19 February 2011

"Converging Cultures: Film, Fiction and Celebrity"

Please join us for the next session in our "The Uses of Literature" series, where we'll be joined by James Annesley of Newcastle University's School of Literature, Language and Linguistics.

More than just a description of technological changes that are working alongside the increasing integration of media businesses, convergence is a social process that works on our cultural consumption at the same time as it affects the aesthetics of the culture we consume. Films are increasingly resembling video games, literary texts are merging with other forms of media on Ipad and Kindle.

Beyond these technological, industrial and sociological changes, there is also, this paper argues, evidence of increasing convergence in creative practice. The self-reflexive quality of Bret Ellis’ recent fiction and Spike Jonze’s films, for example, not only illustrates the ways in which convergence works to blur and undermine familiar aesthetic categories, but does so in terms that offer important insight into the boundary-less creative gene pool that provides a context for cultural production in a converged mediascape. Focussing on the functioning of celebrity in their work (particularly Ellis’ portraits of himself as the celebrity author, and the games Jonze plays with John Malkovich and Christopher Walken), the argument is that convergence is not only affecting the kinds of material that writers are filmmakers are producing and changing the ways in which their cultural production is financed, disseminated and consumed, but is at the same time transforming the ways in which they are making their work. Jonze in particular seems to have very clear sense that the perceived divisions between music, advertising, cinema and television have as little meaning for his creative practice as they do for media businesses and consumers. Even as "Being John Malkovich" encourages us to reconsider our expectations about the aesthetics of film in a converging culture, it also helps us understand the extent to which it, like many other contemporary cultural artefacts, is the product of a creative practice that is itself convergent.

James Annesley is Senior Lecturer in American Literature at Newcastle University with research interests including American literature, contemporary literature and culture, globalization, consumer society and lifestyle. His publications include Fictions of Globalisation: Consumption, the Market and the Contemporary American Novel (London: Continuum, 2006), Blank Fiction: Consumerism, Culture and the Contemporary American Novel (London: Pluto: 1998).

1 February 2011

“Cognition, Narrative, and the Force of Fictionality”

Hope you can join us for the next seminar in our "The Uses of Literature" series, lead by Richard Walsh of the University of York. Dr Walsh will be discussing the role of fictionality in human understanding (abstract follows below). As ever, his paper will be followed by open forum discussion and then a trip to the pub.

The literary text is inherently metadiscursive, and like all metadiscourse if offers understanding of something already within the human domain of meaning, rather than natural phenomena. This paper elaborates upon that quality with specific reference to fictionality, and shows how the built-in self-consciousness of fictionality as a rhetorical orientation connects highly wrought literary fictions with the most elemental functions of human understanding. At a cognitive level, narrative sense-making is both an adaptive faculty offering unprecedented mastery over temporality and experience, and the inauguration of a reflexive cycle of representation that works both to define the parameters of human value and to expose the contingency and limitations of its own frame of reference. Fictive rhetoric, by virtue of the self-consciousness integral to its operation, uses this cycle as the engine of the creative imagination; and literary fiction raises it to the highest degree. My argument maps out this view of fictionality, moving from a cognitive-evolutionary frame of reference, via a consideration of the status of narrative in relation to the theory of natural selection itself, to a distinction between value and force that characterizes the duality between what narrative reflexiveness says and what it does.

Richard Walsh is a senior lecturer in English and Related Literature at the University of York. He is the author of "Novel Arguments: Reading Innovative American Fiction" (Cambridge 1995) and "The Rhetoric of Fictionality: Narrative Theory and the Idea of Fiction" (Ohio State, 2007), which proposes a fundamental reconceptualisation of the role of fictionality in narrative, and in doing so challenges many of the core assumptions of narrative theory. He has published articles in "Poetics Today", "Narrative", "Style", "Modern Fiction Studies" and "Storyworlds", among others, and has contributed essays to edited volumes such as the "Blackwell Companion to Narrative Theory" (2005), "Toward a Cognitive Theory of Narrative Acts" (2010) and "Postclassical Narratology: Approaches and Analyses" (2010). His current research interests include narrative across media and narrative theory in interdisciplinary contexts, in particular the relation between narrative and the concept of emergence. He is the leader of the Fictionality Research Group, and director of Narrative Research in York’s Centre for Modern Studies.