Kirjahaku

Since the 1960s, academics have theorized that literature is on its way to becoming obsolete or, at the very least, has lost part of its power as an influential medium of social and cultural critique. This work argues against that misconception and maintains that contemporary American literature is not only alive and well but has grown in significant ways that reflect changes in American culture during the last twenty years. In addition, this work argues that beginning in the 1980s, a new, allied generation of American writers, born from the late 1950s to the early 1970s, has emerged, whose hybrid fiction blend distinct elements of previous American literary movements and contain divided social, cultural and ethnic allegiances. The author explores psychological, philosophical, ethnic and technological hybridity. The author also argues for the importance of and need for literature in contemporary America and considers its future possibilities in the realms of the Internet and hypertext. David Foster Wallace, Neal Stephenson, Douglas Coupland, Sherman Alexie, William Vollmann, Michele Serros and Dave Eggers are among the writers whose hybrid fictions are discussed.

The most populous Islamic country in the Middle East, Iran is rife with contradictions, in many ways caught between the culture and governments of the Western--more dominant and arguably imperalist--world and the ideology of conservative fundamentalist Islam. This book explores the present-day writings of authors who explore these oppositional forces, often finding a middle course between the often brutal and demonizing rhetoric from both sides. To combat how the West has falsely generalized and stereotyped Iran, and how Iran has falsely generalized and stereotyped the West, Iranian and diasporic writers deconstruct Western caricatures of Iran and Iranian caricatures of the West. In so doing, they provide especially valuable insights into life in Iran today and into life in the West for diasporic Iranians.

It's not the "dark side" if you approach it with insight, wit, and compassion.Most new college and university administrators, especially if they come directly from the faculty ranks or from outside academia, receive little if any training. Rather, they try to succeed mostly by stumbling through the (semi-)dark with a combination of their own knowledge and experience as well as on-the-job learning. This can lead to costly (for the administrator and the institution) mistakes as well as professional failures and campus-wide miseries. In An Insider's Guide to University Administration, Daniel Grassian helps those currently in faculty positions or outside academia determine whether a career in college and university administration is right for them—and, if so, how to best position themselves for success. Applying theory to real, practical examples of university administration, Grassian provides both prospective and current administrators with an in-depth critical analysis of areas pertinent to college and university administration, including leadership, management, vision, diversity, ethics, and fund-raising. Drawing on his varied, extensive teaching and administrative career, Grassian leaves readers with a better understanding of what those in college and university administration do and the important practical, political, and ethical issues with which they engage.

This book presents an insightful exploration into the works of African American writers born in the 1960s and 1970s. ""Writing the Future of Black America"" explores the work of eight representative African American writers of the hip-hop generation to assess their common themes and offer insights into contemporary race relations in America as expressed and challenged in their works. In this groundbreaking study, Daniel Grassian takes as his subjects a group of impressive novelists, essayists, poets, and playwrights - Paul Beatty, Trey Ellis, Terrence Hayes, Allison Joseph, Jake Lamar, Suzan-Lori Parks, Danzy Senna, and Colson Whitehead - to chart the depths of their literary work against that of their predecessors in the civil rights generation and their predominantly white contemporaries of Generation X. Characterized by the pursuit of empowerment through hybridity, social criticism, and personal expression, hip-hop has become the music and culture of choice for a sizable portion of America, regardless of race or socioeconomic standing. Meanwhile the writers of this generation have received little serious critical attention, aside from singular book reviews and occasional essays. Grassian fills in a gap in the discourse with his thorough analysis of the works crafted by these distinguished hip-hop writers, and he makes a case for the validity and value of studying their sophisticated engagements with race in contemporary America. Selected because their work addresses a broad range of African American life, these writers fathom such topics as what it means to be African American or multiethnic in an increasingly global society, what role art and literature play in affecting their communities, and what positive and negative authority has been assigned to popular culture (and hip-hop culture specifically) in modern African American life.

Drawing comparisons with such established Native American writers as N. Scott Momaday and James Welch as well as with Generation X peers, Grassian presents Alexie’s work as equally informed by Native American culture and generic, mainstream influences.