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	<rdf:li rdf:resource="https://ambientehotel.wordpress.com/2016/07/26/the-comfort-of-being-eaten/"/>
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  </channel><item rdf:about="https://www.versobooks.com/products/3163-experimental-criticism">
    <title>Experimental Criticism: Franco Moretti and Literature | Verso Books</title>
    <dc:date>2025-08-14T13:14:23+00:00</dc:date>
    <link>https://www.versobooks.com/products/3163-experimental-criticism</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["A fascinating guide to Franco Moretti’s literary criticism
"Experimental Criticism provides a series of close critical engagements with Franco Moretti. One of the world’s most innovative literary thinkers, Moretti may be best known for his ‘distant reading’ of vast numbers of literary texts at the Stanford Literary Lab. Francesco de Cristofaro and Stefano Ercolino lead a lively exploration of his work as a springboard for rethinking the fundamentals of literary theory. Topics include world literature and the Digital Humanities, literary morphology and evolutionary theory, the sociology of literature, and Marxism and literary history. A concluding section is dedicated to the novel, one of Moretti’s most prized research objects.
"Experimental Criticism reconstructs Moretti’s intellectual journey, from origins on the Italian Trotskyist Left to the project for a historical atlas of literature and later computational turn. The collection includes essays from Moretti himself on Lukács’s Theory of the Novel and the methodological tension between close and distant reading. ‘Why study literature?’, he asks. For the pleasure of reducing complex things to their simple elements; to bring them back to earth."

--- Not yet (Aug. 2025) available for pre-order, but I WANT.]]></description>
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    <title>Shakespeare in the Bush | Natural History Magazine</title>
    <dc:date>2025-05-15T15:08:46+00:00</dc:date>
    <link>https://www.naturalhistorymag.com/editors_pick/1966_08-09_pick.html</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[--- Exactly as I remembered it from reading it age 10 or 12.]]></description>
<dc:subject>anthropology cultural_differences funny:academic literary_criticism</dc:subject>
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    <title>Language Machines: Cultural AI and the End of Remainder Humanism</title>
    <dc:date>2025-04-10T18:26:42+00:00</dc:date>
    <link>https://www.upress.umn.edu/9781517919320/language-machines/</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["How generative AI systems capture a core function of language
"Looking at the emergence of generative AI, Language Machines presents a new theory of meaning in language and computation, arguing that humanistic scholarship misconstrues how large language models (LLMs) function. Seeing LLMs as a convergence of computation and language, Leif Weatherby contends that AI does not simulate cognition, as widely believed, but rather creates culture. This evolution in language, he finds, is one that we are ill-prepared to evaluate, as what he terms “remainder humanism” counterproductively divides the human from the machine without drawing on established theories of representation that include both.
"To determine the consequences of using AI for language generation, Weatherby reads linguistic theory in conjunction with the algorithmic architecture of LLMs. He finds that generative AI captures the ways in which language is at first complex, cultural, and poetic, and only later referential, functional, and cognitive. This process is the semiotic hinge on which an emergent AI culture depends. Weatherby calls for a “general poetics” of computational cultural forms under the formal conditions of the algorithmic reproducibility of language.
"Locating the output of LLMs on a spectrum from poetry to ideology, Language Machines concludes that literary theory must be the backbone of a new rhetorical training for our linguistic-computational culture."]]></description>
<dc:subject>large_language_models_(so_called) the_french_disease via:benjamin_recht books:noted literary_criticism re:gopnikism in_NB downloaded</dc:subject>
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    <title>Jorge Luis Borges, Author of Pierre Menard's Don Quixote</title>
    <dc:date>2025-03-16T19:22:49+00:00</dc:date>
    <link>https://stephenfrug.substack.com/p/jorge-luis-borges-author-of-pierre</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[--- OOH, this is a good point: we _can_ read a passage from Cervantes's _Don Quixote_, and Borges/Menard's textually-identical passage, and naturally come away with different interpretations/understandings/reactions, because we know one is from the 16th century and the other is not.  So it's not as though it's impossible for us (post-) moderns to read that text in anything other than a contemporary way.  Score one for Frug!  In fact, I think this is a common problem with attempts to convince readers that no one can go outside their conceptual framework (etc.), they often purport to tell us how things look from another perspective, which (by their own premises) they could not do.  (IIRC there's a relevant passage in _Zhuangzi_.)

--- OTOH, perhaps the way we read Cervantes is just following _our_ script for what early-modern people must be saying, and not how his contemporaries would, in fact, have taken him at all!  "Early modern literature" is one of our cultural categories, we have stereotypes for it...]]></description>
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    <dc:creator>cshalizi</dc:creator><dc:subject>literary_criticism eliot.t.s. have_read tradition</dc:subject>
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    <title>The Ex-Human: Science Fiction and the Fate of Our Species</title>
    <dc:date>2025-02-27T14:08:35+00:00</dc:date>
    <link>https://www.degruyter.com/document/doi/10.7312/beru21504/html</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Michael Bérubé explores the surprising insights of classic and contemporary works of SF that depict civilizational collapse and contemplate human extinction."]]></description>
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    <title>The Experimental Novel, and Other Essays by Émile Zola - Books on Google Play</title>
    <dc:date>2024-06-06T17:38:52+00:00</dc:date>
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<item rdf:about="https://wwnorton.com/books/9780393882186">
    <title>Literary Theory for Robots | Dennis Yi Tenen | W. W. Norton &amp; Company</title>
    <dc:date>2024-03-05T14:40:48+00:00</dc:date>
    <link>https://wwnorton.com/books/9780393882186</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["In the industrial age, automation came for the shoemaker and the seamstress. Today, it has come for the writer, physician, programmer, and attorney.
"Literary Theory for Robots reveals the hidden history of modern machine intelligence, taking readers on a spellbinding journey from medieval Arabic philosophy to visions of a universal language, past Hollywood fiction factories and missile defense systems trained on Russian folktales. In this provocative reflection on the shared pasts of literature and computer science, former Microsoft engineer and professor of comparative literature Dennis Yi Tenen provides crucial context for recent developments in AI, which holds important lessons for the future of humans living with smart technology.
"Intelligence expressed through technology should not be mistaken for a magical genie, capable of self-directed thought or action. Rather, in highly original and effervescent prose with a generous dose of wit, Yi Tenen asks us to read past the artifice—to better perceive the mechanics of collaborative work. Something as simple as a spell-checker or a grammar-correction tool, embedded in every word-processor, represents the culmination of a shared human effort, spanning centuries.
"Smart tools, like dictionaries and grammar books, have always accompanied the act of writing, thinking, and communicating. That these paper machines are now automated does not bring them to life. Nor can we cede agency over the creative process. With its masterful blend of history, technology, and philosophy, Yi Tenen’s work ultimately urges us to view AI as a matter of labor history, celebrating the long-standing cooperation between authors and engineers."]]></description>
<dc:subject>in_NB books:noted history_of_ideas popular_science literary_criticism artificial_intelligence large_language_models_(so_called) via:csantos feral_library_catalogs</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:c6c87322971d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:history_of_ideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:popular_science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:artificial_intelligence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:large_language_models_(so_called)"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:via:csantos"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:feral_library_catalogs"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nyrb.com/products/the-orphic-voice?variant=39319177855144">
    <title>The Orphic Voice – New York Review Books</title>
    <dc:date>2022-05-09T00:01:18+00:00</dc:date>
    <link>https://www.nyrb.com/products/the-orphic-voice?variant=39319177855144</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Taking its bearings from the Greek myth of Orpheus, whose singing had the power to move the rocks and trees and to quiet the animals, Elizabeth Sewell’s The Orphic Voice transforms our understanding of the relationship between mind and nature. Myth, Sewell argues, is not mere fable but an ancient and vital form of reflection that unites poetry, philosophy, and natural science: Shakespeare with Francis Bacon and Giambattista Vico; Wordsworth and Rilke with Michael Polanyi. All these members of the Orphic company share a common perception that “discovery, in science and poetry, is a mythological situation in which the mind unites with a figure of its own devising as a means toward understanding the world.” Sewell’s visionary book, first published in 1960, presents brilliantly illuminating readings of A Midsummer Night’s Dream and Rilke’s Sonnets to Orpheus, among other masterpieces, while deepening our understanding not only of poetry and the history of ideas but of the biological reach of the mind."]]></description>
<dc:subject>to:NB books:noted literary_criticism mythology</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:b56cda9d7af9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:mythology"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.gc.cuny.edu/CUNY_GC/media/LISCenter/pkrugman/FDT-intro.pdf">
    <title>Introduction to the Foundation Trilogy (Krugman)</title>
    <dc:date>2021-10-27T19:29:39+00:00</dc:date>
    <link>https://www.gc.cuny.edu/CUNY_GC/media/LISCenter/pkrugman/FDT-intro.pdf</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[--- I am honestly a little disappointed that Uncle Paul doesn't discuss the inspiration from statistical mechanics.
