Marcus greil essay

Greil Marcus - Notes on the making of A New Literary History of.

, delivered one of the keynote addresses at a conference on narrative at Case Western Reserve University in Cleveland, taking as his subject what he discovered about writing and editing during the making of .

Greil Marcus Research Paper

This is how it goes in the vernacular of rock journalism: the more idiosyncratic the artists and the more distinctive their sound, the more insistent are the attempts to embellish that uniqueness with a plethora of motley, and often crudely chiseled, monikers.

<strong>Greil</strong> <strong>Marcus</strong> - Notes on the making of A New Literary History of.

Greil Marcus Remixing the Humanities

“Perhaps the most pernicious strain of contemporary criticism says one thing before it says anything else, says it to whatever historical event or cultural happenstance is supposedly at issue: ‘You can’t fool me.’ “ The pop-music critic Greil Marcus wrote this in 1995, in the introduction to the essay collection “The Dustbin of History.” That book is rht at the midpoint of Marcus’s career bookshelf thus far: it was published twenty years after his pivotal “Mystery Train: Images of America in Rock ’n’ Roll Music” and twenty years before the two books he published this fall, “Three Songs, Three Singers, Three Nations” and “Real Life Rock: The Complete Top Ten Columns, 1986–2014.” “I think criticism, or a critical engagement with history, has a good deal to do with a willingness to be fooled,” Marcus continues, in that intro, “to take an idea too far, to bet too much on too small an object or occasion, to be caught up and even swept away.” Marcus’s “willingness to be fooled” is something like his critical super power.

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The internet’s variant on this kind of thing, known by the unfortunate neologism “listicle,” thrives because giving each item its own page snificantly increases the available advertising space.

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