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    <title>Pinboard (cshalizi)</title>
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    <description>recent bookmarks from cshalizi</description>
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	<rdf:li rdf:resource="https://arxiv.org/abs/1808.00382"/>
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	<rdf:li rdf:resource="https://www.jstor.org/stable/j.ctt7t0qv"/>
	<rdf:li rdf:resource="http://www.hup.harvard.edu/catalog.php?isbn=9780674545441"/>
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	<rdf:li rdf:resource="http://www.gibbtrust.org/mujun-libertinism-in-medieval-muslim-society-and-literature/"/>
	<rdf:li rdf:resource="https://press.uchicago.edu/ucp/books/book/chicago/W/bo29614443"/>
	<rdf:li rdf:resource="https://yalebooks.yale.edu/book/9780300239997/haunted"/>
	<rdf:li rdf:resource="https://yalebooks.yale.edu/book/9780300232233/vampire"/>
	<rdf:li rdf:resource="https://press.uchicago.edu/ucp/books/book/chicago/E/bo28465405"/>
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	<rdf:li rdf:resource="https://yalebooks.yale.edu/book/9780300203806/haunted"/>
	<rdf:li rdf:resource="http://sup.org/books/title/?id=28810"/>
	<rdf:li rdf:resource="https://aeon.co/essays/why-is-pop-culture-obsessed-with-battles-between-good-and-evil"/>
	<rdf:li rdf:resource="http://press.uchicago.edu/ucp/books/book/chicago/P/bo26267945"/>
	<rdf:li rdf:resource="http://www.ibtauris.com/en/Books/Literature%20%20literary%20studies/Literature%20history%20%20criticism/Literary%20studies%20poetry%20%20poets/Patronage%20and%20Poetry%20in%20the%20Islamic%20World%20Social%20Mobility%20and%20Status%20in%20the%20Medieval%20Middle%20East%20and%20Central%20Asia?menuitem=%7B36092275-B16D-4849-8F67-773154FC0271%7D"/>
	<rdf:li rdf:resource="http://sup.org/books/title/?id=22373"/>
	<rdf:li rdf:resource="http://arxiv.org/abs/1606.07772"/>
	<rdf:li rdf:resource="http://press.princeton.edu/titles/2365.html"/>
	<rdf:li rdf:resource="http://press.princeton.edu/titles/3532.html"/>
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	<rdf:li rdf:resource="http://chronicle.com/article/How-Literary-Fame-Happens/232537/"/>
	<rdf:li rdf:resource="https://www.ocf.berkeley.edu/~immer/booksall"/>
	<rdf:li rdf:resource="http://press.uchicago.edu/ucp/books/book/chicago/L/bo19085293"/>
	<rdf:li rdf:resource="http://www.rci.rutgers.edu/~ag978/quiet/"/>
	<rdf:li rdf:resource="http://www.rci.rutgers.edu/~ag978/quiet/preprint.pdf"/>
	<rdf:li rdf:resource="http://press.princeton.edu/titles/7752.html"/>
	<rdf:li rdf:resource="http://press.princeton.edu/titles/9999.html"/>
	<rdf:li rdf:resource="http://www.slate.com/articles/arts/culturebox/2013/07/hollywood_and_blake_snyder_s_screenwriting_book_save_the_cat.html"/>
	<rdf:li rdf:resource="http://boundary2.dukejournals.org/content/40/2/147"/>
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	<rdf:li rdf:resource="http://thehairpin.com/2012/08/how-your-sweet-valley-high-gets-made/"/>
	<rdf:li rdf:resource="http://arcade.stanford.edu/short-life-of-publishing-tradition"/>
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	<rdf:li rdf:resource="http://www.press.uchicago.edu/ucp/books/book/chicago/R/bo5568025.html"/>
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	<rdf:li rdf:resource="http://www.hup.harvard.edu/catalog.php?recid=31749"/>
	<rdf:li rdf:resource="http://www.powells.com/biblio/62-9780226453835-0"/>
	<rdf:li rdf:resource="http://www.kansaspress.ku.edu/abbfro.html"/>
	<rdf:li rdf:resource="http://hradzka.livejournal.com/415956.html#cutid1"/>
	<rdf:li rdf:resource="http://www.english.wisc.edu/people/faculty/valenza.html"/>
	<rdf:li rdf:resource="http://unlikelyworlds.blogspot.com/2009/11/secret-histories.html"/>
	<rdf:li rdf:resource="http://io9.com/5392430/research-reveals-that-apocalyptic-stories-changed-dramatically-20-years-ago"/>
	<rdf:li rdf:resource="http://www.ucpress.edu/books/pages/9253.php"/>
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  </channel><item rdf:about="https://www.newyorker.com/books/page-turner/the-struggle-to-unearth-the-worlds-first-author">
    <title>The Struggle to Unearth the World’s First Author | The New Yorker</title>
    <dc:date>2022-12-29T01:43:20+00:00</dc:date>
    <link>https://www.newyorker.com/books/page-turner/the-struggle-to-unearth-the-worlds-first-author</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[--- Would really like to hear more from the skeptics here.  (Including the possibility that the narrative "I" in a literary work, _or_ a royal proclamation, is not the autobiographical "I".)]]></description>
<dc:subject>have_read track_down_references sumeria literary_history sexism rhetorical_self-fashioning</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:d33c8fa7b078/</dc:identifier>
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<item rdf:about="https://press.uchicago.edu/ucp/books/book/chicago/D/bo119247390">
    <title>Decay and Afterlife: Form, Time, and the Textuality of Ruins, 1100 to 1900, Prica</title>
    <dc:date>2022-05-11T16:28:19+00:00</dc:date>
    <link>https://press.uchicago.edu/ucp/books/book/chicago/D/bo119247390</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>to:NB books:noted literary_history history_of_ideas ruins</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:02ae689319a2/</dc:identifier>
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<item rdf:about="https://sociologicalscience.com/articles-v9-8-184/">
    <title>Cohort Succession Explains Most Change in Literary Culture | Sociological Science</title>
    <dc:date>2022-05-08T21:45:25+00:00</dc:date>
    <link>https://sociologicalscience.com/articles-v9-8-184/</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Many aspects of behavior are guided by dispositions that are relatively durable once formed. Political opinions and phonology, for instance, change largely through cohort succession. But evidence for cohort effects has been scarce in artistic and intellectual history; researchers in those fields more commonly explain change as an immediate response to recent innovations and events. We test these conflicting theories of change in a corpus of 10,830 works of fiction from 1880 to 1999 and find that slightly more than half (54.7 percent) of the variance explained by time is explained better by an author’s year of birth than by a book’s year of publication. Writing practices do change across an author’s career. But the pace of change declines steeply with age. This finding suggests that existing histories of literary culture have a large blind spot: the early experiences that form cohorts are pivotal but leave few traces in the historical record."