]]></description>
<dc:subject>krugman.paul asimov.isaac science_fiction literary_criticism social_science_methodology via:henry_farrell</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:8964ee0e6f9b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:krugman.paul"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:asimov.isaac"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:science_fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:social_science_methodology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:via:henry_farrell"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.ucpress.edu/book/9780520293991/magic-monsters-and-make-believe-heroes">
    <title>Magic, Monsters, and Make-Believe Heroes by Douglas E. Cowan - Paperback - University of California Press</title>
    <dc:date>2021-07-16T04:20:54+00:00</dc:date>
    <link>https://www.ucpress.edu/book/9780520293991/magic-monsters-and-make-believe-heroes</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Magic, Monsters, and Make-Believe Heroes looks at fantasy film, television, and participative culture as evidence of our ongoing need for a mythic vision—for stories larger than ourselves into which we write ourselves and through which we can become the heroes of our own story. Why do we tell and retell the same stories over and over when we know they can’t possibly be true? Contrary to popular belief, it’s not because pop culture has run out of good ideas. Rather, it is precisely because these stories are so fantastic, some resonating so deeply that we elevate them to the status of religion. Illuminating everything from Buffy the Vampire Slayer to Dungeons and Dragons, and from Drunken Master to Mad Max, Douglas E. Cowan offers a modern manifesto for why and how mythology remains a vital force today."]]></description>
<dc:subject>books:noted nerdworld literary_criticism mythology role-playing_games in_NB books:in_library downloaded</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:97df31ea5bc8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:nerdworld"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:mythology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:role-playing_games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:in_library"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:downloaded"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://press.uchicago.edu/ucp/books/book/chicago/H/bo58870481.html">
    <title>Hooked: Art and Attachment, Felski</title>
    <dc:date>2021-07-08T17:01:11+00:00</dc:date>
    <link>https://press.uchicago.edu/ucp/books/book/chicago/H/bo58870481.html</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["How does a novel entice or enlist us? How does a song surprise or seduce us? Why do we bristle when a friend belittles a book we love, or fall into a funk when a favored TV series comes to an end? What characterizes the aesthetic experiences of feeling captivated by works of art? In Hooked, Rita Felski challenges the ethos of critical aloofness that is a part of modern intellectuals’ self-image. The result is sure to be as widely read as Felski’s book, The Limits of Critique.
"Wresting the language of affinity away from accusations of sticky sentiment and manipulative marketing, Felski argues that “being hooked” is as fundamental to the appreciation of high art as to the enjoyment of popular culture. Hooked zeroes in on three attachment devices that connect audiences to works of art: identification, attunement, and interpretation. Drawing on examples from literature, film, music, and painting—from Joni Mitchell to Matisse, from Thomas Bernhard to Thelma and Louise—Felski brings the language of attachment into the academy. Hooked returns us to the fundamentals of aesthetic experience, showing that the social meanings of artworks are generated not just by critics, but also by the responses of captivated audiences."]]></description>
<dc:subject>to:NB books:noted aesthetics literary_criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:3501beefc1ed/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://justinehsmith.substack.com/p/skip-the-intro?token=eyJ1c2VyX2lkIjoxNDUwNjIxLCJwb3N0X2lkIjozODEwMzU5NCwiXyI6IjlGVHd6IiwiaWF0IjoxNjI0ODg2NzE1LCJleHAiOjE2MjQ4OTAzMTUsImlzcyI6InB1Yi04NjMyOSIsInN1YiI6InBvc3QtcmVhY3Rpb24ifQ.ySNRIqiBF9WpTpk_7_HzP9YtjA8RCXnxXU0ZG7ZEtyE">
    <title>Skip the Intro? - Justin E. H. Smith's Hinternet</title>
    <dc:date>2021-06-28T13:30:27+00:00</dc:date>
    <link>https://justinehsmith.substack.com/p/skip-the-intro?token=eyJ1c2VyX2lkIjoxNDUwNjIxLCJwb3N0X2lkIjozODEwMzU5NCwiXyI6IjlGVHd6IiwiaWF0IjoxNjI0ODg2NzE1LCJleHAiOjE2MjQ4OTAzMTUsImlzcyI6InB1Yi04NjMyOSIsInN1YiI6InBvc3QtcmVhY3Rpb24ifQ.ySNRIqiBF9WpTpk_7_HzP9YtjA8RCXnxXU0ZG7ZEtyE</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[--- I can't tell what to make of  the fact that Smith never mentions Eliade, while dispensing 180-proof _Cosmos and History_.
(I think that notion of "poetry" is nonsense, or at least a horrible conflation of one prominent _contemporary_ use of a verbal form with the form itself.  People used to write textbooks in verse!)
(Also you skip the intro while binge watching because you are _already_ immersed in the storyworld, and do not need to be re-inducted.)
(Smith is a great writer and worth disagreeing with.)]]></description>
<dc:subject>have_read cultural_criticism literary_criticism time_isn't_holding_us_time_isn't_after_us</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:54e8695ea1a1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:cultural_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:time_isn't_holding_us_time_isn't_after_us"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://press.uchicago.edu/ucp/books/book/chicago/D/bo41988264">
    <title>A Defense of Judgment, Clune</title>
    <dc:date>2021-06-28T04:45:01+00:00</dc:date>
    <link>https://press.uchicago.edu/ucp/books/book/chicago/D/bo41988264</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Teachers of literature make judgments about value. They tell their students which works are powerful, beautiful, surprising, strange, or insightful—and thus, which are more worthy of time and attention than others. Yet the field of literary studies has largely disavowed judgments of artistic value on the grounds that they are inevitably rooted in prejudice or entangled in problems of social status. For several decades now, professors have called their work value-neutral, simply a means for students to gain cultural, political, or historical knowledge. 
"​Michael W. Clune’s provocative book challenges these objections to judgment and offers a positive account of literary studies as an institution of aesthetic education. It is impossible, Clune argues, to separate judgments about literary value from the practices of interpretation and analysis that constitute any viable model of literary expertise. Clune envisions a progressive politics freed from the strictures of dogmatic equality and enlivened by education in aesthetic judgment, transcending consumer culture and market preferences. Drawing on psychological and philosophical theories of knowledge and perception, Clune advocates for the cultivation of what John Keats called “negative capability,” the capacity to place existing criteria in doubt and to discover new concepts and new values in artworks. Moving from theory to practice, Clune takes up works by Keats, Emily Dickinson, Gwendolyn Brooks, Samuel Beckett, and Thomas Bernhard, showing how close reading—the profession’s traditional key skill—harnesses judgment to open new modes of perception. "]]></description>
<dc:subject>to:NB books:noted literary_criticism books:suggest_to_library</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:8202f8184b5e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:suggest_to_library"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://justinehsmith.substack.com/p/hr-managers-of-the-human-soul?token=eyJ1c2VyX2lkIjoxNDUwNjIxLCJwb3N0X2lkIjozNzIwNDczNywiXyI6IjlGVHd6IiwiaWF0IjoxNjIzMjQ3MjE4LCJleHAiOjE2MjMyNTA4MTgsImlzcyI6InB1Yi04NjMyOSIsInN1YiI6InBvc3QtcmVhY3Rpb24ifQ.-G8dQ4psm-R9irfgngUAjo_8N_dP8vKJH1cJhHeIyRc">
    <title>“HR Managers of the Human Soul” - Justin E. H. Smith's Hinternet</title>
    <dc:date>2021-06-09T14:08:00+00:00</dc:date>
    <link>https://justinehsmith.substack.com/p/hr-managers-of-the-human-soul?token=eyJ1c2VyX2lkIjoxNDUwNjIxLCJwb3N0X2lkIjozNzIwNDczNywiXyI6IjlGVHd6IiwiaWF0IjoxNjIzMjQ3MjE4LCJleHAiOjE2MjMyNTA4MTgsImlzcyI6InB1Yi04NjMyOSIsInN1YiI6InBvc3QtcmVhY3Rpb24ifQ.-G8dQ4psm-R9irfgngUAjo_8N_dP8vKJH1cJhHeIyRc</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Modern literature, properly understood, has largely been about incels, and the periodic efforts to purge them for something more “optimistic” (1934, 2021) have been waged by people who do not really know what literature is."

--- This is well and eloquently said, and I love "HR managers of the human soul" as a phrase, but.  Wanting literature to be morally improving, and/or claiming that it _is_ morally improving, has got to be the default state of most literary traditions most of the time.  (O bSeriesOfFootnotesToPlato: _Republic_, bk. III.)  The actual _practice_ of literature has often not conformed to these desires, but this is how people have _typically_ wanted literature to be, philistine though that seems to Smith and to me.]]></description>
<dc:subject>literary_criticism cultural_criticism us_culture_wars</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:f65c59314e2c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:cultural_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:us_culture_wars"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.chronicle.com/article/are-humanities-professors-moral-experts?cid2=gen_login_refresh&amp;cid=gen_sign_in">
    <title>Are Humanities Professors Moral Experts?</title>
    <dc:date>2021-05-11T03:34:12+00:00</dc:date>
    <link>https://www.chronicle.com/article/are-humanities-professors-moral-experts?cid2=gen_login_refresh&amp;cid=gen_sign_in</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[Here "humanities" basically means "literature" --- too bad for the historians, the philosophers, even the linguists, etc.
