Comics and Stuff: Q&A with Henry Jenkins
June 8, 2021
We caught up with Henry Jenkins to find out more about the shifting cultural role of comics, how comics reflect our relationships to material things, and more.
Category: Literary Studies
Against Nothingness
November 6, 2020
—Douglas Burnet Smith As November 11 approaches, and we acknowledge once again the last hour of the last day of “the war to end all wars,” as more wars rage… READ MORE
Where Will You Go with Honey on the Page?
October 6, 2020
—Miriam Udel
Embark on a tour of four continents as they appear in the beautiful collection ‘Honey on the Page’
Remembering Remarque, Beyond ‘All Quiet on the Western Front’
February 15, 2019
—Originally published by NYU News and Niv M. Sultan
The German novelist is most famous for his 1929 magnum opus about World War I, but a new NYU Press collection of lesser-known stories adds to his legacy
From the March for Science to an Abolitionist Science
April 20, 2017
—Britt Rusert
An abolitionist science moves beyond generic defenses of science in an age of populist skepticism and backlash, requiring an evaluation of different types of science and an excavation of their specific relationships to forms of power and exploitation.
Black History Month in the Age of Trump: How We Remember Now
February 28, 2017
—Aida Levy-Hussen
Commemorating Black History Month with extemporized non-sequiturs, Trump’s rejoinder to African American appeals for remembrance and recognition is a turn away from the foundational social premises—good faith, the valuing of history, the idea of a public sphere—that make such desire speakable in the first place.
Notes for a Film: On Dalton Trumbo’s Johnny Got His Gun and Huey P. Newton; Or, How do you marry thinking about existing social relations alongside categories of reflection if you have no eyes?
September 30, 2016
Jeremy M. Glick on problems of thinking “the whole” in radical thought, and how to calibrate categories of reflection suitable to think about imperialist war.
Tragedy and the Proper Name
March 18, 2016
So much of the way I think about tragedy as a genre and political category comes from the work of Raymond Williams’s Modern Tragedy, in which the critic labors to show how flawed the elitist linguistic divide separating tragedy as a high art (the tragedy of Comparative Literature, English, and Classics curriculums) versus tragedy’s everyday use as signifying a grave event, a calamitous lost.