--- The idea (but not, of course, the data) is present in Schuking (1931), IIRC.
Of course, curious about how they measure "better explained".  (Also, variance in what?)]]></description>
<dc:subject>literary_history cultural_evolution underwood.ted to:NB</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:d81e69138df8/</dc:identifier>
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<item rdf:about="https://cup.columbia.edu/book/unbinding-the-pillow-book/9780231547604">
    <title>Unbinding The Pillow Book | Columbia University Press</title>
    <dc:date>2021-07-16T04:25:40+00:00</dc:date>
    <link>https://cup.columbia.edu/book/unbinding-the-pillow-book/9780231547604</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["An eleventh-century classic, The Pillow Book of Sei Shōnagon is frequently paired with The Tale of Genji as one of the most important works in the Japanese canon. Yet it has also been marginalized within Japanese literature for reasons including the gender of its author, the work’s complex textual history, and its thematic and stylistic depth. In Unbinding The Pillow Book, Gergana Ivanova offers a reception history of The Pillow Book and its author from the seventeenth century to the present that shows how various ideologies have influenced the text and shaped interactions among its different versions.
"Ivanova examines how and why The Pillow Book has been read over the centuries, placing it in the multiple contexts in which it has been rewritten, including women’s education, literary scholarship, popular culture, “pleasure quarters,” and the formation of the modern nation-state. Drawing on scholarly commentaries, erotic parodies, instruction manuals for women, high school textbooks, and comic books, she considers its outsized role in ideas about Japanese women writers. Ultimately, Ivanova argues for engaging the work’s plurality in order to achieve a clearer understanding of The Pillow Book and the importance it has held for generations of readers, rather than limiting it to a definitive version or singular meaning. The first book-length study in English of the reception history of Sei Shōnagon, Unbinding The Pillow Book sheds new light on the construction of gender and sexuality, how women’s writing has been used to create readerships, and why ancient texts continue to play vibrant roles in contemporary cultural production."

--- Downloadable: https://www.jstor.org/stable/10.7312/ivan18798]]></description>
<dc:subject>to:NB books:noted literary_history to_download</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:0537543fc2cd/</dc:identifier>
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<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>
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<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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<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>
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<item rdf:about="https://arxiv.org/abs/1808.00382">
    <title>[1808.00382] Reassembling the English novel, 1789-1919</title>
    <dc:date>2020-11-08T06:43:12+00:00</dc:date>
    <link>https://arxiv.org/abs/1808.00382</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["The absence of an exhaustive bibliography of novels published in the British Isles and Ireland during the 19th century blocks several lines of research in sociologically-inclined literary history and book history. Without a detailed account of novelistic production, it is difficult to characterize, for example, the population of individuals who pursued careers as novelists. This paper contributes to efforts to develop such an account by estimating yearly rates of new novel publication in the British Isles and Ireland between 1789 and 1919. This period witnessed, in aggregate, the publication of between 40,000 and 63,000 previously unpublished novels. The number of new novels published each year counts as essential information for researchers interested in understanding the development of the text industry between 1789 and 1919."

--- Have I really not bookmarked this before?]]></description>
<dc:subject>to:NB text_mining literary_history riddell.allen</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:1f98e447d57b/</dc:identifier>
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<item rdf:about="https://press.princeton.edu/books/hardcover/9780691195247/gilgamesh">
    <title>Gilgamesh | Princeton University Press</title>
    <dc:date>2020-04-14T17:48:16+00:00</dc:date>
    <link>https://press.princeton.edu/books/hardcover/9780691195247/gilgamesh</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Gilgamesh is the most ancient long poem known to exist. It is also the newest classic in the canon of world literature. Lost for centuries to the sands of the Middle East but found again in the 1850s, it tells the story of a great king, his heroism, and his eventual defeat. It is a story of monsters, gods, and cataclysms, and of intimate friendship and love. Acclaimed literary historian Michael Schmidt provides a unique meditation on the rediscovery of Gilgamesh and its profound influence on poets today.
"Schmidt describes how the poem is a work in progress even now, an undertaking that has drawn on the talents and obsessions of an unlikely cast of characters, from archaeologists and museum curators to tomb raiders and jihadis. Fragments of the poem, incised on clay tablets, were scattered across a huge expanse of desert when it was recovered in the nineteenth century. The poem had to be reassembled, its languages deciphered. The discovery of a pre-Noah flood story was front-page news on both sides of the Atlantic, and the poem’s allure only continues to grow as additional cuneiform tablets come to light. Its translation, interpretation, and integration are ongoing.