Some other possible justifications for studying literature (not just producing and consuming it):
- Literature is a massive _phenomenon_. This can excite curiosity in its own right: _why_ are people so consumed with it? _how_ are they consumed by it, and how do they produce it? what has _happened_ in this bizarre undertaking of hijacking primate brains by scratches on clay or bark or screens?  This would be more literary _history_ than literary _criticism_, and might or might not be pursued by close reading.  (Dr. Moretti, Dr. Franco Moretti, to the courtesy phone.)  This doesn't distinguish the study of literature above that of, say, costume or dance, but maybe it shouldn't be.
- Writing and reading are, like other forms of communication, extremely valuable skills.  Literary study _might_ help one read and write better, especially by studying outstanding examples with an eye to figuring out how the trick is turned.  That is, literary study could be in service of rhetoric. (Insert potted history of how admiration for a Ciceronian Latinity was a selling point for the original Humanists here.)
Unexamined here is the _effectiveness_ of professors of literature at conveying either an aesthetic education or moral indoctrination.
]]></description>
<dc:subject>humanities literary_criticism academia us_culture_wars</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:9d21d98616f2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:humanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:academia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:us_culture_wars"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.ucpress.edu/book/9780520304925/savage-journey">
    <title>Savage Journey by Peter Richardson - Hardcover - University of California Press</title>
    <dc:date>2021-05-02T12:45:25+00:00</dc:date>
    <link>https://www.ucpress.edu/book/9780520304925/savage-journey</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Savage Journey is a "supremely crafted" study of Hunter S. Thompson's literary formation and achievement. Focusing on Thompson's influences, development, and unique model of authorship, Savage Journey argues that his literary formation was largely a San Francisco story. During the 1960s, Thompson rode with the Hell's Angels, explored the San Francisco counterculture, and met talented editors who shared his dissatisfaction with mainstream journalism. Author Peter Richardson traces Thompson's transition during this time from New Journalist to cofounder of Gonzo journalism. He also endorses Thompson's later claim that he was one of the best writers using the English language as both a musical instrument and a political weapon. Although Thompson's political commentary was often hyperbolic, Richardson shows that much of it was also prophetic.
"Fifty years after the publication of Fear and Loathing in Las Vegas, and more than a decade after his death, Thompson's celebrity continues to obscure his literary achievement. This book refocuses our understanding of that achievement by mapping Thompson's influences, probing the development of his signature style, and tracing the reception of his major works. It concludes that Thompson was not only a gifted journalist, satirist, and media critic, but also the most distinctive American voice in the second half of the twentieth century."]]></description>
<dc:subject>to:NB books:noted coveted lives_of_the_artists literary_criticism thompson.hunter_s.</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:d142c62ec5db/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:coveted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:lives_of_the_artists"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:thompson.hunter_s."/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.jstor.org/stable/10.5621/sciefictstud.44.3.0437">
    <title>Uses of the End of the World: Apocalypse and Postapocalypse as Narrative Modes on JSTOR</title>
    <dc:date>2021-04-12T02:55:14+00:00</dc:date>
    <link>https://www.jstor.org/stable/10.5621/sciefictstud.44.3.0437</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Through a broad survey of fictional, religious, philosophical, and political end-time narratives, this essay identifies two strategies for telling stories about the end of the world. Apocalyptic narratives use the idea of the end to give structure to the experience of history. By narrating the end as a moment of rupture that creates an absolute division between old and new worlds, they frame history as a series of clearly defined and therefore comprehensible transitions between distinct moments or epochs. Postapocalyptic narratives complicate this neatly organized account by narrating “ends” as complex historical transformations that involve survivals and continuities and thus blur before/after distinctions. Rather than providing a comprehensive and therefore existentially stabilizing overview of history, they draw attention to the indeterminate nature of ongoing processes of historical change. By focusing on the conceptual understanding of historical change that underwrites different kinds of end-time narratives, the essay clarifies the theoretical terminology of apocalypse and postapocalypse, and articulates a clearer understanding of the ways in which different kinds of contemporary stories about the end of the world are used to provide conceptual support for political action in the present."]]></description>
<dc:subject>millenarianism literary_criticism literary_history apocalypticism science_fiction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:0dd530028f59/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:millenarianism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:apocalypticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:science_fiction"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://press.uchicago.edu/ucp/books/book/distributed/S/bo86586846">
    <title>Stephen King and American Politics, Blouin</title>
    <dc:date>2021-04-03T00:56:05+00:00</dc:date>
    <link>https://press.uchicago.edu/ucp/books/book/distributed/S/bo86586846</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["From The Long Walk to The Outsider, Stephen King’s prolific output reflects the major political concerns in America for the last fifty years. Stephen King and American Politics is the first sustained study of the complex ways in which King’s texts speak to their unique political moments. By exploring this aspect of the author’s popular works, readers might better understand the numerous crises that Americans currently face. Surveying King’s corpus to address a wide range of issues, including the spread of late capitalism, the Bush-Cheney doctrine, and the chaos of the populist present. Although his fiction may outwardly declare itself to be anti-political, political energies persist between the lines. Given the possibility of a political resurgence that haunts so many of his page-turners, Stephen King produces horror and hope in equal measure."

--- I can't decide if I want this to be illuminating, or a train-wreck of intercultural misunderstandings.]]></description>
<dc:subject>to:NB books:noted literary_criticism king.stephen horror class_struggles_in_america</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:f8d0e5850029/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:king.stephen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:horror"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:class_struggles_in_america"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.lrb.co.uk/the-paper/v32/n18/elif-batuman/get-a-real-degree">
    <title>Elif Batuman · Get a Real Degree · LRB 23 September 2010</title>
    <dc:date>2021-02-22T14:01:26+00:00</dc:date>
    <link>https://www.lrb.co.uk/the-paper/v32/n18/elif-batuman/get-a-real-degree</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[I admire the venom of the headline writer, and the good sense of Batuman.]]></description>
<dc:subject>literary_criticism batuman.elif have_read via:?</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:5b6404df39be/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:batuman.elif"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:via:?"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://press.uchicago.edu/ucp/books/book/chicago/T/bo63097992">
    <title>The Teaching Archive: A New History for Literary Study, Buurma, Heffernan</title>
    <dc:date>2021-01-06T18:04:12+00:00</dc:date>
    <link>https://press.uchicago.edu/ucp/books/book/chicago/T/bo63097992</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["he Teaching Archive shows us a series of major literary thinkers in a place we seldom remember them inhabiting: the classroom. Rachel Sagner Buurma and Laura Heffernan open up “the teaching archive”—the syllabuses, course descriptions, lecture notes, and class assignments—of critics and scholars including T. S. Eliot, Caroline Spurgeon, I. A. Richards, Edith Rickert, J. Saunders Redding, Edmund Wilson, Cleanth Brooks, Josephine Miles, and Simon J. Ortiz. This new history of English rewrites what we know about the discipline by showing how students helped write foundational works of literary criticism and how English classes at community colleges and HBCUs pioneered the reading methods and expanded canons that came only belatedly to the Ivy League. It reminds us that research and teaching, which institutions often imagine as separate, have always been intertwined in practice. In a contemporary moment of humanities defunding, the casualization of teaching, and the privatization of pedagogy, The Teaching Archive offers a more accurate view of the work we have done in the past and must continue to do in the future."

