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Annual Bibliography of English Language and Literature

Annual Bibliography of English Language and Literature
-from Literature Online Full-Text Journals
Bibliographic citations with indexing for all aspects of English literature, literary culture, and linguistics. Topics covered include: English prose, poetry, fiction, films, biography, travel writing, literary theory, and studies of individual authors; language, syntax, phonology, lexicology, semantics, stylistics, and dialectology; bibliography, manuscript studies, textual studies, history of publishing; traditional culture of the English-speaking world, customs, beliefs, narratives, song, dance, and material culture.
Holdings: 1920- Annual updates lag by one year.

Technically Outside the Law: Who Permits, Who Profits, and Why

Horan, Elizabeth R. “Technically Outside the Law: Who Permits, Who Profits, and Why.” The Emily Dickinson Journal 10.1 (2001): 34-54.

Offering what seems to be significantly an economic outlook on Copyright intentions, Horan claims that incentive is the motivating reason and concern for creators to create and for that creation to serve the public good after a limited time (28 years). Similar to Carol Ou and her article on control over new technology, Horan presents us with examples to make her point about the increasing difficulty of controlling content. In this case she offers the example of Emily Dickinson’s writings to moot the point even recalling radio programs as an earlier obstruction to copyright control.

In describing Copyright incentive a new perspective was given me. Writers and artists of all kinds create because of the knowledge they of copyright protection. This may not be their primary reasoning, but perhaps at times it could be especially when their main motive is to gain monetary success.

Erlanger, Steven . "Barricades of May '68 Still Divide the French - New York Times." The New York Times. 30 Apr. 2008. 30 Nov. 2008

This is a short article from the New York Times about the student uprisings in Paris during May 1968 and their lasting effects on French culture and psychology. The title alone, “Barricades of May ’68 Still Divide the French” says a lot about the content, namely that the uprisings were not wholly supported by French society, and that there is a distinct split in between how they are remembered in French society; the Right calls them “the events”, while the Left calls it “the movement.” The article cedes that youth revolt was common throughout the West, but that France was unique in its potential to foment a political revolution, with 10 million striking workers. The article notes how the desire behind May ’68 was unfulfilled, as the right is now in power. It quickly summarizes a chronology of the events, namely that the student uprisings spread out from Nanterre University to the elite Sorbonne, and eventually to the workers of the nation. A former participant in the uprisings says, “the revolution was social not political,” and that while students spoke of revolution they never intended to carry it out. The article also lists the social transformations that French culture has undergone since 1968, and claims that the “anti-authoritarians of the time were fighting against a very different society,” in effect disabling the notion of any future social revolution.
The article provides a useful historical context for the ramifications of the uprisings in 1968, as well as a critique of, essentially, the ambiguity of Vigo’s conclusion to “Zéro de Conduite.” If Paris in May 1968 was a realization of a theory of anarchist pedagogy, its final results were disappointing, because the nation now has a conservative government. The end of Jean Vigo’s film offers an apparent victory, but no steps further than that, something that many anarchists love to do, while not realizing the damage to the credibility of their movement. Perhaps it is for this reason that the protestors of Paris spoke often of revolution in romantic, lofty terms such as the surrealist rebellion presented in Vigo’s film, but in actuality, never attempted to complete that vision because the vision itself was incomplete, a simple specter of the meme that revolution had become in the collective consciousness of French society. Regardless, the article is valuable to my thesis because it challenges the apparent victory of subversive creativity over entrenched power structures, because power always adapts, whereas visions of the revolution have remained anachronistic.

full citation: Erlanger, Steven . "Barricades of May ’68 Still Divide the French - New York Times." The New York Times. 30 Apr. 2008. 30 Nov. 2008 <http://www.nytimes.com/2008/04/30/world/europe/30france.html?_r=2&oref=slogin>.