"In this illuminating book, Schmidt discusses the special fascination Gilgamesh holds for contemporary poets, arguing that part of its appeal is its captivating otherness. He reflects on the work of leading poets such as Charles Olson, Louis Zukofsky, and Yusef Komunyakaa, whose own encounters with the poem are revelatory, and he reads its many translations and editions to bring it vividly to life for readers."]]></description>
<dc:subject>to:NB books:noted literary_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:dfe2b596a4a2/</dc:identifier>
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<item rdf:about="https://muse.jhu.edu/book/67865">
    <title>Project MUSE - The Sage in Harlem</title>
    <dc:date>2019-10-22T22:00:25+00:00</dc:date>
    <link>https://muse.jhu.edu/book/67865</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["The Sage in Harlem establishes H. L. Mencken as a catalyst for the blossoming of black literary culture in the 1920s and chronicles the intensely productive exchange of ideas between Mencken and two generations of black writers: the Old Guard who pioneered the Harlem Renaissance and the Young Wits who sought to reshape it a decade later. From his readings of unpublished letters and articles from black publications of the time, Charles Scruggs argues that black writers saw usefulness in Mencken's critique of American culture, his advocacy of literary realism, and his satire of America. They understood that realism could free them from the pernicious stereotypes that had hounded past efforts at honest portraiture, and that satire could be the means whereby the white man might be paid back in his own coin. Scruggs contends that the content of Mencken's observations, whether ludicrously narrow or dazzlingly astute, was of secondary importance to the Harlem intellectuals. It was the honesty, precision, and fearlessness of his expression that proved irresistible to a generation of artists desperate to be taken seriously. The writers of the Harlem Renaissance turned to Mencken as an uncompromising—and uncondescending—commentator whose criticisms were informed by deep interest in African American life but guided by the same standards he applied to all literature, whatever its source. The Sage in Harlem demonstrates how Mencken, through the example of his own work, his power as editor of the American Mercury, and his dedication to literary quality, was able to nurture the developing talents of black authors from James Weldon Johnson to Richard Wright."]]></description>
<dc:subject>to:NB books:noted literary_history mencken.h.l. african-american_literature</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:e448862030af/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:mencken.h.l."/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:african-american_literature"/>
</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"/>
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</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"/>
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</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>
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	<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.jstor.org/stable/j.ctt7t0qv">
    <title>A Cultural History of Causality: Science, Murder Novels, and Systems of Thought on JSTOR</title>
    <dc:date>2019-08-22T04:53:45+00:00</dc:date>
    <link>https://www.jstor.org/stable/j.ctt7t0qv</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>books:noted causal_inference history_of_ideas literary_history in_NB downloaded</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:6c5ae8e350a2/</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:causal_inference"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:history_of_ideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:downloaded"/>
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</item>
<item rdf:about="http://www.hup.harvard.edu/catalog.php?isbn=9780674545441">
    <title>The Untold Story of the Talking Book — Matthew Rubery | Harvard University Press</title>
    <dc:date>2019-05-31T20:24:15+00:00</dc:date>
    <link>http://www.hup.harvard.edu/catalog.php?isbn=9780674545441</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Histories of the book often move straight from the codex to the digital screen. Left out of that familiar account are nearly 150 years of audio recordings. Recounting the fascinating history of audio-recorded literature, Matthew Rubery traces the path of innovation from Edison’s recitation of “Mary Had a Little Lamb” for his tinfoil phonograph in 1877, to the first novel-length talking books made for blinded World War I veterans, to today’s billion-dollar audiobook industry.
"The Untold Story of the Talking Book focuses on the social impact of audiobooks, not just the technological history, in telling a story of surprising and impassioned conflicts: from controversies over which books the Library of Congress selected to become talking books—yes to Kipling, no to Flaubert—to debates about what defines a reader. Delving into the vexed relationship between spoken and printed texts, Rubery argues that storytelling can be just as engaging with the ears as with the eyes, and that audiobooks deserve to be taken seriously. They are not mere derivatives of printed books but their own form of entertainment.
"We have come a long way from the era of sound recorded on wax cylinders, when people imagined one day hearing entire novels on mini-phonographs tucked inside their hats. Rubery tells the untold story of this incredible evolution and, in doing so, breaks from convention by treating audiobooks as a distinctively modern art form that has profoundly influenced the way we read."

--- The bit about "their own format" strikes me as wishful thinking.  (That is, they _could_ be, but overwhelmingly they _are_ just derivative, and that's fine.)]]></description>
<dc:subject>to:NB books:noted books_about_books literary_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:1fadf65549be/</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:books_about_books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
</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:digital_humanities"/>
	<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/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:rhetorical_self-fashioning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:fraud"/>
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	<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.cambridge.org/core/books/postapocalyptic-fantasies-in-antebellum-american-literature/0EAC020362CB6D2A2C6F9C712361B5E7#fndtn-information">
    <title>Postapocalyptic Fantasies in Antebellum American Literature by John Hay</title>
    <dc:date>2019-01-06T02:43:30+00:00</dc:date>
    <link>https://www.cambridge.org/core/books/postapocalyptic-fantasies-in-antebellum-american-literature/0EAC020362CB6D2A2C6F9C712361B5E7#fndtn-information</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Even before the Civil War, American writers were imagining life after a massive global catastrophe. For many, the blank slate of the American continent was instead a wreckage-strewn wasteland, a new world in ruins. Bringing together epic and lyric poems, fictional tales, travel narratives, and scientific texts, Postapocalyptic Fantasies in Antebellum American Literature reveals that US authors who enthusiastically celebrated the myths of primeval wilderness and virgin land also frequently resorted to speculations about the annihilation of civilizations, past and future. By examining such postapocalyptic fantasies, this study recovers an antebellum rhetoric untethered to claims for historical exceptionalism - a patriotic rhetoric that celebrates America while denying the United States a unique position outside of world history. As the scientific field of natural history produced new theories regarding biological extinction, geological transformation, and environmental collapse, American writers responded with wild visions of the ancient past and the distant future."]]></description>
<dc:subject>to:NB books:noted downloaded literary_history american_history post-apocalyptic science_fiction something_about_america</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:c1ceaea1c067/</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:downloaded"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:american_history"/>
	<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:li rdf:resource="https://pinboard.in/u:cshalizi/t:something_about_america"/>
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</item>
<item rdf:about="http://www.gibbtrust.org/mujun-libertinism-in-medieval-muslim-society-and-literature/">
    <title>Mujùn: Libertinism in Medieval Muslim Society and Literature | The E J W Gibb Memorial Trust</title>
    <dc:date>2018-12-24T01:18:48+00:00</dc:date>
    <link>http://www.gibbtrust.org/mujun-libertinism-in-medieval-muslim-society-and-literature/</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["This book is about an aspect of medieval Arabic culture and literature known in Arabic as mujùn (roughly ‘libertinism, licentiousness, frivolity, indecency, profligacy, shamelessness, impertinence’, etc.), a concept that students of mediaeval Arabic texts may find rather hard to define but which is a recurrent term and a widespread phenomenon in medieval Arabic literature, and probably common in real life. The social implications and the background of mujùn are focused on in an attempt to learn what the popularity of mujùn during a specific period of the medieval Middle East can tell us about the society and the culture that produced such works. It is a study of the society in which such literature flourished, of the values and norms of that society, and of the májin (the man who does or writes mujùn) rather than of mujùn in itself. The author uses many excepts from primary source texts to explore the nature, concepts and content of mujùn, including its vernacular language, religious irreverence and not infrequent indecency of subject matter, within its socio-religious context. It provides a critical inventory of the varied motifs of mujùn in literature so as to define this elusive term by way of an accumulation of concrete examples."]]></description>
<dc:subject>in_NB literary_history history_of_ideas history_of_morals islamic_civilization libertinism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:4422dc9ba092/</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: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:history_of_morals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:islamic_civilization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:libertinism"/>
</rdf:Bag></taxo:topics>
</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"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:fantasy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:maps"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://yalebooks.yale.edu/book/9780300239997/haunted">
    <title>Haunted | Yale University Press</title>
    <dc:date>2018-10-04T19:52:20+00:00</dc:date>
    <link>https://yalebooks.yale.edu/book/9780300239997/haunted</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Continuing his interest in the history of emotion, this book explores how fear has been shaped into images of monsters and monstrosity. From the Protestant Reformation to contemporary horror films and fiction, he explores four major types: the monster from nature (King Kong), the created monster (Frankenstein), the monster from within (Mr. Hyde), and the monster from the past (Dracula). Drawing upon deep historical and literary research, Braudy discusses the lasting presence of fearful imaginings in an age of scientific progress, viewing the detective genre as a rational riposte to the irrational world of the monstrous. Haunted is a compelling and incisive work by a writer at the height of his powers."]]></description>
<dc:subject>to:NB books:noted mythology horror literary_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:fbd1d79fb0db/</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:mythology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:horror"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://yalebooks.yale.edu/book/9780300232233/vampire">
    <title>Vampire | Yale University Press</title>
    <dc:date>2018-10-04T19:48:57+00:00</dc:date>
    <link>https://yalebooks.yale.edu/book/9780300232233/vampire</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Published to mark the bicentenary of John Polidori’s publication of The Vampyre, Nick Groom’s detailed new account illuminates the complex history of the iconic creature. The vampire first came to public prominence in the early eighteenth century, when Enlightenment science collided with Eastern European folklore and apparently verified outbreaks of vampirism, capturing the attention of medical researchers, political commentators, social theorists, theologians, and philosophers. Groom accordingly traces the vampire from its role as a monster embodying humankind’s fears, to that of an unlikely hero for the marginalized and excluded in the twenty-first century.