--- I've heard R.B. talk about this and am very interested to read it.]]></description>
<dc:subject>to:NB books:noted literary_criticism literary_history histoty_of_ideas academia books:suggest_to_library</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:8328bd46fcf4/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:histoty_of_ideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:academia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:suggest_to_library"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://arghink.com/2020/11/the-re-readables-a-theory/">
    <title>The Re-Readables: A Theory | Argh Ink</title>
    <dc:date>2020-12-12T18:03:46+00:00</dc:date>
    <link>https://arghink.com/2020/11/the-re-readables-a-theory/</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>literary_criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:a720e2fd9ec8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.jstor.org/stable/j.ctv10crctq">
    <title>Flowers of Time: On Postapocalyptic Fiction on JSTOR</title>
    <dc:date>2020-12-10T05:52:59+00:00</dc:date>
    <link>https://www.jstor.org/stable/j.ctv10crctq</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>to:NB books:noted science_fiction apocalypticism literary_criticism literary_history downloaded</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:bc569168af8d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:science_fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:apocalypticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:downloaded"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://nonsite.org/article/blackness-and-the-sclerosis-of-african-american-cultural-criticism">
    <title>“Blackness” and the Sclerosis of African American Cultural Criticism | nonsite.org</title>
    <dc:date>2020-08-05T05:01:06+00:00</dc:date>
    <link>https://nonsite.org/article/blackness-and-the-sclerosis-of-african-american-cultural-criticism</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>literary_criticism us_culture_wars racism the_american_dilemma</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:400eb617a4a7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:us_culture_wars"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:racism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:the_american_dilemma"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://blogs.scientificamerican.com/observations/the-real-reason-fans-hate-the-last-season-of-game-of-thrones/">
    <title>The Real Reason Fans Hate the Last Season of Game of Thrones - Scientific American Blog Network</title>
    <dc:date>2020-07-28T15:07:39+00:00</dc:date>
    <link>https://blogs.scientificamerican.com/observations/the-real-reason-fans-hate-the-last-season-of-game-of-thrones/</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>literary_criticism tufekci.zeynep</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:9576d95ebb49/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:tufekci.zeynep"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.jstor.org/stable/10.5406/j.ctt1xcmrr">
    <title>Reading Machines: Toward an Algorithmic Criticism on JSTOR</title>
    <dc:date>2019-08-26T12:53:38+00:00</dc:date>
    <link>https://www.jstor.org/stable/10.5406/j.ctt1xcmrr</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>in_NB downloaded books:noted literary_criticism literary_history digital_humanities text_mining to_read</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:483667085d80/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:downloaded"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:digital_humanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:text_mining"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to_read"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.jstor.org/stable/10.5406/j.ctt2jcc3m">
    <title>Macroanalysis: Digital Methods and Literary History on JSTOR</title>
    <dc:date>2019-08-26T12:53:20+00:00</dc:date>
    <link>https://www.jstor.org/stable/10.5406/j.ctt2jcc3m</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>in_NB books:noted to_read downloaded literary_history digital_humanities text_mining literary_criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:4733890a9b62/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to_read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:downloaded"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:digital_humanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:text_mining"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.jstor.org/stable/j.ctvc77ffp">
    <title>Forgers and Critics, New Edition: Creativity and Duplicity in Western Scholarship on JSTOR</title>
    <dc:date>2019-08-23T02:13:57+00:00</dc:date>
    <link>https://www.jstor.org/stable/j.ctvc77ffp</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>to:NB to_read downloaded grafton.anthony fraud literary_criticism literary_history history_of_ideas renaissance_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:3b41e59efa94/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to_read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:downloaded"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:grafton.anthony"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:fraud"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:history_of_ideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:renaissance_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.sup.org/books/title/?id=30253">
    <title>Close Reading with Computers: Textual Scholarship, Computational Formalism, and David Mitchell's &lt;i&gt;Cloud Atlas&lt;/i&gt; | Martin Paul Eve</title>
    <dc:date>2019-07-24T14:20:51+00:00</dc:date>
    <link>https://www.sup.org/books/title/?id=30253</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Most contemporary digital studies are interested in distant-reading paradigms for large-scale literary history. This book asks what happens when such telescopic techniques function as a microscope instead. The first monograph to bring a range of computational methods to bear on a single novel in a sustained fashion, it focuses on the award-winning and genre-bending Cloud Atlas (2004). Published in two very different versions worldwide without anyone taking much notice, David Mitchell's novel is ideal fodder for a textual-genetic publishing history, reflections on micro-tectonic shifts in language by authors who move between genres, and explorations of how we imagine people wrote in bygone eras. Though Close Reading with Computers focuses on but one novel, it has a crucial exemplary function: author Martin Paul Eve demonstrates a set of methods and provides open-source software tools that others can use in their own literary-critical practices. In this way, the project serves as a bridge between users of digital methods and those engaged in more traditional literary-critical endeavors."]]></description>
<dc:subject>to:NB books:noted text_mining literary_criticism natural_language_processing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:6db2f07bb610/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:text_mining"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:natural_language_processing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.thinkingaboutfiction.me/blog/2017/8/30/constructing-feelings-about-fiction">
    <title>Constructing feelings towards fiction — Thinking about Fiction</title>
    <dc:date>2019-06-19T15:57:45+00:00</dc:date>
    <link>https://www.thinkingaboutfiction.me/blog/2017/8/30/constructing-feelings-about-fiction</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>emotion psychology literary_criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:693e07df18c1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:emotion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://global.oup.com/academic/product/only-imagine-9780198798347?cc=us&amp;lang=en&amp;#">
    <title>Only Imagine - Hardcover - Kathleen Stock - Oxford University Press</title>
    <dc:date>2019-06-14T01:06:21+00:00</dc:date>
    <link>https://global.oup.com/academic/product/only-imagine-9780198798347?cc=us&amp;lang=en&amp;#</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["The theory of fictional content Kathleen Stock argues for is known as 'extreme intentionalism'; the idea that the fictional content of a particular work is equivalent to exactly what the author of the work intended the reader to imagine. Historically, this sort of view has been highly unpopular. Literary theorists and philosophers alike have poured scorn upon it. The first half of this book attempts to argue that it should in fact be taken very seriously as an adequate account of fictional truth: better, in fact, than many of its more popular rivals. The second half explores various explanatory benefits of extreme intentionalism for other issues in the philosophy of fiction and imagination. Namely, can fiction give us reliable knowledge? Why do we 'resist' imagining certain fictions? What, in fact, is a fiction? And, how should the imagination be characterised?"

--- So what's the fictional content of the Odyssey then?]]></description>
<dc:subject>to:NB books:noted narrative philosophy literary_criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:27657c847b8a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:narrative"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://press.uchicago.edu/ucp/books/book/chicago/D/bo35853783">
    <title>Distant Horizons: Digital Evidence and Literary Change, Underwood</title>
    <dc:date>2019-05-17T00:44:28+00:00</dc:date>
    <link>https://press.uchicago.edu/ucp/books/book/chicago/D/bo35853783</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Just as a traveler crossing a continent won’t sense the curvature of the earth, one lifetime of reading can’t grasp the largest patterns organizing literary history. This is the guiding premise behind Distant Horizons, which uses the scope of data newly available to us through digital libraries to tackle previously elusive questions about literature. Ted Underwood shows how digital archives and statistical tools, rather than reducing words to numbers (as is often feared), can deepen our understanding of issues that have always been central to humanistic inquiry.  Without denying the usefulness of time-honored approaches like close reading, narratology, or genre studies, Underwood argues that we also need to read the larger arcs of literary change that have remained hidden from us by their sheer scale. Using both close and distant reading to trace the differentiation of genres, transformation of gender roles, and surprising persistence of aesthetic judgment, Underwood shows how digital methods can bring into focus the larger landscape of literary history and add to the beauty and complexity we value in literature."]]></description>
<dc:subject>to:NB books:noted literary_history literary_criticism digital_humanities downloaded</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:8a5705e8f5e1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:digital_humanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:downloaded"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://newrepublic.com/article/153615/gene-wolfe-proust-science-fiction">
    <title>Gene Wolfe Was the Proust of Science Fiction | The New Republic</title>
    <dc:date>2019-04-18T18:18:20+00:00</dc:date>
    <link>https://newrepublic.com/article/153615/gene-wolfe-proust-science-fiction</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>literary_criticism lives_of_the_artists wolfe.gene fantasy science_fiction dying_earth catholicism heer.jeet</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:93bd5baeea5e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:lives_of_the_artists"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:wolfe.gene"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:fantasy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:science_fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:dying_earth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:catholicism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:heer.jeet"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.ursulakleguin.com/MessageAboutMessages.html">
    <title>Ursula K. Le Guin: A Message About Messages</title>
    <dc:date>2019-02-14T18:31:18+00:00</dc:date>
    <link>http://www.ursulakleguin.com/MessageAboutMessages.html</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>literary_criticism le_guin.ursula_k.</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:2bbfd9bb10a3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:le_guin.ursula_k."/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://press.uchicago.edu/ucp/books/book/chicago/I/bo29203296">
    <title>Impostors: Literary Hoaxes and Cultural Authenticity, Miller</title>
    <dc:date>2019-01-08T21:17:15+00:00</dc:date>
    <link>https://press.uchicago.edu/ucp/books/book/chicago/I/bo29203296</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Writing a new page in the surprisingly long history of literary deceit, Impostors examines a series of literary hoaxes, deceptions that involved flagrant acts of cultural appropriation. This book looks at authors who posed as people they were not, in order to claim a different ethnic, class, or other identity. These writers were, in other words, literary usurpers and appropriators who trafficked in what Christopher L. Miller terms the “intercultural hoax.”
