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My Silver Planet" (taking its title from John Keats) contends that the problem of elite poetry's relation to popular culture bears the indelible mark of its turbulent incorporation of vernacular poetry--a legacy shaped by nostalgia, contempt, and fraudulence. Daniel Tiffany reactivates and fundamentally redefines the concept of kitsch, freeing it from modernist misapprehension and ridicule, by tracing its origin to poetry's alienation from the emergent category of literature. He excavates the forgotten history of poetry's relation to kitsch, beginning with the exuberant revival of archaic (and often spurious) ballads in Britain in the early eighteenth century. In these controversial events of poetic imposture, Tiffany identifies a submerged pact--in opposition to the bourgeois values of literature--between elite and vernacular poetries.Tiffany argues that the ballad revival--the earliest explicit formation of what we now call popular culture--sparked a dubious but seemingly irresistible flirtation (among elite audiences) with poetic forgery that endures today in the ambiguity of the kitsch artifact: Is it real or fake, art or kitsch? He goes on to trace the genealogy of kitsch in texts ranging from nursery rhymes and poetic melodrama to the lyric commodities of Baudelaire. He scrutinizes the fascist "paradise" inscribed in Ezra Pound's "Cantos," as well as the avant-garde poetry of the New York School and its debt to pop and "plastic" art. By exposing and elaborating the historical poetics of kitsch, " My Silver Planet" transforms our sense of kitsch as a category of material culture.

Banality (Philosophy) in literature. --- Kitsch --- Poetry --- Aesthetics --- Criticism --- In literature. --- History and criticism. --- Kitsch in literature. --- Kitsch in literature --- Banality (Philosophy) in literature --- History and criticism

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"A collection of essays on kitsch and high art in the Americas makes a return with thirteen new colorful conversations that deliver Stavans's trademark wit and provocative analysis. The collection has the power to go beyond common assumptions and helps us understand Mexican popular culture and its counterparts in the United States"--Provided by publisher.

Kitsch --- Popular culture --- Aesthetics --- Cantinflas, --- Moreno Reyes, Mario, --- Reyes, Mario Moreno, --- Moreno, Mario,

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Painters --- Gay artists --- Kitsch --- Naya Igueravide, Enrique --- Carrero Galofré, Juan José --- Costus (Group of artists)

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Sociology of literature --- German literature --- Literature and society --- Kitsch --- Littérature allemande --- Littérature et société --- History and criticism --- Congresses --- Histoire et critique --- Congrès --- Germany --- Popular culture --- 82-312.5 --- -Literature and society --- -Kitsch --- -Popular culture --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- Aesthetics --- Literature --- Literature and sociology --- Society and literature --- Sociology and literature --- Sociolinguistics --- Literatuur. Algemene literatuurwetenschap--?-312.5 --- -Congresses --- Congresses. --- Social aspects --- 82-312.5 Literatuur. Algemene literatuurwetenschap--?-312.5 --- Littérature allemande --- Littérature et société --- Congrès --- Culture --- History and criticism&delete&

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When New German cinema directors like R. W. Fassbinder, Ulrike Ottinger, and Werner Schroeter explored issues of identity-national, political, personal, and sexual-music and film style played crucial roles. Most studies of the celebrated film movement, however, have sidestepped the role of music, a curious oversight given its importance to German culture and nation formation. Caryl Flinn's study reverses this trend, identifying styles of historical remembrance in which music participates. Flinn concentrates on those styles that urge listeners to interact with difference-including that embodied in Germany's difficult history-rather than to "master" or "get past" it. Flinn breaks new ground by considering contemporary reception frameworks of the New German Cinema, a generation after its end. She discusses transnational, cultural, and historical contexts as well as the sexual, ethnic, national, and historical diversity of audiences. Through detailed case studies, she shows how music helps filmgoers engage with a range of historical subjects and experiences. Each chapter of The New German Cinema examines a particular stylistic strategy, assessing music's role in each. The study also examines queer strategies like kitsch and camp and explores the movement's charged construction of human bodies on which issues of ruination, survival, memory, and pleasure are played out.

Motion picture music --- Motion pictures --- History and criticism. --- Background music for motion pictures --- Film music --- Movie music --- Moving-picture music --- Dramatic music --- Music --- Film scores --- 791.43 --- camp --- Caryl Flinn --- Duitsland --- Fassbinder Rainer Werner --- film --- film en geschiedenis --- filmgeschiedenis --- kitsch --- Kluge Alexander --- Ottinger Ulrike --- Treut Monika --- twintigste eeuw --- von Praunheim Rosa --- 82:791.43 --- 82:791.43 Literatuur en film --- Literatuur en film --- History and criticism --- Cinéma --- Film, Musique de --- Histoire et critique --- cinema historians. --- contemporary germany. --- famous films. --- film buffs. --- film students. --- film styles. --- film textbooks. --- german cinema. --- german cinematic style. --- german culture. --- german directors. --- german music. --- germany. --- historical contexts. --- historical review. --- kitsch. --- music styles. --- music. --- national identity. --- new german cinema. --- nonfiction. --- personal identity. --- political identity. --- r w fassbinder. --- sexual identity. --- transnational contexts. --- ulrike ottinger. --- werner schroeter.