Bücher der Reihe Cultural Frames, Framing Culture

Since the 18th century, artists have played a conflicting role in society. Part of the reason for this, argues this analysis, is the survival of the culture of idolatry in the modern age. They can either paint scenes of worship of the golden calf or they can fabricate the idol themselves.

The "century of trauma" produced writing at once saturated in political violence and complicated by the ethics of aesthetic representation. Stretching across genres and the globe, Terrible Beauty charts a course of aesthetic reconciliation between empathy and evil in the great literature of the twentieth century.

An examination of why the immense violence and suffering in the 20th century failed to arouse artistic and cultural expressions powerful enough to prevent their recurrence. By looking at the whole span of the century's writing on war, it provides a critique of art's ethical limitations.

Representations of Joan of Arc have been used in the United States for the past two hundred years, appearing in advertising, cartoons, popular song, art, criticism, and propaganda. The presence of the fifteenth-century French heroine in the cinema is particularly intriguing in relation to the role of women during wartime. Robin Blaetz argues that a mythic Joan of Arc was used during the First World War to cast a medieval glow over an unpopular war, but that she only appeared after the Second World War to encourage women to abandon their wartime jobs and return to the home.In Visions of the Maid, Blaetz examines three pivotal films-Cecil B. DeMille's 1916 Joan the Woman, Victor Fleming's 1948 Joan of Arc, and Otto Preminger's 1957 Saint Joan-as well as addressing a broad array of popular culture references and every other film about the heroine made or distributed in the United States. Blaetz is particularly concerned with issues of gender and the ways in which Joan of Arc's androgyny, virginity, and sacrificial victimhood were evoked in relation to the evolving roles of women during war throughout the twentieth century.

We need look no further than Donald Trump's 2016 presidential campaign and victory for proof that early twentieth-century anxieties about individualism, race, and the foreign or intrusive "other" persist today. In Stranger America, Josh Toth tracks and delineates these anxieties in America's narrative media.

Establishing the "dandy" as a kind of shorthand for a diverse range of traits and tendencies, including gentlemanliness, rebelliousness, androgyny, theatricality, and extravagance, Len Gutkin traces Victorian aesthetic precendents in the work of the modernist avant-garde, the noir novel, Beatnik experimentalism, and the postmodern thriller.

It's often said that we are what we wear. Tracing an American trajectory in fashion, Lauren Cardon shows how we become what we wear. Over the twentieth century, the American fashion industry diverged from its roots in Paris, expanding and attempting to reach as many consumers as possible, and became a tool for social mobility.

Originally a euphemism for Princeton University's Female Literary Tradition course in the 1980s, "e;chick lit"e; mutated from a movement in American women's avant-garde fiction in the 1990s to become, by the turn of the century, a humorous subset of women's literature, journalism, and advice manuals. Stephanie Harzewski examines such best sellers as Bridget Jones's Diary The Devil Wears Prada, and Sex and the City as urban appropriations of and departures from the narrative traditions of the novel of manners, the popular romance, and the bildungsroman. Further, Harzewski uses chick lit as a lens through which to view gender relations in U.S. and British society in the 1990s. Chick Lit and Postfeminism is the first sustained historicization of this major pop-cultural phenomenon, and Harzewski successfully demonstrates how chick lit and the critical study of it yield social observations on upheavals in Anglo-American marriage and education patterns, heterosexual rituals, feminism, and postmodern values.

The term "culture" has become ubiquitous in both academic and popular conversations, but its usefulness is a point of dispute. Taking the current shift from cultural studies to aesthetics as the latest form of this discussion, Eric Aronoff contends that in American modernism, the concepts of culture and of aesthetics have always been inseparable.