"In the United States, such hoaxes are familiar. Forrest Carter’s The Education of Little Tree and JT LeRoy’s Sarah are two infamous examples. Miller’s contribution is to study hoaxes beyond our borders, employing a comparative framework and bringing French and African identity hoaxes into dialogue with some of their better-known American counterparts. In France, multiculturalism is generally eschewed in favor of universalism, and there should thus be no identities (in the American sense) to steal. However, as Miller demonstrates, this too is a ruse: French universalism can only go so far and do so much. There is plenty of otherness to appropriate. This French and Francophone tradition of imposture has never received the study it deserves. Taking a novel approach to this understudied tradition, Impostors examines hoaxes in both countries, finding similar practices of deception and questions of harm.  "]]></description>
<dc:subject>to:NB books:noted literary_history literary_criticism rhetorical_self-fashioning fraud comparative_sociology america france</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:ab8fbe63c1e6/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:rhetorical_self-fashioning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:fraud"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:comparative_sociology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:america"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:france"/>
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</item>
<item rdf:about="https://www.chronicle.com/article/The-Bizarro-World-of-Literary/244938?key=6jNWJ9ubXe_hWvyS2dR-cWQkD9pf7nB8hj_jtJEkiDlHms3y_x5nG0DZV-dZ4-KwTk1QcE94dnhST2lXY2NQaTg4QVNTUE9URHhOX1N0ci1XckRZUER5RkVQNA&amp;fbclid=IwAR3CiyasLVfooCiNn2JPM9oLvYiamOep4oXW3eQ5oDEs5uQXUd31Df7r9MI">
    <title>The Bizarro World of Literary Studies - The Chronicle of Higher Education</title>
    <dc:date>2018-11-08T01:43:38+00:00</dc:date>
    <link>https://www.chronicle.com/article/The-Bizarro-World-of-Literary/244938?key=6jNWJ9ubXe_hWvyS2dR-cWQkD9pf7nB8hj_jtJEkiDlHms3y_x5nG0DZV-dZ4-KwTk1QcE94dnhST2lXY2NQaTg4QVNTUE9URHhOX1N0ci1XckRZUER5RkVQNA&amp;fbclid=IwAR3CiyasLVfooCiNn2JPM9oLvYiamOep4oXW3eQ5oDEs5uQXUd31Df7r9MI</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>the_french_disease academia literary_criticism criticism_of_criticism_of_criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:97137962a6e9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:the_french_disease"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:academia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:criticism_of_criticism_of_criticism"/>
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</item>
<item rdf:about="https://press.uchicago.edu/ucp/books/book/chicago/W/bo29614443">
    <title>The Writer’s Map: An Atlas of Imaginary Lands, Lewis-Jones, Pullman</title>
    <dc:date>2018-11-07T15:20:02+00:00</dc:date>
    <link>https://press.uchicago.edu/ucp/books/book/chicago/W/bo29614443</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["t’s one of the first things we discover as children, reading and drawing: Maps have a unique power to transport us to distant lands on wondrous travels. Put a map at the start of a book, and we know an adventure is going to follow. Displaying this truth with beautiful full-color illustrations, The Writer’s Map is an atlas of the journeys that our most creative storytellers have made throughout their lives. This magnificent collection encompasses not only the maps that appear in their books but also the many maps that have inspired them, the sketches that they used while writing, and others that simply sparked their curiosity.
"Philip Pullman recounts the experience of drawing a map as he set out on one of his early novels, The Tin Princess. Miraphora Mina recalls the creative challenge of drawing up ”The Marauder’s Map” for the Harry Potter films. David Mitchell leads us to the Mappa Mundi by way of Cloud Atlas and his own sketch maps. Robert Macfarlane reflects on the cartophilia that has informed his evocative nature writing, which was set off by Robert Louis Stevenson and his map of Treasure Island. Joanne Harris tells of her fascination with Norse maps of the universe. Reif Larsen writes about our dependence on GPS and the impulse to map our experience. Daniel Reeve describes drawing maps and charts for The Hobbit film trilogy. This exquisitely crafted and illustrated atlas explores these and so many more of the maps writers create and are inspired by—some real, some imagined—in both words and images.
"Amid a cornucopia of 167 full-color images, we find here maps of the world as envisaged in medieval times, as well as maps of adventure, sci-fi and fantasy, nursery rhymes, literary classics, and collectible comics. An enchanting visual and verbal journey, The Writer’s Map will be irresistible for lovers of maps, literature, and memories—and anyone prone to flights of the imagination."]]></description>
<dc:subject>to:NB books:noted literary_criticism literary_history fantasy maps</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:9c437e8119fd/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:fantasy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:maps"/>
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</item>
<item rdf:about="https://www.theatlantic.com/magazine/archive/2018/03/modesty-blaise-caitlin-flanagan/550916/">
    <title>Modesty Blaise Is a Heroine for Our Time - The Atlantic</title>
    <dc:date>2018-09-19T13:33:58+00:00</dc:date>
    <link>https://www.theatlantic.com/magazine/archive/2018/03/modesty-blaise-caitlin-flanagan/550916/</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>literary_criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:0348faf659ee/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://press.uchicago.edu/ucp/books/book/chicago/E/bo28465405">
    <title>Enumerations: Data and Literary Study, Piper</title>
    <dc:date>2018-09-01T18:31:10+00:00</dc:date>
    <link>https://press.uchicago.edu/ucp/books/book/chicago/E/bo28465405</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["For well over a century, academic disciplines have studied human behavior using quantitative information. Until recently, however, the humanities have remained largely immune to the use of data—or vigorously resisted it. Thanks to new developments in computer science and natural language processing, literary scholars have embraced the quantitative study of literary works and have helped make Digital Humanities a rapidly growing field. But these developments raise a fundamental, and as yet unanswered question: what is the meaning of literary quantity?
"In Enumerations, Andrew Piper answers that question across a variety of domains fundamental to the study of literature. He focuses on the elementary particles of literature, from the role of punctuation in poetry, the matter of plot in novels, the study of topoi, and the behavior of characters, to the nature of fictional language and the shape of a poet’s career. How does quantity affect our understanding of these categories? What happens when we look at 3,388,230 punctuation marks, 1.4 billion words, or 650,000 fictional characters? Does this change how we think about poetry, the novel, fictionality, character, the commonplace, or the writer’s career? In the course of answering such questions, Piper introduces readers to the analytical building blocks of computational text analysis and brings them to bear on fundamental concerns of literary scholarship. This book will be essential reading for anyone interested in Digital Humanities and the future of literary study."]]></description>
<dc:subject>to:NB books:noted text_mining literary_criticism literary_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:25c69314aee3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:text_mining"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://lareviewofbooks.org/article/romance-compassion-inclusivity-romance-will-save-world/">
    <title>Romance, Compassion, and Inclusivity (Or: How Romance Will Save the World) - Los Angeles Review of Books</title>
    <dc:date>2018-08-31T14:40:11+00:00</dc:date>
    <link>https://lareviewofbooks.org/article/romance-compassion-inclusivity-romance-will-save-world/</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>romance literary_criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:63a9ee78f9a3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:romance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://lareviewofbooks.org/article/consolation-genre-reading-romance-novels/">
    <title>The Consolation of Genre: On Reading Romance Novels - Los Angeles Review of Books</title>
    <dc:date>2018-08-31T14:29:45+00:00</dc:date>
    <link>https://lareviewofbooks.org/article/consolation-genre-reading-romance-novels/</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>romance literary_criticism cultural_criticism feminism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:5b5e90da9e10/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:romance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:cultural_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:feminism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.hup.harvard.edu/catalog.php?isbn=9780674980204">
    <title>Elements of Surprise — Vera Tobin | Harvard University Press</title>
    <dc:date>2018-04-25T19:27:56+00:00</dc:date>
    <link>http://www.hup.harvard.edu/catalog.php?isbn=9780674980204</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Why do some surprises delight—the endings of Agatha Christie novels, films like The Sixth Sense, the flash awareness that Pip’s benefactor is not (and never was!) Miss Havisham? Writing at the intersection of cognitive science and narrative pleasure, Vera Tobin explains how our brains conspire with stories to produce those revelatory plots that define a “well-made surprise.”
"By tracing the prevalence of surprise endings in both literary fiction and popular literature and showing how they exploit our mental limits, Tobin upends two common beliefs. The first is cognitive science’s tendency to consider biases a form of moral weakness and failure. The second is certain critics’ presumption that surprise endings are mere shallow gimmicks. The latter is simply not true, and the former tells at best half the story. Tobin shows that building a good plot twist is a complex art that reflects a sophisticated understanding of the human mind.
"Reading classic, popular, and obscure literature alongside the latest research in cognitive science, Tobin argues that a good surprise works by taking advantage of our mental limits. Elements of Surprise describes how cognitive biases, mental shortcuts, and quirks of memory conspire with stories to produce wondrous illusions, and also provides a sophisticated how-to guide for writers. In Tobin’s hands, the interactions of plot and cognition reveal the interdependencies of surprise, sympathy, and sense-making. The result is a new appreciation of the pleasures of being had."]]></description>
<dc:subject>to:NB books:noted literary_criticism narrative psychology surprise books:owned</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:fc9743f4ed06/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:narrative"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:surprise"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://sup.org/books/title/?id=28810">
    <title>The Gist of Reading | Andrew Elfenbein</title>
    <dc:date>2018-01-31T16:23:37+00:00</dc:date>
    <link>http://sup.org/books/title/?id=28810</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["What happens to books as they live in our long-term memory? Why do we find some books entertaining and others not? And how does literary influence work on writers in different ways? Grounded in the findings of empirical psychology, this book amends classic reader-response theory and attends to neglected aspects of reading that cannot be explained by traditional literary criticism.
"Reading arises from a combination of two kinds of mental work: automatic and controlled processes. Automatic processes, such as the ability to see visual symbols as words, are the result of constant practice; controlled processes, such as predicting what might occur next in a story, arise from readers' conscious use of skills and background knowledge. When we read, automatic and controlled processes work together to create the "gist" of reading, the constant interplay between these two kinds of processes. Andrew Elfenbein not only explains how we read today, but also uses current knowledge about reading to consider readers of past centuries, arguing that understanding gist is central to interpreting the social, psychological, and political impact of literary works. The result is the first major revisionary account of reading practices in literary criticism since the 1970s."