"Drawing on literary and artistic representations, as well as medical, forensic, empirical, and sociopolitical perspectives, this rich and eerie history presents the vampire as a strikingly complex being that has been used to express the traumas and contradictions of the human condition."]]></description>
<dc:subject>to:NB books:noted mythology history_of_ideas literary_history vampires</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:06b72e651cb0/</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:mythology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:history_of_ideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:vampires"/>
</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"/>
	<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:Bag></taxo:topics>
</item>
<item rdf:about="https://jhupbooks.press.jhu.edu/content/reductive-reading">
    <title>Reductive Reading</title>
    <dc:date>2018-08-20T19:45:08+00:00</dc:date>
    <link>https://jhupbooks.press.jhu.edu/content/reductive-reading</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["What is to be gained by reading George Eliot’s Middlemarch from an Excel spreadsheet, or the novels of Charles Dickens through a few hundred dialogue tags—those he said/she saids that bring his characters to life? Sarah Danielle Allison’s Reductive Reading argues that the greatest gift the computational analysis of texts has given to traditional criticism is not computational at all. Rather, one of the most powerful ways to generate subtle reading is to be reductive; that is, to approach literary works with specific questions and a clear roadmap of how to look for the answers.
"Allison examines how patterns that form little part of our conscious experience of reading nevertheless structure our experience of books. Exploring Victorian moralizing at the level of the grammatical clause, she also reveals how linguistic patterns comment on the story in the process of narrating it. Delving into The London Quarterly Review, as well as the work of Eliot, Dickens, Elizabeth Barrett Browning, Anthony Trollope, William Makepeace Thackeray, and other canonical Victorian writers, the book models how to study nebulous and complex stylistic effects.
"A manifesto for and a model of how digital analysis can provide daringly simple approaches to complex literary problems, Reductive Reading introduces a counterintuitive computational perspective to debates about the value of fiction and the ethical representation of people in literature."]]></description>
<dc:subject>to:NB books:noted rhetoric literary_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:159424775d95/</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:rhetoric"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://yalebooks.yale.edu/book/9780300203806/haunted">
    <title>Haunted | Yale University Press</title>
    <dc:date>2018-05-23T12:56:45+00:00</dc:date>
    <link>https://yalebooks.yale.edu/book/9780300203806/haunted</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Leo Braudy, a finalist for both the National Book Award and the National Book Critics Circle Award, has won accolades for revealing the complex and constantly shifting history behind seemingly unchanging ideas of fame, war, and masculinity.
"Continuing his interest in the history of emotion, this book explores how fear has been shaped into images of monsters and monstrosity. From the Protestant Reformation to contemporary horror films and fiction, he explores four major types: the monster from nature (King Kong), the created monster (Frankenstein), the monster from within (Mr. Hyde), and the monster from the past (Dracula). Drawing upon deep historical and literary research, Braudy discusses the lasting presence of fearful imaginings in an age of scientific progress, viewing the detective genre as a rational riposte to the irrational world of the monstrous. Haunted is a compelling and incisive work by a writer at the height of his powers."]]></description>
<dc:subject>to:NB books:noted history_of_ideas literary_history horror</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:dd3c68dcb8e4/</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:literary_history"/>
	<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=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.ibtauris.com/en/Books/Literature%20%20literary%20studies/Literature%20history%20%20criticism/Literary%20studies%20poetry%20%20poets/Patronage%20and%20Poetry%20in%20the%20Islamic%20World%20Social%20Mobility%20and%20Status%20in%20the%20Medieval%20Middle%20East%20and%20Central%20Asia?menuitem=%7B36092275-B16D-4849-8F67-773154FC0271%7D">
    <title>Patronage and Poetry in the Islamic World: Social Mobility and Status in the Medieval Middle East and Central Asia</title>
    <dc:date>2016-12-20T23:49:58+00:00</dc:date>
    <link>http://www.ibtauris.com/en/Books/Literature%20%20literary%20studies/Literature%20history%20%20criticism/Literary%20studies%20poetry%20%20poets/Patronage%20and%20Poetry%20in%20the%20Islamic%20World%20Social%20Mobility%20and%20Status%20in%20the%20Medieval%20Middle%20East%20and%20Central%20Asia?menuitem=%7B36092275-B16D-4849-8F67-773154FC0271%7D</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Panegyric poetry, in both Arabic and Persian, was one of the most important genres of literature in the medieval Middle East and Central Asia. Jocelyn Sharlet argues that panegyric poetry is important not only because it provides a commentary on society and culture in the medieval Middle East, but also because panegyric writing was one of the key means for individuals to gain social mobility and standing during this period. This is particularly so within the context of patronage, a central feature of social order during these times. Sharlet places the medieval Arabic and Persian panegyric firmly within its cultural context, and identifies it as a crucial way of gaining entry to and movement within this patronage network. This is an important contribution to the fields of pre-modern Middle Eastern and Central Asian literature and culture."]]></description>
<dc:subject>to:NB books:noted poetry inequality islamic_civilization medieval_eurasian_history literary_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:64de66e24277/</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:poetry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:inequality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:islamic_civilization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:medieval_eurasian_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://sup.org/books/title/?id=22373">
    <title>Counterculture Colophon: Grove Press, the &lt;I&gt;Evergreen Review&lt;/I&gt;, and the Incorporation of the Avant-Garde | Loren Glass</title>
    <dc:date>2016-07-25T15:19:38+00:00</dc:date>
    <link>http://sup.org/books/title/?id=22373</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Responsible for such landmark publications as Lady Chatterley's Lover, Tropic of Cancer, Naked Lunch, Waiting for Godot,The Wretched of the Earth , and The Autobiography of Malcolm X, Grove Press was the most innovative publisher of the postwar era. Counterculture Colophon tells the story of how the press and its house journal, The Evergreen Review, revolutionized the publishing industry and radicalized the reading habits of the "paperback generation." In the process, it offers a new window onto the 1960s, from 1951, when Barney Rosset purchased the fledgling press for $3,000, to 1970, when the multimedia corporation into which he had built the company was crippled by a strike and feminist takeover.