Annotated Bibliography for Professor Peter Decherney

http://www.jstor.org/stable/1123809?&Search=yes&term=jane&term=ginsburg%2C&list=hide&searchUri=%2Faction%2FdoAdvancedSearch%3Fq0%3Dginsburg%252C%2Bjane%26f0%3Dall%26c0%3DAND%26q1%3D%26f1%3Dall%26c1%3DAND%26q2%3D%26f2%3Dall%26c2%3DAND%26q3%3D%26f3%3Dall%26wc%3Don%26Search%3DSearch%26sd%3D%26ed%3D%26la%3D%26jo%3D&item=5&ttl=2136&returnArticleService=showArticle

Kristi M. Wilson " Casablanca". St. James Encyclopedia of Pop Culture. . FindArticles.com. 02 Dec. 2008. http://findarticles.com/p/articles/mi_g1epc/is_tov/ai_2419100212

In her article entitled "Casablanca", Kristi M. Wilson touches upon many aspects of the film’s content and production. She begins by summarizing the film and continues on to sing its praises by illustrating all of the awards and nominations that it received at the time of its release. The article also lends insight into the sentiment of production studios, like Warner Bros., at the time that the film was produced. Since most Americans resisted the idea of U.S. involvement in the war in Europe at the time during which Casablanca was set, Jack Warner has been credited as declaring war on Germany early, not only with Casablanca, but also with even earlier films like Confessions of a Nazi Spy (1939). Wilson goes on to say that at the beginning of the war, a time when opposition to the Nazi regime was not common, Harry and Jack Warner were of the few Hollywood moguls who were anti-Hitler. In fact, 1934 marked the year that Warner Bros. became the first studio to shut down business and leave Germany. It wasn’t until the years 1942-1945 that Hollywood began producing feature films that grappled with the subject of war and were aimed to promote the nation’s support for the Allied war effort. Information concerning the political beliefs of Warner Bros. is essential to a thorough analysis of Casablanca as a vehicle for propaganda. The political messages of the film - anti-fascist and pro-war effort - can be traced back to the origins of its creation, the studio. This serves to highlight the propagandistic undertones of the film.
At the end of the article, Wilson describes Casablanca as a film that has endured the test of time as it has resonated throughout American culture. Over the years, there have been songs, commercials, magazine advertisements, and book titles that show traces of the film’s influence. For this reason, the film’s ability to permeate into contemporary American culture long after its release, Casablanca can be seen as a ‘cult object’. An interesting and relevant example that Wilson sites is how Humphrey Bogart’s character is said to have triggered skyrocketing trench coat sales. Bogart’s ability to influence the American audience, even if it is in terms of fashion, demonstrates the tremendous power he has over public opinion; a power that is particularly useful in conveying political messages.

Political philosophy comes to Rick's : Casablanca and American civic culture / edited by James F. Pontuso. 0739108328 (hardcover : alk. paper) series Lanham : Lexington Books, c2005. chapter 2: pp. 19-40 Call#: Van Pelt Library PN1997.C352 P65 2005

In the chapter “Casablanca and the Paradoxical Truth of Stereotyping: Rick and the American Character”, James F. Pontuso examines the racial, ethnic, and gender stereotypes in the film. Most evident are the stereotypical French, German, Czech, and American figures that are meant to represent the sentiment of his or hers respective country. In discussing the depiction of the quintessential American character, Pontuso looks no further than Rick Blaine. He argues that there are two sides of Rick: the early, self-centered Rick who only cares about himself and the later idealistic Rick who sacrifices personal happiness for the sake of his commitment to a greater good. Each Rick, according to Pontuso, is a symbol of one aspect of the American character. Despite Rick’s semblance to an ideal American, he also has a universal perspective to his character; his identity is not constructed by an attachment to a particular place, but rather to a set of ideals that he believes are common to all humanity. This adds to the ambiguity of Rick’s character. Pontuso sights a scene when Strasser asks Rick what his nationality is and Rick answers, “I’m a drunkard.” Renault then adds, “That makes Rick a citizen of the world.” While it is clear that Rick represents the archetypal American figure, he tries hard to maintain his ambiguity throughout the film.
At the end of Casablanca, Rick does what any American would do in the face of war: he protects his ideals. Pontuso explains that in a peaceful time Americans exercise their rights by pursuing their individual interests, but when the rights that protect their interests are jeopardized, Americans act determinedly to protect their ideals. Rick realizes that the chances for true love are not promising during such a perilous time, so he chooses to take action. Pontuso quotes a statement by the Bureau of Motion Pictures during WWII, “Casablanca shows that personal desires must be subordinated to the task of defeating fascism.” Pontuso gives us enough reason to believe that the American character and Rick Blaine are one in the same. By portraying a character that epitomizes the supreme American, both in disposition and action, Rick hands American political ideals to viewers on a silver platter.