--- It's probably reading too much into the first sentence to hope for a theory of the Suck Fairy.]]></description>
<dc:subject>to:NB psychology literary_criticism reading criticism_of_criticism_of_criticism books:recommended literacy have_read literary_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:ea35ac3503e8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:criticism_of_criticism_of_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:recommended"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literacy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://aeon.co/essays/why-is-pop-culture-obsessed-with-battles-between-good-and-evil">
    <title>Why is pop culture obsessed with battles between good and evil? | Aeon Essays</title>
    <dc:date>2018-01-25T23:03:18+00:00</dc:date>
    <link>https://aeon.co/essays/why-is-pop-culture-obsessed-with-battles-between-good-and-evil</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[It is somewhat astonishing that this never, ever talks about the Bible, millenarianism, or monotheistic religion generally.  If you want stories where the conflict is defined between two sets of values, well, thus spoke Zarathustra.  Characters switching sides when they change values --- could it be... SATAN?  Etc.  To the extent that there is a real change here at all, and not just selection bias, surely the explanation isn't _nationalism_, it's education that finally made the mass of people in Christendom take their professed religion seriously --- the Reformation and the Counter-Reformation.]]></description>
<dc:subject>have_read folklore cultural_criticism literary_history literary_criticism out_of_their_depth norman_cohn_died_for_your_sins via:absfac</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:d05b7a773675/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:folklore"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:cultural_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:out_of_their_depth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:norman_cohn_died_for_your_sins"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:via:absfac"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://press.uchicago.edu/ucp/books/book/chicago/P/bo26267945">
    <title>Paraliterary: The Making of Bad Readers in Postwar America, Emre</title>
    <dc:date>2018-01-06T00:30:17+00:00</dc:date>
    <link>http://press.uchicago.edu/ucp/books/book/chicago/P/bo26267945</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Literature departments are staffed by, and tend to be focused on turning out, “good” readers—attentive to nuance, aware of history, interested in literary texts as self-contained works. But the vast majority of readers are, to use Merve Emre’s tongue-in-cheek term, “bad” readers. They read fiction and poetry to be moved, distracted, instructed, improved, engaged as citizens. How should we think about those readers, and what should we make of the structures, well outside the academy, that generate them?
"We should, Emre argues, think of such readers not as non-literary but as paraliterary—thriving outside the institutions we take as central to the literary world. She traces this phenomenon to the postwar period, when literature played a key role in the rise of American power. At the same time as American universities were producing good readers by the hundreds, many more thousands of bad readers were learning elsewhere to be disciplined public communicators, whether in diplomatic and ambassadorial missions, private and public cultural exchange programs, multinational corporations, or global activist groups. As we grapple with literature’s diminished role in the public sphere, Paraliterary suggests a new way to think about literature, its audience, and its potential, one that looks at the civic institutions that have long engaged readers ignored by the academy."]]></description>
<dc:subject>to:NB books:noted history_of_ideas history_of_literature history_of_tastes sociology_of_literary_taste literary_criticism literary_history education cold_war american_history criticism_of_criticism_of_criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:94a1d2b12dac/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:history_of_ideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:history_of_literature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:history_of_tastes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:sociology_of_literary_taste"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:cold_war"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:american_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:criticism_of_criticism_of_criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.washington.edu/uwpress/search/books/VARRO2.html">
    <title>Reading _Orientalism_: Said and the Unsaid</title>
    <dc:date>2017-08-08T16:24:04+00:00</dc:date>
    <link>http://www.washington.edu/uwpress/search/books/VARRO2.html</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["The late Edward Said remains one of the most influential critics and public intellectuals of our time, with lasting contributions to many disciplines. Much of his reputation derives from the phenomenal multidisciplinary influence of his 1978 book Orientalism. Said's seminal polemic analyzes novels, travelogues, and academic texts to argue that a dominant discourse of West over East has warped virtually all past European and American representation of the Near East. But despite the book's wide acclaim, no systematic critical survey of the rhetoric in Said's representation of Orientalism and the resulting impact on intellectual culture has appeared until today.
"Drawing on the extensive discussion of Said's work in more than 600 bibliographic entries, Daniel Martin Varisco has written an ambitious intellectual history of the debates that Said's work has sparked in several disciplines, highlighting in particular its reception among Arab and European scholars. While pointing out Said's tendency to essentialize and privilege certain texts at the expense of those that do not comfortably it his theoretical framework, Varisco analyzes the extensive commentary the book has engendered in Oriental studies, literary and cultural studies, feminist scholarship, history, political science, and anthropology. He employs "critical satire" to parody the exaggerated and pedantic aspects of post-colonial discourse, including Said's profound underappreciation of the role of irony and reform in many of the texts he cites. The end result is a companion volume to Orientalism and the vast research it inspired. Rather than contribute to dueling essentialisms, Varisco provides a path to move beyond the binary of East versus West and the polemics of blame."]]></description>
<dc:subject>to:NB literary_criticism cultural_criticism said.edward orientalism books:recommended have_read</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:b0c0fb6ee2e0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:cultural_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:said.edward"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:orientalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:recommended"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://press.uchicago.edu/ucp/books/book/chicago/T/bo25956860">
    <title>Tough Enough: Arbus, Arendt, Didion, McCarthy, Sontag, Weil, Nelson</title>
    <dc:date>2017-07-19T20:15:11+00:00</dc:date>
    <link>http://press.uchicago.edu/ucp/books/book/chicago/T/bo25956860</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["This book focuses on six brilliant women who are often seen as particularly tough-minded: Simone Weil, Hannah Arendt, Mary McCarthy, Susan Sontag, Diane Arbus, and Joan Didion. Aligned with no single tradition, they escape straightforward categories. Yet their work evinces an affinity of style and philosophical viewpoint that derives from a shared attitude toward suffering. What Mary McCarthy called a “cold eye” was not merely a personal aversion to displays of emotion: it was an unsentimental mode of attention that dictated both ethical positions and aesthetic approaches.
"Tough Enough traces the careers of these women and their challenges to the pre-eminence of empathy as the ethical posture from which to examine pain. Their writing and art reveal an adamant belief that the hurts of the world must be treated concretely, directly, and realistically, without recourse to either melodrama or callousness. As Deborah Nelson shows, this stance offers an important counter-tradition to the familiar postwar poles of emotional expressivity on the one hand and cool irony on the other. Ultimately, in its insistence on facing reality without consolation or compensation, this austere “school of the unsentimental” offers new ways to approach suffering in both its spectacular forms and all of its ordinariness."]]></description>
<dc:subject>to:NB books:noted moral_psychology moral_philosophy literary_criticism lives_of_the_artists in_library</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:9ac782700ad9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:moral_psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:moral_philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:lives_of_the_artists"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_library"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://press.uchicago.edu/ucp/books/book/chicago/U/bo25861765">
    <title>Unthought: The Power of the Cognitive Nonconscious, Hayles</title>
    <dc:date>2017-07-19T20:03:11+00:00</dc:date>
    <link>http://press.uchicago.edu/ucp/books/book/chicago/U/bo25861765</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["N. Katherine Hayles is known for breaking new ground at the intersection of the sciences and the humanities. In Unthought, she once again bridges disciplines by revealing how we think without thinking—how we use cognitive processes that are inaccessible to consciousness yet necessary for it to function.
"Marshalling fresh insights from neuroscience, cognitive science, cognitive biology, and literature, Hayles expands our understanding of cognition and demonstrates that it involves more than consciousness alone. Cognition, as Hayles defines it, is applicable not only to nonconscious processes in humans but to all forms of life, including unicellular organisms and plants. Startlingly, she also shows that cognition operates in the sophisticated information-processing abilities of technical systems: when humans and cognitive technical systems interact, they form “cognitive assemblages”—as found in urban traffic control, drones, and the trading algorithms of finance capital, for instance—and these assemblages are transforming life on earth. The result is what Hayles calls a “planetary cognitive ecology,” which includes both human and technical actors and which poses urgent questions to humanists and social scientists alike.
"At a time when scientific and technological advances are bringing far-reaching aspects of cognition into the public eye, Unthought reflects deeply on our contemporary situation and moves us toward a more sustainable and flourishing environment for all beings"]]></description>
<dc:subject>to:NB books:noted cognitive_science literary_criticism in_library color_me_skeptical</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:ece49531e17e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:cognitive_science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_library"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:color_me_skeptical"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.tor.com/2017/06/05/sometimes-horror-is-the-only-fiction-that-understands-you/#more-267627">
    <title>Sometimes, Horror is the Only Fiction That Understands You | Tor.com</title>
    <dc:date>2017-06-08T16:15:40+00:00</dc:date>
    <link>http://www.tor.com/2017/06/05/sometimes-horror-is-the-only-fiction-that-understands-you/#more-267627</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>have_read literary_criticism moral_psychology class_struggles_in_america king.stephen horror</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:518e4ac72092/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:moral_psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:class_struggles_in_america"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:king.stephen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:horror"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://sup.org/books/title/?id=23865">
    <title>Literature and the Creative Economy | Sarah Brouillette</title>
    <dc:date>2017-05-03T15:21:39+00:00</dc:date>
    <link>http://sup.org/books/title/?id=23865</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["This book contends that mainstream considerations of the economic and social force of culture, including theories of the creative class and of cognitive and immaterial labor, are indebted to historic conceptions of the art of literary authorship. It shows how contemporary literature has been involved in and has responded to creative-economy phenomena, including the presentation of artists as models of contentedly flexible and self-managed work, the treatment of training in and exposure to art as a pathway to social inclusion, the use of culture and cultural institutions to increase property values, and support for cultural diversity as a means of growing cultural markets.
