WorldCat Identities

Rushing, Robert A.

Overview
Works: 17 works in 55 publications in 1 language and 2,231 library holdings
Genres: Criticism, interpretation, etc  Drama  Academic theses 
Roles: Author, Editor
Classifications: PN1992.77.M226, 791.4572
Publication Timeline
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Most widely held works by Robert A Rushing
Descended from Hercules : biopolitics and the muscled male body on screen by Robert A Rushing( )

9 editions published in 2016 in English and held by 1,148 WorldCat member libraries worldwide

Muscles, six-pack abs, skin, and sweat fill the screen in the tawdry and tantalizing peplum films associated with epic Italian cinema of the 1950s and 1960s. Using techniques like slow motion and stopped time, these films instill the hero's vitality with timeless admiration and immerse the hero's body in a world that is lavishly eroticized but without sexual desire. These"sword and sandal" films represent a century-long cinematic biopolitical intervention that offers the spectator an imagined form of the male body'one free of illness, degeneracy, and the burdens of poverty'that defends goodness with brute strength and perseverance, and serves as a model of ideal citizenry. Robert A. Rushing traces these epic heroes from Maciste in Cabiria in the early silent era to contemporary transnational figures like Arnold Schwarzenegger in Conan the Barbarian, and to films such as Zach Snyder's 300. Rushing explores how the very tactile modes of representation cement the genre's ideological grip on the viewer
Mad men, mad world : sex, politics, style, and the 1960s( Book )

14 editions published in 2013 in English and held by 643 WorldCat member libraries worldwide

In this comprehensive analysis of the TV series Mad Men, scholars explore the groundbreaking drama in relation to fashion, history, architecture, civil rights, feminism, consumerism, art, cinema, and the serial format
Resisting arrest : detective fiction and popular culture by Robert A Rushing( Book )

7 editions published in 2007 in English and held by 306 WorldCat member libraries worldwide

"Resisting Arrest suggests that detective stories have less to do with fulfilling our hidden desires, as psychoanalytic explanations have traditionally asserted, than with purposively thwarting them. Rushing argues that the genre is in fact constituted principally by the promises on which it fails to deliver."--Jacket
Orphan black : performance, gender, biopolitics( Book )

7 editions published between 2018 and 2019 in English and held by 107 WorldCat member libraries worldwide

Presents a groundbreaking exploration of the hit television series "Orphan Black," and the questions it raises for performance and technology, gender and reproduction, and biopolitics and community. Contributors from a range of background explore the digital innovations and technical interactions between human and machine that allow the show to challenge conventional notions of performance and identity. The essays within address family themes and explore "Orphan Black's" own textual genealogy; extend their inquiry to the broader question of community in a "posthuman" world of biopolitical power by looking at the contexts of science, reproductive technology and the politics of gender; and finally, mobilize philosophy, history of science and literary theory in order to analyze the ways in which "Orphan Black" depicts resistance to the many forms of power that attempt to capture, monitor and shape life today
Writing without end : epistemology in Italo Calvino and Carlo Emilio Gadda by Robert A Rushing( )

5 editions published between 1998 and 2002 in English and held by 8 WorldCat member libraries worldwide