"Grove Press was not only responsible for ending censorship of the printed word in the United States but also for bringing avant-garde literature, especially drama, into the cultural mainstream as part of the quality paperback revolution. Much of this happened thanks to Rosset, whose charismatic leadership was crucial to Grove's success. With chapters covering world literature and the Latin American boom, including Grove's close association with UNESCO and the rise of cultural diplomacy; experimental drama such as the theater of the absurd, the Living Theater, and the political epics of Bertolt Brecht; pornography and obscenity, including the landmark publication of the complete work of the Marquis de Sade; revolutionary writing, featuring Rosset's daring pursuit of the Bolivian journals of Che Guevara; and underground film, including the innovative development of the pocket filmscript, Loren Glass covers the full spectrum of Grove's remarkable achievement as a communications center of the counterculture."]]></description>
<dc:subject>books:noted literary_history 1960s american_history pr0n censorship modernism in_NB counterculture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:d6ec1d3126c3/</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_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:1960s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:american_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:pr0n"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:censorship"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:modernism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:counterculture"/>
</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"/>
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</item>
<item rdf:about="http://press.princeton.edu/titles/3532.html">
    <title>Nicolson, M.H.: Newton Demands the Muse: Newton's Opticks and the 18th Century Poets. (eBook, Paperback and Hardcover)</title>
    <dc:date>2016-06-22T18:12:33+00:00</dc:date>
    <link>http://press.princeton.edu/titles/3532.html</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>in_NB books:recommended history_of_ideas history_of_science literary_history enlightenment</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:7a950aae4142/</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:recommended"/>
	<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_science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:enlightenment"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://press.princeton.edu/titles/4806.html">
    <title>Reardon, B.: The Form of Greek Romance (eBook, Paperback and Hardcover).</title>
    <dc:date>2016-06-22T16:33:56+00:00</dc:date>
    <link>http://press.princeton.edu/titles/4806.html</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["In the early Roman Empire a new literary genre began to flourish, mainly in the Greek world: prose fiction, or romance. Broadly defined as a love story that offers adventure and a romantic vision of life, this form of literature emerged long after the other genres and, until recently, seemed hardly worthy of critical attention. Here B. P. Reardon addresses the growing interest in ancient fiction by providing a literary and cultural framework in which to understand Greek romance, and by demonstrating its importance as an artistic and social phenomenon. Beginning with a discussion of Chariton's Chaereas and Callirhoe, Reardon sets out the generic characteristics of the romance. He then moves through a wide range of works, including those of Longus and Heliodorus, and reveals their sophistication in terms of social observation, technique within a convention, and the stance adopted by the authors toward their own creations. Although antiquity left behind little discussion of the genre, Reardon shows how romance can be assessed within its time period by considering the practice of narrative in other Greek literature and the concept of fiction in antiquity."]]></description>
<dc:subject>to:NB books:noted ancient_history literary_history novels</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:9be9e7e89b3e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:ancient_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:novels"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://chronicle.com/article/How-Literary-Fame-Happens/232537/">
    <title>How Literary Fame Happens - The Chronicle Review - The Chronicle of Higher Education</title>
    <dc:date>2015-09-02T03:47:56+00:00</dc:date>
    <link>http://chronicle.com/article/How-Literary-Fame-Happens/232537/</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>books:noted literary_history path_dependence track_down_references</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:24171df30a12/</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_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:path_dependence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:track_down_references"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.ocf.berkeley.edu/~immer/booksall">
    <title>The Books of the Century, 1900-1999</title>
    <dc:date>2015-03-29T18:05:43+00:00</dc:date>
    <link>https://www.ocf.berkeley.edu/~immer/booksall</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[It's fascinating to look back 80 or even 40 years and have no idea what most of these were.  Also, there seems to have been a period from just after WWII to the early 1970s when the fiction list was much more receptive of translations than I'd have imagined possible (de Beauvoir!)]]></description>
<dc:subject>american_history literary_history via:?</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:0fa625ee46e3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:american_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:via:?"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://press.uchicago.edu/ucp/books/book/chicago/L/bo19085293">
    <title>Loving Literature: A Cultural History, Lynch</title>
    <dc:date>2015-02-04T12:56:48+00:00</dc:date>
    <link>http://press.uchicago.edu/ucp/books/book/chicago/L/bo19085293</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Of the many charges laid against contemporary literary scholars, one of the most common—and perhaps the most wounding—is that they simply don't love books. And while the most obvious response is that, no, actually the profession of literary studies does acknowledge and address personal attachments to literature, that answer risks obscuring a more fundamental question: Why should they?