"Contemporary writers have tended to explore how their own critical capacities have become compatible with or even essential to a neoliberal economy that has embraced art's autonomous gestures as proof that authentic self-articulation and social engagement can and should occur within capitalism. Taking a sociological approach to literary criticism, Sarah Brouillette interprets major works of contemporary fiction by Monica Ali, Aravind Adiga, Daljit Nagra, and Ian McEwan alongside government policy, social science, and theoretical explorations of creative work and immaterial labor."

]]></description>
<dc:subject>to:NB books:noted literary_criticism cultural_criticism class_struggles_in_america</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:6dbe579e25ca/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:cultural_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:class_struggles_in_america"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://sup.org/books/title/?id=26300">
    <title>The Work of Art in the Age of Deindustrialization | Jasper Bernes</title>
    <dc:date>2017-05-03T15:21:11+00:00</dc:date>
    <link>http://sup.org/books/title/?id=26300</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["A novel account of the relationship between postindustrial capitalism and postmodern culture, this book looks at American poetry and art of the last fifty years in light of the massive changes in people's working lives. Over the last few decades, we have seen the shift from an economy based on the production of goods to one based on the provision of services, the entry of large numbers of women into the workforce, and the emergence of new digital technologies that have transformed the way people work. The Work of Art in the Age of Deindustrialization argues that art and literature not only reflected the transformation of the workplace but anticipated and may have contributed to it as well, providing some of the terms through which resistance to labor was expressed. As firms continue to tout creativity and to reorganize in response to this resistance, they increasingly rely on models of labor that derive from values and ideas found in the experimental poetry and conceptual art of decades past."

]]></description>
<dc:subject>books:noted literary_criticism post-modernism class_struggles_in_america in_NB</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:97a6a554546f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:post-modernism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:class_struggles_in_america"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_NB"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.locusmag.com/Perspectives/2014/03/cory-doctorow-cold-equations-and-moral-hazard/">
    <title>Locus Online Perspectives » Cory Doctorow: Cold Equations and Moral Hazard</title>
    <dc:date>2017-01-16T20:12:39+00:00</dc:date>
    <link>http://www.locusmag.com/Perspectives/2014/03/cory-doctorow-cold-equations-and-moral-hazard/</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>science_fiction literary_criticism moral_philosophy doctorow.cory via:henry_farrell</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:bd39fb4975d8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:science_fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:moral_philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:doctorow.cory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:via:henry_farrell"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theatlantic.com/magazine/archive/2017/01/in-defense-of-facts/508748/">
    <title>In Defense of Facts - The Atlantic</title>
    <dc:date>2016-12-13T14:41:56+00:00</dc:date>
    <link>https://www.theatlantic.com/magazine/archive/2017/01/in-defense-of-facts/508748/</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>essays literary_criticism book_reviews evisceration epistemology</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:26f055fed49a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:essays"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:book_reviews"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:evisceration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:epistemology"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://press.uchicago.edu/ucp/books/book/chicago/B/bo14168334">
    <title>Bleak Liberalism, Anderson</title>
    <dc:date>2016-12-06T20:47:59+00:00</dc:date>
    <link>http://press.uchicago.edu/ucp/books/book/chicago/B/bo14168334</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Why is liberalism so often dismissed by thinkers from both the left and the right? To those calling for wholesale transformation or claiming a monopoly on “realistic” conceptions of humanity, liberalism’s assured progressivism can seem hard to swallow. Bleak Liberalism makes the case for a renewed understanding of the liberal tradition, showing that it is much more attuned to the complexity of political life than conventional accounts have acknowledged.
"Amanda Anderson examines canonical works of high realism, political novels from England and the United States, and modernist works to argue that liberalism has engaged sober and even stark views of historical development, political dynamics, and human and social psychology. From Charles Dickens’s Bleak House and Hard Times to E. M. Forster’s Howards End to Doris Lessing’s The Golden Notebook, this literature demonstrates that liberalism has inventive ways of balancing sociological critique and moral aspiration. A deft blend of intellectual history and literary analysis, Bleak Liberalism reveals a richer understanding of one of the most important political ideologies of the modern era."]]></description>
<dc:subject>to:NB books:noted liberalism defenses_of_liberalism political_philosophy literary_criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:64756e2a05d3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:liberalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:defenses_of_liberalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:political_philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://jhupbooks.press.jhu.edu/content/energy-humanities">
    <title>Energy Humanities</title>
    <dc:date>2016-12-06T16:35:14+00:00</dc:date>
    <link>https://jhupbooks.press.jhu.edu/content/energy-humanities</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Energy humanities is a field of scholarship that, like medical and digital humanities before it, aims to overcome traditional boundaries between the disciplines and between academic and applied research. Responding to growing public concern about anthropogenic climate change and the unsustainability of the fuels we use to power our modern society, energy humanists highlight the essential contribution that humanistic insights and methods can make to areas of analysis once thought best left to the natural sciences.
"In this groundbreaking anthology, Imre Szeman and Dominic Boyer have brought together a carefully curated selection of the best and most influential work in energy humanities. In just the past decade, the humanities have witnessed a remarkable efflorescence of research that is beginning to receive recognition by scientists, government officials, and industry. Arguing that today’s energy and environmental dilemmas are fundamentally problems of ethics, habits, imagination, values, institutions, belief, and power—all traditional areas of expertise of the humanities and humanistic social sciences—the essays featured here demonstrate the scale and complexity of the issues the world faces. They also offer compelling possibilities for finding our way beyond our current energy dependencies toward a sustainable future.
"Staying true to the diverse work that makes up this emergent field, selections range from anthropology and geography to philosophy, history, and cultural studies to recent energy-focused interventions in art and literature. Energy Humanities will appeal to scholars and students across the disciplines, especially those concerned with environmental issues and social justice, as well as anyone concerned with our shared planet and the challenges of political, social, and environmental change."