As Calvino, points out in the Lezioni americane, the gift of our natural languages seems to be their capacity to reflect a world that is multiple and complex, the ability to comprehend (without arresting) its mobility, its constant deformation. To that end, then, this study concentrates on the question of epistemology, or how we come to know and give order to phenomena without eliminating or reducing their multiplicity. My readings focus on three specific moments in the process of coming to know. In the first chapter, I trace out the loss of he loss of a stable and coherent origin of phenomena, and the discovery in its place of either an absence of origin (as in Calvinos Cosmicomiche), or a plurality of shifting, mobile causes (typical, for example, of Gadda's philosophical treatise, the Meditazione milanese). In the second chapter, I examine the heart of the question: how can the epistemic subject give order to chaotic phenomena without reducing their complexity? Indeed, both Calvino seem to keenly feel the attraction to a sharp geometry of thought--however, both ultimately resort to the notion of the provisional structure, a cognitive bricolage, that orders without guaranteeing the permanence of that order--an idea that notably resonates with much post-structuralist thinking, particular that of Jacques Derrida. Lastly, I turn to the question of endings, examining in particular the critical anxiety (notable also in theatrical and film adaptations of his novels) that surrounds the incompleteness of Gadda's writing. Gadda's inability to finish his novels is almost invariably ascribed to a lack in the author, despite the fact that the interminability of cognitive systems is fundamental to his philosophical writings. With Calvino, on the other hand, I trace the (broadly) historical development of the ending from an initial closure that treats literature as the nostalgic 'other' of the real world to the open endings typical of his later, combinatorial work
Sirens without us : the future after humanity by Robert A Rushing( )

1 edition published in 2011 in English and held by 4 WorldCat member libraries worldwide

Planes, trains, automobiles, bicycles, spaceships and an elephant : images of movement from Neorealism to the Commedia all'italiana by Robert A Rushing( )

1 edition published in 2017 in English and held by 4 WorldCat member libraries worldwide

In her place: geographies of urban female labor in Spanish culture (1880-1931) by Maria Del Mar Soria Lopez( )

1 edition published in 2010 in English and held by 3 WorldCat member libraries worldwide

My dissertation demonstrates how three aesthetic and ideological movements⁰́₄ such as costumbrismo, realism, and avant-garde⁰́₄construct characterizations of urban female workers in turn-of-the-century Spanish literature and culture as symbols of middle-class anxieties and desires as a reaction to experienced social and political instability in turn-of-the-century Spain. Costumbrismo, realism, and avant-garde highlight as the main social category from which writers such as Emilia Pardo Bazán, Benito Pérez Galdós, María Martínez Sierra, or Ramón Gómez de la Serna fashioned fictional urban working women⁰́₉s gender and work identities and their trajectories in various narratives. In particular, I claim that in these texts, the working woman⁰́₉s class conflicts with gender in the process of narrative signification, producing a multiplicity of contradictory meanings that expose turn-of-the-century bourgeois anxieties about women⁰́₉s emancipation and working-class unrest. My analysis of urban female working characters reveals that middle-class representations of working women result from a dominant conceptualization of class and gendered spaces in nineteenth and early twentieth-century Spain. For that reason, my thesis draws a geography of urban female labor through the analysis of the symbolic condensation of class, gender, and space in the cultural representations of urban working women. By doing so, I shed light on the ambivalent cultural location that working women have occupied in cultural representations of the nineteenth and early twentieth century. Even though the construction and development of modern Spain could not have taken place without the participation working women⁰́₉s labor, this segment of the population has been ⁰́out-of-place⁰́₊ for too long in literary and cultural criticism. It is my hope that this dissertation will reposition these marginalized characters to their legitimate place in critical discourse
Networks of paranoia: narratives of crime and detection in 21st century Latin America by Laura E Chinchilla( )

1 edition published in 2015 in English and held by 1 WorldCat member library worldwide

