WorldCat Identities

Grady, Frank

Works: 12 works in 32 publications in 1 language and 913 library holdings
Genres: Criticism, interpretation, etc  History  Romances 
Roles: Author, Editor
Publication Timeline
Most widely held works by Frank Grady
Answerable style : the idea of the literary in medieval England by Andrew Galloway( Book )

7 editions published in 2013 in English and held by 444 WorldCat member libraries worldwide

Addresses medieval literary scholarship and the medieval idea of the literary, with special focus on the poetry of Chaucer, Langland, and Gower
Representing righteous heathens in late medieval England by Frank Grady( Book )

10 editions published between 2005 and 2009 in English and held by 213 WorldCat member libraries worldwide

"Righteous heathens or virtuous pagans - classical or other non-Christian figures whose reputation for virtue evoked the admiration of medieval writers and provoked anxious speculation about the possibility of their salvation - feature prominently in a wide variety of medieval English texts. This book surveys their appearances in travel literature, chronicles, romances, and sermons, as well as in the work of Langland, Chaucer, and Gower. Representing Righteous Heathens is not just a taxonomy. Frank Grady argues throughout that interest in virtuous pagans is much more than just an outgrowth of contemporary theological debates and that English writers used these figures to explore a variety of historical, cultural, and formal literary issues."--BOOK JACKET
Approaches to teaching Chaucer's Canterbury tales by Frank Grady( Book )

4 editions published in 2014 in English and held by 211 WorldCat member libraries worldwide

Chaucer's Canterbury Tales was the subject of the first volume in the Approaches to Teaching series, published in 1980. But in the past thirty years, Chaucer scholarship has evolved dramatically, teaching styles have changed, and new technologies have created extraordinary opportunities for studying Chaucer. This second edition of Approaches to Teaching Chaucer's Canterbury Tales reflects the wide variety of contexts in which students encounter the poem and the diversity of perspectives and methods instructors bring to it. Perennial topics such as class, medieval marriage, genre, and tale order rub shoulders with considerations of violence, postcoloniality, masculinities, race, and food in the tales
Studies in the age of Chaucer( Book )

1 edition published in 2009 in English and held by 10 WorldCat member libraries worldwide

Studies in the age of Chaucer( Book )

1 edition published in 2004 in English and held by 10 WorldCat member libraries worldwide

Studies in the age of Chaucer( Book )

1 edition published in 2005 in English and held by 8 WorldCat member libraries worldwide

Studies in the age of Chaucer( Book )

2 editions published between 2004 and 2006 in English and held by 6 WorldCat member libraries worldwide

Studies in the age of Chaucer( Book )

1 edition published in 2003 in English and held by 4 WorldCat member libraries worldwide

Composition and the Study of Popular Culture by Terry Mulcaire( Book )

1 edition published in 1990 in English and held by 2 WorldCat member libraries worldwide

A required freshman English course at Berkeley was designed on the assumption that: (1) students have already developed a set of sophisticated skills for reading popular culture texts--movies, television, and commercial literary genres--against and in terms of one another; and (2) these skills are not categorically different from those inculcated by teachers of composition or used by literary critics. Juxtaposing popular and elite texts reveals their affiliations and similarities and produces critical insights into both that students are not afraid to own. The class syllabus reflected a horizontal model of culture (rather than a "high" culture vs. "Low" culture vertical model), ranging from comic books to Shakespeare, and including several trips to the movies. Such courses could be built around a wide range of themes but would all thematize revision, require instructors to allow students to assert their authority over texts, and subordinate instructors' authority on matters of taste to their authority over questions of compositional technique. It is not the job of the academy to determine cultural standards or to hand down to an uncertainly appreciative audience a model constructed in institutional privacy. Rather, students should be taught to think critically about their own standards and everyone else's, and about the culture of which they are all a part. The practice of composition and the practice of studying culture amount to the same thing. (Sr)

1 edition published in 2016 in English and held by 1 WorldCat member library worldwide

