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El. knyga: On the Verge of Tears: Why the Movies, Television, Music, Art, Popular Culture, Literature, and the Real World Make Us Cry

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  • Formatas: 260 pages
  • Išleidimo metai: 16-Apr-2010
  • Leidėjas: Cambridge Scholars Publishing
  • ISBN-13: 9781443821957
Kitos knygos pagal šią temą:
On the Verge of Tears: Why the Movies, Television, Music, Art, Popular Culture, Literature, and the Real World Make Us CryDidesnis paveikslėlis
  • Formatas: 260 pages
  • Išleidimo metai: 16-Apr-2010
  • Leidėjas: Cambridge Scholars Publishing
  • ISBN-13: 9781443821957
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The idea for this book began with David Lavery's 2007 column for flowtv.org. "The Crying Game: Why Television Brings Us to Tears" asked us to consider that "age-old mystery": tears. The respondents to David's initial surveyMichele Byers among themdidn't agree on anything ... Some cried more over film, some television, some books; some felt their tears to be a release, others to be a manipulation. They did agree, however, as did the readers who responded to the column, that crying over stories, and even "things," is something that is a shared and familiar cultural practice. This book was born from that moment of recognition.On the Verge of Tears is not the first book to think about crying. Tom Lutz's Crying: The Natural & Cultural History of Tears, Judith Kay Nelson's Seeing Through Tears: Crying and Attachment, Peter Schwenger's The Tears of Things: Melancholy and Physical Objects, and Henry Jenkins' The Wow Climax: Tracing the Emotional Impact of Popular Culture also offer forays into this familiar, if not always entirely comfortable, emotional space. This book differs markedly from each of these others, however. As a collection of essay by diverse hands, its point of view is multi-vocal. It is not a history of tears (as is Lutz's superb book); nor is its approach psychological/sociological (as is Nelson's). It does not limit itself to very contemporary popular culture (as does Jenkins' book) or material culture (as does Schwenger's study).What On the Verge of Tears offers are personal, cultural, and political ruminations on the tears we shed in our daily engagements with the world and its artifacts. The essays found within are often deeply personal, but also have broad implications for everyday life. The authors included here contemplate how and why art, music, film, literature, theatre, theory, and material artifacts make us weep. They consider the risks of tears in public and private spaces; the way tears implicate us in tragedy, comedy, and horror. On the Verge of Tears does not offer a unified theory of crying, but, instead, invites us to imagine tears as a multi-vocal language we can all, in some manner, understand.
Acknowledgments ix
Introduction The Crying Game 1(11)
David Lavery
Brief Tears I Gin Talking
6(6)
Will Brooker
Part I Crying at Music and Art
Chapter One The Water is Wide: Risking Tears in the Met, and Elsewhere
12(11)
Bruce B. Janz
Chapter Two El Sentimiento Triste
23(6)
Alina Gharabegian
Chapter Three Cry Me a River
29(21)
Sophie Mayer
Brief Tears II Coleridge's Tears: How the Poet Explained Our Crying at Television Shows and Movies in 1817
47(3)
Paul Levinson
Part II Crying at the Movies
Chapter Four Afterthoughts on Disability: Crying at William Wyler's Best Years of our Lives
50(17)
Lance Duerfahrd
Chapter Five Let's Go Swimming: (Not) Crying at the Movies
67(10)
Johnson Cheu
Chapter Six A Tale of Two Labyrinths: The Emotional Experience of Pan's Labyrinth
77(16)
Douglas L. Howard
Chapter Seven Philadelphia, Mainstream Cinema-Inspired Tears, and the Social Re-Construction of the AIDS Pandemic
93(6)
Kylo-Patrick R. Hart
Chapter Eight David Lynch's Triptych of Tears
99(15)
Steven Peacock
Brief Tears III Why I Don't Cry
108(6)
Laura Nathan-Garner
Part III Crying at Television and Popular Culture
Chapter Nine "It's a Thing We Do": Crying with Buffy and Angel
114(11)
Cynthea Masson
Chapter Ten Crying at the "Slick" Stuff: The Development of a Pop Culture Scholar
125(6)
Heather Urbanski
Chapter Eleven Good Grief, Intimate Strangers, and The Office: Tearful Laughter in the Postdocumentary Age
131(14)
Christopher Kocela
Chapter Twelve Death of an Icon, Wrath of a Fan
145(15)
Brennan Thomas
Brief Tears IV Broken (by) Blossom
152(4)
Joseph S. Walker
Brief Tears (V) Public Tears and Private Moments: Saying Goodbye to Sex and the City
156(4)
Deborah Jermyn
Part IV Crying at Literature and Drama
Chapter Thirteen I Weep therefore I Am: The Eighteenth-Century Invention of the Tearjerker
160(11)
Cecillia Feilla
Chapter Fourteen Tears and Interpretation in Titus Andronicus
171(23)
D. C. Jellerson
Brief Tears (VI) For Crying Out Loud
185(9)
Marni Stanley
Part V Crying at The Real World
Chapter Fifteen Cracking
194(12)
Jimmy Dean Smith
Chapter Sixteen Waiting for the End of the World: Crying at Disaster after "9/11"
206(13)
Michele Byers
Works Cited 219(15)
TV Filmography 234(4)
Contributors 238(5)
Index 243
Michele Byers is Associate Professor of Sociology and Criminology. She has published extensively in the area of television studies, including on shows such as The O.C., Curb Your Enthusiasm, Sex and the City, Degrassi, Dexter, Arrested Development, Roseanne, Beverly Hills 90210, Party of Five, Buffy the Vampire Slayer, Ready or Not, and Renegadepress.com. She has edited or co-edited the books Growing Up Degrassi: Television, Identity and Youth Cultures and Dear Angela: Remembering My So-Called Life (with David Lavery), and "The CSI Effect:" Television, Crime, and Critical Theory (with Val Johnson). Her new work focuses on television and the production of ethnicity, and studies of the Jewish American Princess.David Lavery is Professor of English at Middle Tennessee State University, USA, and the author/editor/co-editor of numerous essays and over twenty books, including Joss Whedon: Conversations (University Press of Mississippi) and volumes on such television series as Twin Peaks, The X-Files, Buffy the Vampire Slayer, The Sopranos, Lost, Deadwood, Seinfeld, My So-Called Life, Heroes, and Battlestar Galactica. He co-edits the e-journal Slayage: The Online International Journal of Buffy Studies and is one of the founding editors of Critical Studies in Television: Scholarly Studies of Small Screen Fictions. He has lectured around the world on the subject of television.
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