"That question led Deidre Shauna Lynch into the historical and cultural investigation of Loving Literature. How did it come to be that professional literary scholars are expected not just to study, but to love literature, and to inculcate that love in generations of students?"]]></description>
<dc:subject>to:NB books:noted academia literary_criticism literary_history criticism_of_criticism_of_criticism history_of_ideas history_of_tastes</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:2d883225efdf/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:academia"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:criticism_of_criticism_of_criticism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:history_of_tastes"/>
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</item>
<item rdf:about="http://www.rci.rutgers.edu/~ag978/quiet/">
    <title>Quiet Transformations (Goldstone/Underwood)</title>
    <dc:date>2014-09-29T15:38:42+00:00</dc:date>
    <link>http://www.rci.rutgers.edu/~ag978/quiet/</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["A Topic Model of Literary Studies Journals"]]></description>
<dc:subject>topic_models literary_criticism literary_history criticism_of_criticism_of_criticism history_of_ideas to:blog</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:9103913dc0d7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:topic_models"/>
	<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:criticism_of_criticism_of_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:history_of_ideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:blog"/>
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</item>
<item rdf:about="http://www.rci.rutgers.edu/~ag978/quiet/preprint.pdf">
    <title>The Quiet Transformations of Literary Studies: What Thirteen Thousand Scholars Could Tell Us</title>
    <dc:date>2014-09-29T15:32:11+00:00</dc:date>
    <link>http://www.rci.rutgers.edu/~ag978/quiet/preprint.pdf</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>literary_criticism literary_history topic_models in_NB criticism_of_criticism_of_criticism history_of_ideas have_read to:blog heard_the_talk</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:e9041371365e/</dc:identifier>
<taxo:topics><rdf:Bag>	<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:topic_models"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:criticism_of_criticism_of_criticism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:blog"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:heard_the_talk"/>
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</item>
<item rdf:about="http://press.princeton.edu/titles/7752.html">
    <title>Struck, P.T.: Birth of the Symbol: Ancient Readers at the Limits of Their Texts. (eBook, Paperback and Hardcover)</title>
    <dc:date>2014-04-09T20:02:02+00:00</dc:date>
    <link>http://press.princeton.edu/titles/7752.html</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Nearly all of us have studied poetry and been taught to look for the symbolic as well as literal meaning of the text. Is this the way the ancients saw poetry? In Birth of the Symbol, Peter Struck explores the ancient Greek literary critics and theorists who invented the idea of the poetic "symbol."
"The book notes that Aristotle and his followers did not discuss the use of poetic symbolism. Rather, a different group of Greek thinkers--the allegorists--were the first to develop the notion. Struck extensively revisits the work of the great allegorists, which has been underappreciated. He links their interest in symbolism to the importance of divination and magic in ancient times, and he demonstrates how important symbolism became when they thought about religion and philosophy. "They see the whole of great poetic language as deeply figurative," he writes, "with the potential always, even in the most mundane details, to be freighted with hidden messages.""]]></description>
<dc:subject>books:noted ancient_history literary_history literary_criticism neo-platonism in_NB</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:ed1a25d8f8a6/</dc:identifier>
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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:neo-platonism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_NB"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://press.princeton.edu/titles/9999.html">
    <title>Curtius, E.R.: European Literature and the Latin Middle Ages.</title>
    <dc:date>2013-07-30T22:13:09+00:00</dc:date>
    <link>http://press.princeton.edu/titles/9999.html</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Published just after the Second World War, European Literature and the Latin Middle Ages is a sweeping exploration of the remarkable continuity of European literature across time and place, from the classical era up to the early nineteenth century, and from the Italian peninsula to the British Isles. In what T. S. Eliot called a "magnificent" book, Ernst Robert Curtius establishes medieval Latin literature as the vital transition between the literature of antiquity and the vernacular literatures of later centuries. The result is nothing less than a masterful synthesis of European literature from Homer to Goethe."]]></description>
<dc:subject>books:noted literary_history literary_criticism medieval_european_history in_NB</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:b856f2609d48/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:noted"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:medieval_european_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_NB"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.slate.com/articles/arts/culturebox/2013/07/hollywood_and_blake_snyder_s_screenwriting_book_save_the_cat.html">
    <title>Hollywood and Blake Snyder’s screenwriting book, Save the Cat! - Slate Magazine</title>
    <dc:date>2013-07-19T16:45:13+00:00</dc:date>
    <link>http://www.slate.com/articles/arts/culturebox/2013/07/hollywood_and_blake_snyder_s_screenwriting_book_save_the_cat.html</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>narrative movies mass_culture literary_criticism literary_history morphology_of_the_folktale_of_our_time have_read via:absfac</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:3fec7c8bf473/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:movies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:mass_culture"/>
	<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:morphology_of_the_folktale_of_our_time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:via:absfac"/>
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</item>
<item rdf:about="http://boundary2.dukejournals.org/content/40/2/147">
    <title>Network Analysis and the Sociology of Modernism</title>
    <dc:date>2013-07-16T16:23:55+00:00</dc:date>
    <link>http://boundary2.dukejournals.org/content/40/2/147</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Literary historians have long been interested in sociological approaches to literature. The field of modernism, a major aesthetic movement that flourished between 1915-40 primarily in the United States, England, and Europe, but the rest of the world as well, has been seen as a particularly compelling site to explore the sociological underpinnings of art. It is in this movement that many of our ideas of the “autonomy of art” and the “genius” of the artist emerged, and scholars such as Lawrence Rainey have produced excellent, archive-driven accounts of the institutions, patronage systems, and personal networks that conditioned and produced this field of production.
"In this essay, we exploit new methods of aggregating vast amounts of bibliographic data and new network visualization tools to “scale up” this sociological approach to modernism. While scholars such as Rainey have been limited by the contours of specific institutional or writer archives, and the self-reported accounts of the field by the writers themselves, our approach transforms large empirical bibliographic data, regarding which poets published where and when, into network visualizations that provide a panoptic view of the modernist field as a whole. We then use these visualizations to develop a body of new conceptual categories, such as “brokerage” and “closure,” to analyze the structural relations between poets and how their interactions help to constitute the field of modernist poetry as a whole."

- This is a directed bipartite graph: poets send poems to journals.  Ignoring the direction of the edges and then treating poets who send poems to multiple journals as "brokers" seems distinctly unpersuasive, and may explain some of the strangeness of the results.  What one would really want to complement this with would be another directed relation, pointing from journals to the poets who _read_ them.  Still, baby steps.  (And it's flattering to have a sentence of Gndedenko and Kolmogorov's attributed to me.)]]></description>
<dc:subject>re:6dfb social_networks modernism literary_history network_data_analysis community_discovery have_read in_NB poetry to:blog</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:d64222f31de9/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:modernism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:network_data_analysis"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:have_read"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:poetry"/>
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</item>
<item rdf:about="http://press.uchicago.edu/ucp/books/book/distributed/A/bo16046272">
    <title>Adolfo Bioy Casares: Borges, Fiction and Art, Posso</title>
    <dc:date>2013-03-01T18:46:58+00:00</dc:date>
    <link>http://press.uchicago.edu/ucp/books/book/distributed/A/bo16046272</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Best known as Jorge Luis Borges’s right-hand man, Adolfo Bioy Casares (1914–99) was, in his own right, an inventive writer of considerable skill. His works, often dismissed summarily as fantastic fiction, are now ripe for reassessment. This volume looks at Bioy’s extensive oeuvre, which offers many surprising reflections on the twentieth century’s cultural, social, and political transformations, both in Argentina and further afield. Topics covered include Bioy’s meditations on isolation and logic and his enduring fascination with the impact of visual technologies on all artistic representation."]]></description>
<dc:subject>books:noted lives_of_the_artists literary_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:4e1d0ec9dbbe/</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:lives_of_the_artists"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://thehairpin.com/2012/08/how-your-sweet-valley-high-gets-made/">
    <title>How Your Sweet Valley High Gets Made | The Hairpin</title>
    <dc:date>2012-08-10T18:13:19+00:00</dc:date>
    <link>http://thehairpin.com/2012/08/how-your-sweet-valley-high-gets-made/</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[I'm too old to have read these, but certainly I devoured enough functionally-similar stuff as a boy, so I find this sort of view into the process fascinating.  I also wonder at what it does to the makers, morally: is it corrupting? can you write this sort of thing with (for lack of better phrases) honorable intentions, or does it necessarily force you into a posture of contempt for your audience?  (I don't think contempt for the readers of such things is justified, though I think I felt differently at 16.)