John McClure and Robert J. Corber - Book Reviews: Late Imperial Romance

This article claims that homophobia was displaced in Hitchcock's films from an issue of national security to a condemnation of women's sexuality in the domestic sphere. The article further asserts that the knowledge that men acquire in the film is the result of their ability to suppress and manipulate women. Essentially, Hitchcock was a force in Cold War culture.

In the case of Blackmail, Frank doesn't gain any knowledge from his suppression and manipulation of Alice. If Alice's feminist gaze had been verbalized or if Frank had let Alice express herself without the threat of shame or judgment, the entire premise of the film might have been averted. It might be the case that Crewe's murder is a result of the male suppression of Alice. Perhaps the film is meant to serve as a warning that the suppression and manipulation of women is something to be feared.

CC Bibliography

While this class has extensively discussed the relationship between copyright and culture in the United States, it has only briefly touched on copyright on an international scale. The infringement of intellectual property rights is in many cases more widespread abroad, where the United States and its copyright industries experience difficulty enforcing copyright laws. The United States Trade Representative has proposed an Anti-Counterfeit Trade Agreement which includes the United States, the European Union and other developed countries. I am interested in exploring the consequences and limitations of this agreement and whether it will effectively curb international piracy and change the culture of copyright infringement.

LIBRI, vol. 57, number 3, September 2007; Downloading Communism: File Sharing as Samizdat in Ukraine; MARIA HAIGH

This article takes a much more anthropological perspective and focuses on the user side of illegal music download sites in Ukraine. Haigh discusses the differences in the music and movie market in Ukraine compared to that of the West. She also talks about the financial limitations of Ukrainians and the limited use of the Internet I that country. She draws parallels between modern norms of illegal fire sharing the heritage of the Soviet Union and its copyright regime.
This article supplies a crucial perspective for my argument – the motivations of populations to download illegally from the Internet and infringe copyright. The financial situation of Ukrainians is particularly important because it is clear that they cannot afford legal copies of the pirated material. The ACTA and other multinational authorities should be cognizant and offer alternatives to illegal sites in order to give incentives for the users to switch to legitimate materials. This also means that the legal sources should be affordable for the native population. The article also touches on the perception and attitude of Ukrainians toward the western legal copyright framework. This links back to the sentiments of the natives evoked by their life within the Soviet Union. Ukraine is a proud nation and in its history it has been constantly conquered and re-conquered by foreign powers, which imposed their own rule on the population. Ukrainians feel that when the WTO and the US are allegedly trying to protect their intellectual property rights, in effect they are acting just like the USSR and attempting to coerce Ukraine to follow western models even when they are not suited for the needs of the country. This attitude is echoed throughout most other eastern European former Soviet satellites and republics.

Study of ethnomusicology : thirty-one issues and concepts / Bruno Nettl.

Music has a range of different functions in different cultures

Nettl, Bruno, 1930- . Study of ethnomusicology : thirty-one issues and concepts / Bruno Nettl. New ed. 0252030338 (cloth : alk. paper) series Urbana : University of Illinois Press, c2005.
Call#: Van Pelt Library ML3798 .N47 2005

Worlds of music : an introduction to the music of the world's peoples / Jeff Todd Titon, general editor.

Music has a range of functions in different cultures

. Worlds of music : an introduction to the music of the world's peoples / Jeff Todd Titon, general editor. 4th ed. 0534591035 series Belmont, Calif. : Schirmer/Thomson Learning, 2001, c2002.
Call#: Van Pelt Library ML3545 .W67 2002
Call#: Van Pelt Library ML3545 .W67 2002

Musicking : the meanings of performing and listening / Christopher Small.

Music is an interactive and participatory medium

Small, Christopher, 1927- . Musicking : the meanings of performing and listening / Christopher Small. 0819522562 (alk. paper) series Hanover, NH : University Press of New England [for] Wesleyan University Press, c1998.
Call#: Van Pelt Library ML3845 .S628 1998

Music and social being - Ian Cross

"All members of a culture that practice music are expected to be abelt to engage with music in culturally appropriate ways" (1: Cross 2008)

"Introduction
In this paper I shall make a number of claims about music. I shall claim that music,
like language, is a fundamental part of the human communicative toolkit. It is
unique and specific to humans, but music is not "natural" while language is
symbolic; music and language are both equally symbolic and natural domains of
human thought and behaviour. I shall propose that music - musicality - underpins
the intellectual and social flexibility displayed by modern humans. As a corollary of
this, I shall claim that many of the most important abstract concepts that frame and
give meaning to human interaction - such as social justice, that aspect of morality
which is concerned with the achievement of equity in human relations - have their
roots in human musicality. I am not proposing that without music there can be no
social justice; I am simply submitting that without musicality the flexibility in
managing social relations that characterises modern humans and that constitutes the
matrix within which abstract conceptions such as social justice can take form is less
likely to have arisen."

