BUCH
Sonic Fictions of America
Literature and Popular Music in the U.S. 1950–2010
American Studies – A Monograph Series, Bd. 315
2022
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Abstract
Habitually, the “inter” in intermediality is conceived of as the interrelation between neatly distinguishable semiotic systems and projected as intercompositional agenda. While there are benefits of such a research design it fails to fully fathom both pop music and its potential ties to the literary text. Such relations can better be grasped by including the logic of literature as social system and the mediality of communication – in fiction as well as in pop music. ‘Sonic Fictions of America’ defines pop music as medial cluster strongly informed by the indexical effects of recording technologies. How, then, does pop affect literature? More often than not, literature has shown a surprising capacity to immunize itself against the “threat” of the popular, turning to familiar forms and styles to evoke pop phenomena. Discussing a rich array of prose texts from Ralph Ellison to Bret Easton Ellis, this study delineates a rather slow shift towards the end of these self-immunizing tendencies.
Inhaltsverzeichnis
| Zwischenüberschrift | Seite | Aktion | Preis |
|---|---|---|---|
| Cover | Cover | ||
| Titel | 3 | ||
| Imprint | 4 | ||
| Acknowledgments | 5 | ||
| Contents | 7 | ||
| Introduction | 11 | ||
| Sonic Investments | 11 | ||
| The Return of the Voice | 16 | ||
| Music: A Noun? | 22 | ||
| A Sonic ‚punctum‘ | 27 | ||
| Popular Culture, the Popular, and Pop | 31 | ||
| Literature as a Social System | 35 | ||
| From Proto-Pop to Pop Proper: An Outline | 42 | ||
| Part I: Theories of Intermediality | 53 | ||
| 1. Literature and Popular Music: Assets and Drawbacks of Intermedial Scholarship | 53 | ||
| 1.1. Studying Musico-Literary Intermediality | 54 | ||
| 1.2. Inter- and/or Transmediality | 56 | ||
| 1.3. Werner Wolf and the Tradition of Intermedial Scholarship | 62 | ||
| 1.4. Corrective Readings I: Compositions, Notations, Readability | 72 | ||
| 1.5. Corrective Readings II: Transmediality & Paraliterature | 77 | ||
| 1.6. Corrective Readings III: Metaphoricity | 84 | ||
| 1.7. Corrective Readings IV: Media Channels, Generic Limits | 90 | ||
| 2. Medial Constellations & Popular Irritations: A Systems Theoretical Reading of Intermediality | 95 | ||
| 2.1. Luhmann’s Media | 96 | ||
| 2.2. Ornamental Guidance: Literature as Art | 102 | ||
| 2.3. Art, Advertisement & Entertainment | 107 | ||
| 2.4. Popular Literature | 113 | ||
| 2.5. Pop Literature: Intermedial & Transmedial | 120 | ||
| 2.6. Medial Constellations | 132 | ||
| Part II: Pre-Pop Excursions | 135 | ||
| 3. Opera Diplomacy: The Autonomy of Art and the Enigma of the Voice in Ann Patchett’s ‚Bel Canto‘ | 135 | ||
| 3.1. Operatic Principles: Popularizing the Classic Paradigm | 136 | ||
| 3.2. Intermediality in ‚Bel Canto‘ | 145 | ||
| 3.3. Language and/versus Music | 162 | ||
| 3.4. Aesthetics: Utopia, Autonomy, and Reconciliation | 175 | ||
| 4. De-Acousmatization and Sonic Fidelity: Reading Ralph Ellison’s ‚Invisible Man‘ as Jazz Picaresque | 191 | ||
| 4.1. Hierarchy of Black Arts | 192 | ||
| 4.2. Medial Constellations and Metaphors of Belonging | 197 | ||
| 4.3. Generic Affinities: Jazz Picaresque or Symphonic Bildungsroman? | 218 | ||
| 4.4. Towards a Particular Universalism | 242 | ||
| Part III: Pop from Elvis to Altamont | 247 | ||
| 5. Pop Pathologies and Fake Authenticity: Intermedial Strategies in Short Fiction by Joyce Carol Oates, Julie Hecht and T.C. Boyle | 247 | ||
| 5.1. Realist Allegories of Pop Danger: J. C. Oates’s “Where Are You Going, Where Have You Been” | 248 | ||
| 5.2. Observing Fan Pathology: J. Hecht’s “I Want You I Need You I Love You” | 267 | ||
| 5.3. The Inauthenticity of Performance: T.C. Boyle’s Understanding of Pop in “All Shook Up” | 285 | ||
| 6. Primal Screams and Product Placements: Intermedial Strategies in Don DeLillo’s ‚Great Jones Street‘ | 301 | ||
| 6.1. Product Placements: Selling Images | 303 | ||
| 6.2. Sonic Architecture | 320 | ||
| 6.3. Quasi-Religious Epiphanies, Secret Recordings, Lyrical Reflections | 328 | ||
| 6.4. Metaphorical Deaths: ‚Great Jones Street‘ as Pop Literature | 336 | ||
| Part IV: Pop from MTV to MP3 | 343 | ||
| 7. From Intermedial Reflexivity to Transmedial Affect? Jonathan Lethem as Literary Seismograph of Pop Communication | 343 | ||
| 7.1. Tune In | 344 | ||
| 7.2. Headlocked in Brooklyn: ‚The Fortress of Solitude‘ | 346 | ||
| 7.3. Reckless Covers: “The National Anthem” | 356 | ||
| 7.4. From Cover Songs to Copyrights: ‚You Don’t Love Me Yet‘ | 374 | ||
| 8. The Analog Loyalties of iPod Literature: Music, Media, Memory in Arthur Phillips’ ‚The Song Is You‘ | 385 | ||
| 8.1. Proustian Pop | 386 | ||
| 8.2. Music Through the Ages | 391 | ||
| 8.3. Bizarre Pop Triangles | 402 | ||
| 8.4. Data Erasure and Total Recall | 412 | ||
| 8.5. Fading Out | 416 | ||
| 9. Literature and the Shifting Economies of Attention: Pop Authorship in Bret Easton Ellis | 419 | ||
| 9.1. Remediation, Authorship, Pop Literature | 420 | ||
| 9.2. Labeling ‚Less Than Zero‘: Brat Pack & MTV | 429 | ||
| 9.3. ‚American Psycho‘: Provocation, Affirmation, Post-Symbolic Writing | 443 | ||
| 9.4. ‚Lunar Park‘ & Beyond: From Autofiction to Post-Empire Tweets | 463 | ||
| 9.5. Coda | 478 | ||
| Conclusion: Ubiquitous Pop and Literary Futures | 479 | ||
| From Aesthetics to Aestheticization | 480 | ||
| Media Infrastructure & Resilient Literature | 485 | ||
| Bibliography: Sonic Fictions of America | 489 | ||
| Primary Texts | 489 | ||
| Secondary Literature (Print) | 490 | ||
| Secondary Literature (Internet Resources) | 526 | ||
| Backcover | Backcover |
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