And: how old is this kind of writing-for-hire?]]></description>
<dc:subject>how_the_sausage_gets_made writing popular_culture rhetoric literary_history via:bookslut</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:0977ab087e60/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:how_the_sausage_gets_made"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://arcade.stanford.edu/short-life-of-publishing-tradition">
    <title>The Short Life of Publishing Traditions</title>
    <dc:date>2012-06-07T20:10:10+00:00</dc:date>
    <link>http://arcade.stanford.edu/short-life-of-publishing-tradition</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>books publishing literary_history economic_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:a9e93b55f030/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:economic_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.pnas.org/content/109/20/7682.abstract">
    <title>Quantitative patterns of stylistic influence in the evolution of literature</title>
    <dc:date>2012-05-15T20:42:25+00:00</dc:date>
    <link>http://www.pnas.org/content/109/20/7682.abstract</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["Literature is a form of expression whose temporal structure, both in content and style, provides a historical record of the evolution of culture. In this work we take on a quantitative analysis of literary style and conduct the first large-scale temporal stylometric study of literature by using the vast holdings in the Project Gutenberg Digital Library corpus. We find temporal stylistic localization among authors through the analysis of the similarity structure in feature vectors derived from content-free word usage, nonhomogeneous decay rates of stylistic influence, and an accelerating rate of decay of influence among modern authors. Within a given time period we also find evidence for stylistic coherence with a given literary topic, such that writers in different fields adopt different literary styles. This study gives quantitative support to the notion of a literary “style of a time” with a strong trend toward increasingly contemporaneous stylistic influence."

It'll be interesting to see how they handle the bias induced by selective retention.]]></description>
<dc:subject>to_read literary_history text_mining kith_and_kin rockmore.dan in_NB krakauer.david</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:dac746f068bf/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to_read"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:text_mining"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:kith_and_kin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:rockmore.dan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:krakauer.david"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.press.uchicago.edu/ucp/books/book/chicago/R/bo5568025.html">
    <title>Regionalism and the Reading Class, Griswold</title>
    <dc:date>2012-05-09T21:20:32+00:00</dc:date>
    <link>http://www.press.uchicago.edu/ucp/books/book/chicago/R/bo5568025.html</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>books:noted literary_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:b0e8af084135/</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_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://press.princeton.edu/titles/9676.html">
    <title>Zipes, J.: The Irresistible Fairy Tale: The Cultural and Social History of a Genre.</title>
    <dc:date>2012-04-18T23:26:45+00:00</dc:date>
    <link>http://press.princeton.edu/titles/9676.html</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["If there is one genre that has captured the imagination of people in all walks of life throughout the world, it is the fairy tale. Yet we still have great difficulty understanding how it originated, evolved, and spread--or why so many people cannot resist its appeal, no matter how it changes or what form it takes. In this book, renowned fairy-tale expert Jack Zipes presents a provocative new theory about why fairy tales were created and retold--and why they became such an indelible and infinitely adaptable part of cultures around the world.
"Drawing on cognitive science, evolutionary theory, anthropology, psychology, literary theory, and other fields, Zipes presents a nuanced argument about how fairy tales originated in ancient oral cultures, how they evolved through the rise of literary culture and print, and how, in our own time, they continue to change through their adaptation in an ever-growing variety of media. In making his case, Zipes considers a wide range of fascinating examples, including fairy tales told, collected, and written by women in the nineteenth century; Catherine Breillat's film adaptation of Perrault's "Bluebeard"; and contemporary fairy-tale drawings, paintings, sculptures, and photographs that critique canonical print versions.
"While we may never be able to fully explain fairy tales, The Irresistible Fairy Tale provides a powerful theory of how and why they evolved--and why we still use them to make meaning of our lives."]]></description>
<dc:subject>books:noted mythology fairy_tales literary_criticism cultural_evolution in_NB literary_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:2ec2b98bd231/</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:mythology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:fairy_tales"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:cultural_evolution"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.hup.harvard.edu/catalog.php?recid=31749">
    <title>Gothicka - Victoria Nelson | Harvard University Press</title>
    <dc:date>2011-12-07T21:02:34+00:00</dc:date>
    <link>http://www.hup.harvard.edu/catalog.php?recid=31749</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["The Gothic, Romanticism’s gritty older sibling, has flourished in myriad permutations since the eighteenth century. In Gothicka, Victoria Nelson identifies the revolutionary turn it has taken in the twenty-first. Today’s Gothic has fashioned its monsters into heroes and its devils into angels. It is actively reviving supernaturalism in popular culture, not as an evil dimension divorced from ordinary human existence but as part of our daily lives.

To explain this millennial shift away from the traditionally dark Protestant post-Enlightenment Gothic, Nelson studies the complex arena of contemporary Gothic subgenres that take the form of novels, films, and graphic novels. She considers the work of Dan Brown and Stephenie Meyer, graphic novelists Mike Mignola and Garth Ennis, Christian writer William P. Young (author of The Shack), and filmmaker Guillermo del Toro. She considers twentieth-century Gothic masters H.P. Lovecraft, Anne Rice, and Stephen King in light of both their immediate ancestors in the eighteenth century and the original Gothic—the late medieval period from which Horace Walpole and his successors drew their inspiration.