Machomete and Mandeville's travels by Frank Grady( )

1 edition published in 1996 in English and held by 1 WorldCat member library worldwide

Vigilantes, incorporated: an ideological economy of the superhero blockbuster by Stephen Ezra Claverie( )

1 edition published in 2016 in English and held by 1 WorldCat member library worldwide

Since 2000, the comic-book superhero blockbuster has become Hollywood's most salient genre. "Heroes, Incorporated: A Political Economy of the Superhero Blockbuster" examines these seemingly reactionary fantasies of American power, analyzing their role in transmedia storytelling for a conglomerated and world-spanning entertainment industry. This dissertation argues that for all their apparent investment in the status quo and the hegemony of white men, superhero blockbusters actually reveal the disruptive and inhuman logic of capital, which drives both technological and cultural change. Although focused on the superhero film from 2000 to 2015, this project also considers the print and electronic media across which conglomerates extend their franchises. It thereby contributes to the materialist study of popular culture and transmedia adaptation, showing how 21st century Hollywood adapts old media for new platforms, technologies, and audiences. The first chapter traces the ideology of these films to their commercial roots, arguing that screen superheroes function as allegories of intellectual property. The hero's "brand" identity signifies stability, even as the character's corporate owners continually revise him (rarely her). Because young men spend the most on ancillary merchandise, studios favor iconic characters and repeatable coming-of-age narratives that flatter this audience without alienating others. In this production regime, economic and intellectual capital takes human shape in superheroes and their logos, trademarks that outlive both their creators and the filmmakers who depict them. The second chapter examines Time Warner's Batman films directed by Christopher Nolan, arguing that they dramatize the work of bricolage involved in making a commercial brand. Producers assemble blockbuster movies from disparate sources, and each movie in turn becomes a new source from which the studio can borrow elements to extend the brand across other media. By combining elements drawn from many Batman comic books (sold by Time Warner subsidiary DC Comics), Nolan's films simultaneously address a mass audience that interprets them as a more self-contained texts, and a cult audience that interprets them as remixes and revues of familiar scenes and narrative elements, often decades old. Moreover, these films justify the ways of brand management to the audience, preparing us for future Batman narratives by different filmmakers or featuring different actors. The third chapter looks at Watchmen (Zack Snyder, 2009) as an example of a conglomerate⁰́₉s attempt to convert a modernist, "off-brand" superhero comic book into a transmedia franchise. Although this film fared poorly at the box office, its release sent reprints of the 1987 Watchmen graphic novel to the top of the bestseller lists. The film adapts Watchmen as prestige films adapt novels, transferring narrative and even dialogue to the screen, and producers marketed the film explicitly in terms of its "fidelity" to its source. Yet the franchise's mixed results show the company's failure to bridge mass and cult audiences. Where the graphic novel indicts US conglomerates' exploitation of superheroes as intellectual property, the movie franchise performs that exploitation. My study of this franchise thereby illuminates the processes at work as producers decide which texts to adapt, how to adapt them, and for what audience segments. The fourth chapter analyzes the cultural logic of Blackness in superhero movies, perhaps the most visible way that studios negotiate between the segments of their core US audience while modeling racial inclusion for global audiences. Superhero blockbusters both show and suppress racial difference, reinforcing white hegemony in the US through gestures that appear inclusive. Bricolage here operates at the intersection of race, textual source, and star image, as filmmakers cast internationally famous Black actors, creating an aura of diversity without examining American race relations. Wary of alienating whites, superhero blockbusters either keep silent about race or treat racism as part of a remote past even in films set in the past. In their handling of race, superhero movies once again ask viewers to feel pleased with the world they inhabit, and not to make, or even to remember, organized attempts to change that world
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Audience level: 0.48 (from 0.30 for Studies in ... to 0.98 for Machomete ...)

Representing righteous heathens in late medieval England
Studies in the age of ChaucerStudies in the age of ChaucerStudies in the age of Chaucer
English (31)