Must Reads for Foodies

Encyclopedia of contemporary British culture / edited by Peter Childs and Mike Storry.

series London ; New York : Routledge, 1999.
Call#: Van Pelt Library Reference Stacks REF DA589.4 .E53 1999

Albert Music Hall Home Page

Albert Music Hall. Traditional musical gatherings of the NJ Pinelands. An evening of live country, bluegrass, and pinelands music each Saturday night at 7:30 PM. Year round

Social Identities

Social Identities
-from Informaworld - Taylor & Francis
"Journal for the study of race, nation and culture"
Holdings: 1996-

UNESBIB

Indexing with abstracts for the international publication and document literature on education, culture, communication and information, the natural sciences, and the social sciences and humanities. Topics covered are those treated by UNESCO (United Nations Educational, Scientific and Cultural Organization): literacy, access to education, publishing, freedom of expression, access to media, information ethics, cultural policy, copyright, cultural heritage, tourism development, environmental studies, sustainable development, multiculturalism and tolerance, democracy, and urban issues.

Internet Policy and Culture: Bridging The Digital Divide in Higher Education

This project is intended to collect the digital bibliography for my final paper in Peter Decherney's Internet Policy and Culture class. The paper will focus on the disparity in technological resources between Historically Black Colleges and Universities (HBCUs), and their more affluent, traditionally white-majority counterparts. In addition to examining this disparity, the paper will examine what is being done to bridge this gap, including administrative actions, public advocacy, and government intervention. The paper will take a particular interest in the pending renewal and evolution of the Higher Education Act, first passed in 1965, whose recently proposed amendments aim to reduce this electronic disparity. The topic of the paper is "Bridging The Digital Divide in Higher Education."

Focus on Bonnie and Clyde, edited by John G. Cawelti.

Steele, Robert. The Good-Bad and Bad-Good in Movies: Bonnie and Clyde and In Cold Blood. Englewood Cliffs, NJ: Prentice Hall Inc., 1973

Robert Steele’s essay in John G. Cawelti’s Focus on Bonnie and Clyde discusses two of the most important film critics’ opinions of the violence in the film regarding Bonnie and Clyde. A conversation between Richard Schickel, a critic for Time magazine, and Bosley Crowther, a former critic for The New York Times becomes the basis for the article regarding violence in cinema and the moral obligations of both the filmmakers and critics alike. Schickel adopts the opinion that it is a filmmaker’s responsibility to reflect the times, which would of course include portraying violence. Crowther, however, agrees with that statement, but believes that Bonnie & Clyde, “had gone beyond the bounds of good taste and judgment in the way it presented these killers” (115).
Steele’s follows the conversation with a critique of the two critics’ views by examining how and for what reason violence is used in the film. Steele’s main argument revolves around the difference between art and entertainment, “art is entertainment, and some entertainment may be art” (117). He believes that Schickel’s claim that films should represent society would be true should it apply to documentaries, but Arthur Penn’s film strives to be art, and not simply a truthful depiction.
Steele, while defending the use of violence to a certain extent, finds complaints with the film from an artistic viewpoint instead. Slow motion and fast paced editing in the final shootout separate the deaths of Bonnie Parker and Clyde Barrow from every other death in the film elevating them to a heroic status, but for what purpose? He classifies the film as taking, “a tragic stance without giving us a tragedy” (119). Steele feels that Penn’s use of artistic editing and cinematic devices become “shenanigans” (120) because they are meant simply to disguise the underlying unpleasantness of a story where the two beautiful heroes die. In this sense, Penn’s stunning and artistic use of violence adds nothing to the film other than making it entertainment genius.

Xala

For this project, I have chosen to investigate Ousmane Sembene's 1975 film Xala. The film raises a multitude of issues pertaining to post-colonial African government and culture. Sembene largely criticizes the incompetence of the new governments, using the sexual impotence of the film's main character as a metaphor. For the research portion of the project, I sought to answer the following closely-related questions: How have post-colonial African peoples navigated the dichotomy between tradition and modernity in the realms of gender, sex and women