Fictions such as the Twilight and Left Behind series do more than follow the conventions of the classic Gothic novel. They are radically reviving and reinventing the transcendental worldview that informed the West’s premodern era. As Jesus becomes mortal in The Da Vinci Code and the child Ofelia becomes a goddess in Pan’s Labyrinth, Nelson argues that this unprecedented mainstreaming of a spiritually driven supernaturalism is a harbinger of what a post-Christian religion in America might look like."]]></description>
<dc:subject>books:noted fantasy horror literary_criticism history_of_religion gothic in_NB literary_history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:886d8ec32c6f/</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:fantasy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:horror"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:history_of_religion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:gothic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:in_NB"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.powells.com/biblio/62-9780226453835-0">
    <title>Mutants &amp; Mystics: Science Fiction, Superhero Comics, and the Paranormal by Jeffrey J. Kripal - Powell's Books</title>
    <dc:date>2011-11-11T18:38:47+00:00</dc:date>
    <link>http://www.powells.com/biblio/62-9780226453835-0</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>books:noted history_of_ideas history_of_religion literary_history science_fiction comics psychoceramics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:cshalizi/b:dd387cc93cd8/</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:history_of_ideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:history_of_religion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:science_fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:comics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:psychoceramics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.kansaspress.ku.edu/abbfro.html">
    <title>Frontiers Past and Future: Science Fiction and the American West</title>
    <dc:date>2011-06-21T23:24:29+00:00</dc:date>
    <link>http://www.kansaspress.ku.edu/abbfro.html</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>books:noted literary_history literary_criticism science_fiction american_west</dc:subject>
<dc:identifier>https://pinboard.in/u:cshalizi/b:828e6a8b5ade/</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_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:science_fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:american_west"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://hradzka.livejournal.com/415956.html#cutid1">
    <title>The Concrete Tomb of Hradzka - the CANTERBURY TALES fandom</title>
    <dc:date>2010-09-13T22:12:50+00:00</dc:date>
    <link>http://hradzka.livejournal.com/415956.html#cutid1</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[15th century Chaucer fanfic.
]]></description>
<dc:subject>literary_history fanfic chaucer.geoffrey</dc:subject>
<dc:identifier>https://pinboard.in/u:cshalizi/b:3d87779df32f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:fanfic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:chaucer.geoffrey"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.english.wisc.edu/people/faculty/valenza.html">
    <title>Robin Valenza - People: Department of English, UW–Madison</title>
    <dc:date>2010-07-30T03:02:39+00:00</dc:date>
    <link>http://www.english.wisc.edu/people/faculty/valenza.html</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["A distinctive feature of this project's methodology will be its use of large-scale full-text digital archives and tools for analyzing and classifying large amounts of "dirty" data (from over 100,000 books) alongside more traditional modes of close reading. I refer to this data as dirty because the scans of the pages have not been checked for accuracy.  Researchers working with this sort of data need to use statistical methods to allow for the inevitable machine-generated error in such a process.  Using such databases alongside more traditional modes of reading will give the project a broader range of texts to analyze and from which to draw conclusions. ... "  Moretti's student?
]]></description>
<dc:subject>literary_history text_mining via:jse</dc:subject>
<dc:identifier>https://pinboard.in/u:cshalizi/b:8d12bfc250ca/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:text_mining"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:via:jse"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://unlikelyworlds.blogspot.com/2009/11/secret-histories.html">
    <title>Earth and other unlikely worlds: Secret Histories</title>
    <dc:date>2009-11-19T15:02:12+00:00</dc:date>
    <link>http://unlikelyworlds.blogspot.com/2009/11/secret-histories.html</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>science_fiction literary_history pulp_novels pr0n mcauley.paul</dc:subject>
<dc:identifier>https://pinboard.in/u:cshalizi/b:c02eef03b4c8/</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_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:pulp_novels"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:pr0n"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:mcauley.paul"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://io9.com/5392430/research-reveals-that-apocalyptic-stories-changed-dramatically-20-years-ago">
    <title>Research Reveals That Apocalyptic Stories Changed Dramatically 20 Years Ago - Apocalypse - io9</title>
    <dc:date>2009-10-29T20:03:18+00:00</dc:date>
    <link>http://io9.com/5392430/research-reveals-that-apocalyptic-stories-changed-dramatically-20-years-ago</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA[Hmmmm.
]]></description>
<dc:subject>apocalypse_fiction literary_history wheres_franco_moretti_when_you_need_him track_down_references to:blog</dc:subject>
<dc:identifier>https://pinboard.in/u:cshalizi/b:48ca86f25ace/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:apocalypse_fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:wheres_franco_moretti_when_you_need_him"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:track_down_references"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:to:blog"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.ucpress.edu/books/pages/9253.php">
    <title>2000 Years of Mayan Literature : Dennis Tedlock</title>
    <dc:date>2009-09-21T13:59:12+00:00</dc:date>
    <link>http://www.ucpress.edu/books/pages/9253.php</link>
    <dc:creator>cshalizi</dc:creator><dc:subject>maya_civilization literary_history native_american_civilizations native_american_history books:owned books:recommended have_read</dc:subject>
<dc:identifier>https://pinboard.in/u:cshalizi/b:efa1beb9b731/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:maya_civilization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:native_american_civilizations"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:native_american_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:books:owned"/>
	<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://www.powells.com/biblio?isbn=9780822341536">
    <title>Contagious: Cultures, Carriers, and the Outbreak Narrative (John Hope Franklin Center Books (Paperback)) by Priscilla Wald</title>
    <dc:date>2009-08-29T17:35:25+00:00</dc:date>
    <link>http://www.powells.com/biblio?isbn=9780822341536</link>
    <dc:creator>cshalizi</dc:creator><description><![CDATA["How should we understand the fear and fascination elicited by the accounts of communicable disease outbreaks that proliferated, following the emergence of HIV, in scientific publications and the mainstream media? The repetition of particular characters, images, and story lines--of Patients Zero and superspreaders, hot zones and tenacious microbes--produced a formulaic narrative as they circulated through the media and were amplified in popular fiction and film. The outbreak narrative begins with the identification of an emerging infection, follows it through the global networks of contact and contagion, and ends with the epidemiological work that contains it. Priscilla Wald argues that we need to understand the appeal and persistence of the outbreak narrative because the stories we tell about disease emergence have consequences."
]]></description>
<dc:subject>books:noted contagion narrative history_of_ideas history_of_science epidemiology literary_history genres ideology epidemiology_of_representations</dc:subject>
<dc:identifier>https://pinboard.in/u:cshalizi/b:d005c75bd462/</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:contagion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:narrative"/>
	<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_science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:epidemiology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:literary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:genres"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:ideology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:cshalizi/t:epidemiology_of_representations"/>
</rdf:Bag></taxo:topics>
</item>
</rdf:RDF>