Titlebook: Spaces of Surveillance; States and Selves Susan Flynn,Antonia Mackay Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 surveil

衰弱的心

形上升才刺激

Participating in ‘1984’: The Surveillance of Sousveillance from , to Right Nowhat that looks like now, as DeLillo had already seen coming, is our culture built around “watching you” as much as it is around “watch me”. What I intend for this chapter is to consider DeLillo’s novel and its (not so) Orwellian year of 1984 in order to call attention to the ways we currently attemp

affluent

Surveillance in Post-Postmodern American Fiction: Dave Eggers’s , Jonathan Franzen’s , and Gary Shtehnologies criticized in their fictional narratives. It will argue for the need to discuss the ontological presence of the author in the digital world: Eggers’s, Franzen’s, and Shteyngart’s novels, with their strong ethical component, offer a good example of why this authorial presence or voice matte

热情的我

Surveilling Citizens: Claudia Rankine, From the First to the Second Personand the virtue of civics, is further tied to Rankine’s intensive interrogation of pronoun usage in these same works, an exploration I read as an extended comment on the contemporary meanings of the lyric form. I propose that Rankine’s pronoun work can be understood as a reflection on the increasing

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不在灌木丛中

Sousveillance as a Tool in US Civic Politynce is inculcated in modern citizenship, as previous chapters have discussed, and so its prevalence is has consequences for communities, policy makers, artists, writers and academics more than ever before. This form of monitoring has body-specific and social reactions which deeply affect the perform

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直觉没有

Book 2017y plays out in contemporary narratives, where the ‘selves’ we create are troubled by surveillance. This collection will appeal to scholars of media and cultural studies, contemporary literature, film and art and American studies. . . .

angina-pectoris

Equality and Erasure: Responses to Subject Negation in the Art of Jill Magidhe dialectical limitations imposed upon our identities in the post-Orwellian, post-Foucauldian era of surveillance. In this way, the chapter opens a discussion about the practices of art as a subsystem of culture, which engages with the notions of selves and surveillance.