By Michael Hanrahan, Deborah L. Madsen
This quantity is anxious with developing the ways that English stories, with its potential to embody a variety of practices, methodologies, voices, or even topics, realizes its strength for interdisciplinarity through incorporating new media into its educating. the area broad internet has firmly tested English because the lingua franca of the web. With this improvement in brain, the quantity seeks to supply a cross-cultural illustration of the way academics and scholars on either side of the Atlantic have embraced new applied sciences and media first and foremost of the net Age.
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Extra info for Teaching, Technology, Textuality: Approaches to New Media (Teaching the New English)
Example text
Instead, the politics of technology is better grasped as inflected by a literary politics of personal identity. English studies has been a site of celebrating the personal since the profession began redefining itself in the 1960s. Indeed, a focus on authorial biography or textual centrality dates still further back, and persists through the present, with even the most critical theory-minded being able to self-describe Bryan Alexander 29 as a Shelley scholar or Janeite. But we have also grown to celebrate ourselves, beyond Whitman, as we reinvested our pedagogy and critical practice with the personal.
Only so can it give its students the necessary skills and (adding its normative values to those of other social sectors) impart the imagination of such skills capable of envisioning a more humane business—and, ultimately, culture—of knowledge. In short, if techn[ is where poiesis now lives—something that both business and the “cool” users of the newest, “bleeding-edge” technologies attest—then that is where the humanities must go. 19 Technique, in other words, cannot be surrendered up to the forces of productivity as a matter of purely practical skills and competencies extrinsic to serious humanistic study.
The taste of any public is not to be treated with contempt” (Merges 2003, 328). Yet, judges and lawyers routinely find themselves—or put themselves in the position of—adjudicating matters of taste and aesthetics, rather than law. Important recent changes to copyright law The twentieth century has been the century of copyright extension in the United States (as well as in many other countries, which have largely followed suit). At the beginning of the century (before 1909), protection lasted twenty-eight years, with the option to renew for another fourteen.