]]></description>
<dc:subject>to:NB books:noted literary_criticism cultural_criticism climate_change color_me_skeptical</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:e8011558aafe/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:cultural_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:climate_change"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:color_me_skeptical"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://newrepublic.com/article/94947/harold-bloom-the-anatomy-of-influence">
    <title>The Shaman | New Republic</title>
    <dc:date>2016-11-30T04:01:33+00:00</dc:date>
    <link>https://newrepublic.com/article/94947/harold-bloom-the-anatomy-of-influence</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>literary_criticism via:vaguery have_read</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:3222c451563a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:via:vaguery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.cracked.com/article_21928_4-things-the-walking-dead-gets-wrong-about-apocalypse.html">
    <title>4 Reasons 'The Walking Dead' Hates Humans More Than Zombies</title>
    <dc:date>2016-10-30T20:22:44+00:00</dc:date>
    <link>http://www.cracked.com/article_21928_4-things-the-walking-dead-gets-wrong-about-apocalypse.html</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["In other words, if you want to write a real scary story, start with a world overrun by zombies and watch them try to fucking deal with an outbreak of us."]]></description>
<dc:subject>to:blog literary_criticism post-apocalyptic science_fiction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:f9cc35764a80/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:blog"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:post-apocalyptic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:science_fiction"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.lettersofnote.com/2012/11/vast-riddles.html">
    <title>Letters of Note: Vast riddles</title>
    <dc:date>2016-09-27T17:08:02+00:00</dc:date>
    <link>http://www.lettersofnote.com/2012/11/vast-riddles.html</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[H. G. Wells on James Joyce.]]></description>
<dc:subject>literary_criticism joyce.james wells.h.g. have_read</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:ba46d626c6bc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:joyce.james"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:wells.h.g."/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://ambientehotel.wordpress.com/2016/07/26/the-comfort-of-being-eaten/">
    <title>the comfort of being eaten | the m john harrison blog</title>
    <dc:date>2016-07-27T12:49:21+00:00</dc:date>
    <link>https://ambientehotel.wordpress.com/2016/07/26/the-comfort-of-being-eaten/</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[Very well said.]]></description>
<dc:subject>cthulhiana have_read literary_criticism via:henry_farrell</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:958f92794312/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:cthulhiana"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:via:henry_farrell"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://arxiv.org/abs/1606.07772">
    <title>[1606.07772] The emotional arcs of stories are dominated by six basic shapes</title>
    <dc:date>2016-07-05T14:01:53+00:00</dc:date>
    <link>http://arxiv.org/abs/1606.07772</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Advances in computing power, natural language processing, and digitization of text now make it possible to study our a culture's evolution through its texts using a "big data" lens. Our ability to communicate relies in part upon a shared emotional experience, with stories often following distinct emotional trajectories, forming patterns that are meaningful to us. Here, by classifying the emotional arcs for a filtered subset of 1,737 stories from Project Gutenberg's fiction collection, we find a set of six core trajectories which form the building blocks of complex narratives. We strengthen our findings by separately applying optimization, linear decomposition, supervised learning, and unsupervised learning. For each of these six core emotional arcs, we examine the closest characteristic stories in publication today and find that particular emotional arcs enjoy greater success, as measured by downloads."]]></description>
<dc:subject>to:NB narrative text_mining dodds.peter_sheridan literary_criticism literary_history via:rvenkat color_me_skeptical</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:019cb907ccb2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:narrative"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:text_mining"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:dodds.peter_sheridan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:via:rvenkat"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:color_me_skeptical"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://press.princeton.edu/titles/2365.html">
    <title>Lowes, J.L.: The Road to Xanadu: A Study in the Ways of the Imagination. (eBook, Paperback and Hardcover)</title>
    <dc:date>2016-06-22T18:37:21+00:00</dc:date>
    <link>http://press.princeton.edu/titles/2365.html</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["John Livingston Lowes's classic work shows how various images from Coleridge's extensive reading, particularly in travel literature, coalesced to form the imagistic texture of his two most famous poems, The Rime of the Ancient Mariner" and "Kubla Khan.""]]></description>
<dc:subject>books:recommended books:owned creativity imagination psychology literary_history literary_criticism romanticism poetry</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:acfab22d105c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:recommended"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:owned"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:creativity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:imagination"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:romanticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:poetry"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://lareviewofbooks.org/interview/the-digital-in-the-humanities-an-interview-with-franco-moretti">
    <title>The Digital in the Humanities: An Interview with Franco Moretti - The Los Angeles Review of Books</title>
    <dc:date>2016-03-06T15:37:56+00:00</dc:date>
    <link>https://lareviewofbooks.org/interview/the-digital-in-the-humanities-an-interview-with-franco-moretti</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[Moretti talks sense (as usual).]]></description>
<dc:subject>literary_criticism humanities moretti.franco digital_humanities interview have_read to:blog</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:85698885c17b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:humanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:moretti.franco"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:digital_humanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:interview"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:blog"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.washingtonpost.com/news/book-party/wp/2015/07/30/i-just-binge-read-eight-books-by-donald-trump-heres-what-i-learned/">
    <title>I just binge-read eight books by Donald Trump. Here’s what I learned. - The Washington Post</title>
    <dc:date>2016-03-04T00:40:00+00:00</dc:date>
    <link>https://www.washingtonpost.com/news/book-party/wp/2015/07/30/i-just-binge-read-eight-books-by-donald-trump-heres-what-i-learned/</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>us_politics literary_criticism trump.donald decline_of_american_character via:auerbach have_read lives_of_the_hustlers</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:9b9cc04b74ac/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:us_politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:trump.donald"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:decline_of_american_character"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:via:auerbach"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:lives_of_the_hustlers"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.ilona-andrews.com/brief-analysis-of-alphahole-trope-in-romantic-fiction/">
    <title>Brief Analysis of Alphahole Trope in Romantic Fiction.</title>
    <dc:date>2016-02-29T12:50:56+00:00</dc:date>
    <link>http://www.ilona-andrews.com/brief-analysis-of-alphahole-trope-in-romantic-fiction/</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>literary_criticism romance practices_relating_to_the_transmission_of_genetic_information</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:47a4ba3d22a3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:romance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:practices_relating_to_the_transmission_of_genetic_information"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://crookedtimber.org/2016/02/08/plato-vs-metaphysics-or-how-very-hard-it-is-to-un-learn-freud/">
    <title>Plato vs. Metaphysics, or How Very Hard it Is to Un-Learn Freud — Crooked Timber</title>
    <dc:date>2016-02-09T04:30:57+00:00</dc:date>
    <link>http://crookedtimber.org/2016/02/08/plato-vs-metaphysics-or-how-very-hard-it-is-to-un-learn-freud/</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>book_reviews plato science_fiction literary_criticism barely-comprehensible_metaphysics history_of_ideas palmer.ada moral_philosophy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:80cd7d9f71a7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:book_reviews"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:plato"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:science_fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:barely-comprehensible_metaphysics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:history_of_ideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:palmer.ada"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:moral_philosophy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://lauratanenbaum.org/?p=312">
    <title>Today in Feminist History: Carolyn Heilbrun, 1926-2003, and Amanda Cross – The Golden Notebooks</title>
    <dc:date>2016-01-25T02:33:44+00:00</dc:date>
    <link>http://lauratanenbaum.org/?p=312</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[The Amanda Cross novels are great, and I should look up Heilbrun's academic work in my copious spare time.]]></description>
<dc:subject>feminism literary_criticism lives_of_the_scholars lives_of_the_artists have_read</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:19b5603e34b0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:feminism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:lives_of_the_scholars"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:lives_of_the_artists"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://press.uchicago.edu/ucp/books/book/chicago/D/bo20832243">
    <title>The Dead Ladies Project: Exiles, Expats, and Ex-Countries, Crispin</title>
    <dc:date>2015-10-03T01:05:28+00:00</dc:date>
    <link>http://press.uchicago.edu/ucp/books/book/chicago/D/bo20832243</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["When Jessa Crispin was thirty, she burned her settled Chicago life to the ground and took off for Berlin with a pair of suitcases and no plan beyond leaving. Half a decade later, she’s still on the road, in search not so much of a home as of understanding, a way of being in the world that demands neither constant struggle nor complete surrender.
"The Dead Ladies Project is an account of that journey—but it’s also much, much more. Fascinated by exile, Crispin travels an itinerary of key locations in its literary map, of places that have drawn writers who needed to break free from their origins and start afresh. As she reflects on William James struggling through despair in Berlin, Nora Barnacle dependant on and dependable for James Joyce in Trieste, Maud Gonne fomenting revolution and fostering myth in Dublin, or Igor Stravinsky starting over from nothing in Switzerland, Crispin interweaves biography, incisive literary analysis, and personal experience into a rich meditation on the complicated interactions of place, personality, and society that can make escape and reinvention such an attractive, even intoxicating proposition."]]></description>
<dc:subject>to:NB books:noted lives_of_the_artists lives_of_the_scholars moral_psychology literary_criticism rhetorical_self-fashioning crispin.jessa coveted in_wishlist</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:95f43be9b649/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:lives_of_the_artists"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:lives_of_the_scholars"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:moral_psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:rhetorical_self-fashioning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:crispin.jessa"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:coveted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_wishlist"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://theweeklyansible.tumblr.com/post/20777236577/50-sci-fi-fantasy-works-every-socialist-should">
    <title>The Weekly Ansible, 50 Sci-Fi &amp; Fantasy Works Every Socialist Should...</title>
    <dc:date>2015-08-16T17:28:22+00:00</dc:date>
    <link>http://theweeklyansible.tumblr.com/post/20777236577/50-sci-fi-fantasy-works-every-socialist-should</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[I am struck by how many of the books are praised for undermining the fantasy genre.  I could see recommending them to a comrade if you (1) thought they un-self-consciously enjoyed genre fantasy, and (2) that enjoyment/acceptance hurt the development of their political awareness, but Mieville doesn't really say why should "every socialist" read them.  An uncharitable critic could suggest that Mieville is here elevating a personal ambivalence to a universal standard of taste --- but honestly I have no idea _why_ he made such odd suggestions.]]></description>
<dc:subject>literary_criticism fantasy science_fiction mieville.china via:james-nicoll socialism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:cef7adaab987/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:fantasy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:science_fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:mieville.china"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:via:james-nicoll"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:socialism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://the-toast.net/2015/06/23/the-most-metal-deaths-in-middle-earth-ranked/">
    <title>The Most Metal Deaths in Middle-earth, Ranked - The Toast</title>
    <dc:date>2015-06-25T03:05:36+00:00</dc:date>
    <link>http://the-toast.net/2015/06/23/the-most-metal-deaths-in-middle-earth-ranked/</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[But where is Denethor?!?]]></description>
<dc:subject>funny:geeky fantasy literary_criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:4c56fd741b13/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:funny:geeky"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:fantasy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.bradford-delong.com/2015/05/live-from-la-farine-game-of-thrones-blogging-people-game-of-thrones-is-horror-in-the-very-first-scene-of-the-ver.html">
    <title>People: &quot;Game of Thrones&quot; Is Horror!</title>
    <dc:date>2015-05-20T18:04:52+00:00</dc:date>
    <link>http://www.bradford-delong.com/2015/05/live-from-la-farine-game-of-thrones-blogging-people-game-of-thrones-is-horror-in-the-very-first-scene-of-the-ver.html</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[DeLong is entirely correct in this --- but I think it is an artistic failure of the show that (e.g.) it does not do anything to induce the viewer to feel like they've been made into monsters after Brad's second-worst moment.]]></description>
<dc:subject>literary_criticism fantasy delong.brad to:blog</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:a63fe70997ac/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:fantasy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:delong.brad"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:blog"/>
</rdf:Bag></taxo:topics>
</item>
</rdf:RDF>