Titlebook: Class Representation in Modern Fiction and Film; Keith Gandal Book 2007 Keith Gandal 2007 America.Amerikanische Literatur.culture.drama.fi

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Wasser-Elektrolyt- und S?ure-Basen-Haushaltat is already fully articulated in Hurston’s ., and ., for example, all depend on the charms of downward mobility into lower-class existence—at least in the short run. As strange as it sounds at first, it seems hardly an overstatement to claim that the middle-class conceptions of itself today at the

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An?sthesie in der Gef??chirurgieinto the mythology of the slumming drama: he lived fast and furiously, spurned the middle class, associated with the poor and lowlifes, and died young. But instead of Crane’s famous, romantic, masculine adventure seeking—supposedly in revolt against a feminized, middle-class Victorian culture—the sh

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https://doi.org/10.1007/978-3-540-46576-8ass-crossing cinema. Between the slumming fantasy film and the class trauma movie stands a sort of hybrid genre, what might be called the slumming trauma. Between the sentimental slumming hero Jack in the Hollywood blockbuster . and the humiliated and humiliating degenerate Telly in the indie art fi

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Book 2007A fresh exploration of the representation of poverty and class in American literature and film, through the juxtaposition of films, writings and the unusual lives of Zora Neale Hurston, Stephen Crane, Henry Miller and Michel Foucault. The book argues for Hurston‘s centrality, not merely to the African-American canon, but to the American tradition.

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