrel shows, and the Kodak craze, he exhibits Crane dramatically obscuring the typology of race. Along the way, Brown demonstrates how attitudes toward play transformed the image of war, the idea of childhood and nationhood, and the concept of culture itself. And by developing a new conceptual apparatus (with such notions as "recreational time," "abstract leisure," and the "amusement/knowledge system"), he provides the groundwork for a new politics of pleasure. A crucial theorization of how cultural studies can and should proceed, "The Material Unconscious" insists that in the very conjuncture of canonical literature and mass culture, we can best understand how proliferating and competing economies of play disrupt the so-called "logic" and "work" of culture.
The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play Brown, Bill / Brown, William, Within the ephemera of the everyday--old photographs, circus posters, iron toys--lies a challenge to America's ***nt cultural memory. What this memory has left behind, Bill Brown recovers in the "material unconscious" of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's disavowing appropriation of an emerging mass culture--from football games and freak shows to roller coasters and early cinema--the decade reappears as an underexposed moment in the genealogy of modernism and modernity. Brown's story begins on the Jersey Shore, in Asbury Park, where Crane became a writer in the shadow of his father, a grimly serious Methodist minister who vilified the popular amusements his son adored. The coastal resorts became the stage for debates about technology, about the body's visibility, about a black service class and the new mass access to leisure. From this snapshot of a recreational scene that would continue to inspire Crane's sensational modernism, Brown takes us to New York's Bowery. There, in the visual culture established by dime museums, minstrel shows, and the Kodak craze, he exhibits Crane dramatically obscuring the typology of race. Along the way, Brown demonstrates how attitudes toward play transformed the image of war, the idea of childhood and nationhood, and the concept of culture itself. And by developing a new conceptual apparatus (with such notions as "recreational time," "abstract leisure," and the "amusement/knowledge system"), he provides the groundwork for a new politics of pleasure. A crucial theorization of how cultural studies can and should proceed, "The Material Unconscious" insists that in the very conjuncture of canonical literature and mass culture, we can best understand how proliferating and competing economies of play disrupt the so-called "logic" and "work" of culture.
6
The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play
EN NWISBN: 9780674553811 bzw. 0674553810, in Englisch, Harvard, neu.
Lieferung aus: Kanada, Lagernd, zzgl. Versandkosten.
William Brown, Books, Fiction and Literature, The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play, Within the ephemera of the everyday--old photographs, circus posters, iron toys--lies a challenge to America's dominant cultural memory. What this memory has left behind, Bill Brown recovers in the material unconscious of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's disavowing appropriation of an emerging mass culture--from football games and freak shows to roller coasters and early cinema--the decade reappears as an underexposed moment in the genealogy of modernism and modernity.Brown's story begins on the Jersey Shore, in Asbury Park, where Crane became a writer in the shadow of his father, a grimly serious Methodist minister who vilified the popular amusements his son adored. The coastal resorts became the stage for debates about technology, about the body's visibility, about a black service class and the new mass access to leisure. From this snapshot of a recreational scene that would continue to inspire Crane's sensational modernism, Brown takes us to New York's Bowery. There, in the visual culture established by dime museums, minstrel shows, and the Kodak craze, he exhibits Crane dramatically obscuring the typology of race.Along the way, Brown demonstrates how attitudes toward play transformed the image of war, the idea of childhood and nationhood, and the concept of culture itself. And by developing a new conceptual apparatus (with such notions as recreational time, abstract leisure, and the amusement/knowledge system), he provides the groundwork for a new politics of pleasure. A crucial theorization of how cultural studies can and should proceed, The Material Unconscious insists that in the very conjuncture of canonical literature and mass culture, we can best understand how proliferating and competing economies of play disrupt the so-called logic and work of culture.
William Brown, Books, Fiction and Literature, The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play, Within the ephemera of the everyday--old photographs, circus posters, iron toys--lies a challenge to America's dominant cultural memory. What this memory has left behind, Bill Brown recovers in the material unconscious of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's disavowing appropriation of an emerging mass culture--from football games and freak shows to roller coasters and early cinema--the decade reappears as an underexposed moment in the genealogy of modernism and modernity.Brown's story begins on the Jersey Shore, in Asbury Park, where Crane became a writer in the shadow of his father, a grimly serious Methodist minister who vilified the popular amusements his son adored. The coastal resorts became the stage for debates about technology, about the body's visibility, about a black service class and the new mass access to leisure. From this snapshot of a recreational scene that would continue to inspire Crane's sensational modernism, Brown takes us to New York's Bowery. There, in the visual culture established by dime museums, minstrel shows, and the Kodak craze, he exhibits Crane dramatically obscuring the typology of race.Along the way, Brown demonstrates how attitudes toward play transformed the image of war, the idea of childhood and nationhood, and the concept of culture itself. And by developing a new conceptual apparatus (with such notions as recreational time, abstract leisure, and the amusement/knowledge system), he provides the groundwork for a new politics of pleasure. A crucial theorization of how cultural studies can and should proceed, The Material Unconscious insists that in the very conjuncture of canonical literature and mass culture, we can best understand how proliferating and competing economies of play disrupt the so-called logic and work of culture.
7
Symbolbild
The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play (1997)
EN HC USISBN: 9780674553804 bzw. 0674553802, in Englisch, Harvard University Press, gebundenes Buch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, Shipping costs to: USA.
Von Händler/Antiquariat, Ergodebooks.
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
Von Händler/Antiquariat, Ergodebooks.
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
8
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The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play (1996)
EN HC USISBN: 9780674553804 bzw. 0674553802, in Englisch, Harvard University Press, gebundenes Buch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, plus shipping, Shipping area: DOM.
Von Händler/Antiquariat, Midtown Scholar Bookstore, PA, Harrisburg, [RE:5].
Hardcover.
Von Händler/Antiquariat, Midtown Scholar Bookstore, PA, Harrisburg, [RE:5].
Hardcover.
9
Symbolbild
The Material Unconscious: American Amusement, Stephen Crane, and the Economics of Play (1997)
EN HC USISBN: 9780674553804 bzw. 0674553802, in Englisch, Harvard University Press, gebundenes Buch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, plus shipping, Shipping area: DOM.
Von Händler/Antiquariat, ExtremelyReliable, TX, Richmond, [RE:4].
Hardcover.
Von Händler/Antiquariat, ExtremelyReliable, TX, Richmond, [RE:4].
Hardcover.
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