I know, believe me, I know. But with our much-too-short winter break, I want to give all of you--my upcoming students--as much time as possible to track down used copies of the books that we will be reading next semester. Also, if you'd like to shell out some cash for these texts at smaller independent bookstores, you should have time to do that as well. So look below for our required reading list. As always, the links to amazon are there for ease, which is probably why they're so successful over there: They make everything too easy.
See you on the flipside!
The Norton Anthology of American Literature (7th edition; Volumes C, D, E), edited by Nina Baym
Annie Proulx's Postcards
Manuel Muñoz's Zigzagger
Showing posts with label books. Show all posts
Showing posts with label books. Show all posts
Wednesday, December 16, 2009
Friday, July 10, 2009
Plan B
After posting my booklist last week, I saw a news report about another used book website, Better World Books. Personally, I haven't used Better World Books just yet, so I offer it up as an alternate book vendor with some reservations, simply because I haven't vetted it yet. From what I can tell, though, it could serve as a preferable option for anyone who has concerns about amazon's (and other behemoth sellers') increasingly strong stranglehold on book (and music, and movie, etc.) distribution--you know, crowding out the little guy. So give it a shot, if you wish.
Thursday, July 2, 2009
Required Reading
While I realize that most--if not all--of my students probably don't know that this blog exists (yet), I'm still posting the booklist for my class, because I never know how excellent my students' Internet search skills might be. Who knows? Maybe they'll stumble on this blog with enough time to order used copies of these books before the start of the semester.
So in any case, here's the list, with some helpful links to amazon.com:
The Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch
Representation: Cultural Representations and Signifying Practices, edited by Stuart Hall
Celine Dion's Let's Talk about Love: A Journey to the End of Taste, by Carl Wilson
Wilson's book, if I might be so bold, is probably the most important text that we will be reading in the course, because it encourages us to interrogate personal taste and the ways in which our tastes might actually reveal class, gender, racial, etc. biases to which we are largely oblivious. While I suspect that many of us have talked around these biases, it seems that few of us are brave enough to hold our tastes under the kind of rigorous scrutiny that we tend to apply to the things that we find distasteful.
And so if Critical Methods is meant to teach the important methodologies that we must know in order to perform "correct," "sophisticated," "intellectual" criticism, then it seems fitting to devote some time to talking about what it means for us to hold poststructuralism, to name just one example, in such high regard. To put it another way, what does it mean to imply that sophisticated criticism is something that can only be learned in the academy? That question doesn't even broach the thorny problematics of determining which cultural objects/artifacts/representations are tasteful enough to warrant criticism in the first place. As I've been promising, though, we'll get there.
So in any case, here's the list, with some helpful links to amazon.com:
The Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch
Representation: Cultural Representations and Signifying Practices, edited by Stuart Hall
Celine Dion's Let's Talk about Love: A Journey to the End of Taste, by Carl Wilson
Wilson's book, if I might be so bold, is probably the most important text that we will be reading in the course, because it encourages us to interrogate personal taste and the ways in which our tastes might actually reveal class, gender, racial, etc. biases to which we are largely oblivious. While I suspect that many of us have talked around these biases, it seems that few of us are brave enough to hold our tastes under the kind of rigorous scrutiny that we tend to apply to the things that we find distasteful.
And so if Critical Methods is meant to teach the important methodologies that we must know in order to perform "correct," "sophisticated," "intellectual" criticism, then it seems fitting to devote some time to talking about what it means for us to hold poststructuralism, to name just one example, in such high regard. To put it another way, what does it mean to imply that sophisticated criticism is something that can only be learned in the academy? That question doesn't even broach the thorny problematics of determining which cultural objects/artifacts/representations are tasteful enough to warrant criticism in the first place. As I've been promising, though, we'll get there.
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