This dissertation studies Latin American narratives of crime in the twenty-first century, arguing that these texts waver between the hyper-rationality of the crime fiction genre, and an affective state of paranoia. This project argues for a new understanding of crime fiction in the region, one that is not focused on urban life or a national literary history, but is grounded instead on the "networks" that organize contemporary everyday life. Throughout, I engage with the theoretical notions of paranoia and cognitive mapping found in the works of Frederic Jameson and Ricardo Piglia. Chapters One and Two explore the presence of technological networks in crime narratives. In Chapter One, I study the appearance of cellular phones in Brazilian films arguing that the technology allegorizes the social world, producing a paranoia grounded on interconnectivity. The films analyzed in this chapter, Jose Padilha's Tropa de Elite 2: O inimigo agora é outro and Sérgio Bianchi's Os Inquilinos, depict the use of mobile communication by the state, in the case of Padilha's film, and a criminalized other that threatens domestic stability, in Bianchi's film. In Chapter Two, I turn to a seemingly anachronistic technology, the train, to study neoliberal criminality along the post-NAFTA Mexican railways, where organized crime, "legitimate" capitalism, and migrants making their way to the United States intersect. Focusing on the train known as "The Beast," this chapter looks at how this machine concretizes neoliberal interconnectivity. In this chapter I'm especially interested in how popular narratives about the train, Cary Fukunaga's film Sin Nombre and Oscar Martinez's chronicles Los migrantes que no importan, represent the flows of people, goods, and money moving from Central America to the United States, and the types of criminal activities that can (or cannot) be mapped along the migrant route. Chapters Three and Four are broadly centered on networks of finance and narcotrafficking. In Chapter Three I analyze Horacio Castellanos Moya's La diabla en el espejo and Patricia Lara's Hilo de sangre azul, two novels centered on financial crimes. Through paranoid female detectives, these novels present the post-conflict context of these countries as rife with suspicion and mistrust, where the more "legitimate" side of capitalism becomes linked to narcotrafficking. In Chapter Four I turn to Juan Villoro's Arrecife, a novel that explores how tourism and narcotrafficking, two of Mexico's most important links to the outside world, become linked. In this chapter I place Villoro's text in the rich literary history of the paranoid, Caribbean space present in Cold War spy fiction. Because of this, I read the novel through Ian Fleming's travel writing. I argue that Villoro critiques the consumption of these seemingly isolated, edenic spaces; a critique that can be ultimately extended to the global consumption of crime fiction
The national award in narrative literature and the role of art in democratic Spain (1977-2011) by Sally Perret( )

1 edition published in 2012 in English and held by 1 WorldCat member library worldwide

In this dissertation, I examine the history and function(s) of the National Award in Narrative Literaturea prize that is sponsored by the Spanish stateto highlight the role the award has played in the creation of "national cohesion" and therefore in maintaining a specific idea of Spain and of Spanish literature in the democratic period. Although the issuing of the National Award is just one of many practices that informs how the concept of the nation is understood, I argue that it is one of few that allow us to analyze ways in which literature has explicitly contributed to the image of Spain as a multicultural, yet cohesive nation-state
Mad men, mad world : sex, politics, style, and the 1960s( Recording )

1 edition published in 2014 in English and held by 1 WorldCat member library worldwide

In this comprehensive analysis of the TV series Mad Men, scholars explore the groundbreaking drama in relation to fashion, history, architecture, civil rights, feminism, consumerism, art, cinema, and the serial format
Orphan Black performance, gender, biopolitics( )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

Mad Men, Mad World sex, politics, style and the 1960s by Lauren M. E Goodlad( )

1 edition published in 2013 in English and held by 1 WorldCat member library worldwide

In this comprehensive analysis of the TV series Mad Men, scholars explore the groundbreaking drama in relation to fashion, history, architecture, civil rights, feminism, consumerism, art, cinema, and the serial format
Resisting arrest : desire & enjoyment in the detective genre by Robert A Rushing( Book )

1 edition published in 2007 in English and held by 1 WorldCat member library worldwide

The real of desire Travel/Detection/Hitchcock/Antonioni by Robert A Rushing( )

2 editions published in 2003 in English and held by 1 WorldCat member library worldwide

Sirens without Us: The Future after Humanity by Robert A Rushing( )

1 edition published in 2011 in Undetermined and held by 1 WorldCat member library worldwide

This article discusses several contemporary ways of thinking about the future after humanity has disappeared, from Lee Edelman’s No Future to Wu Ming’s discussion of how apocalyptic visions of the end of humanity can foster eco-critical thinking. Such visions, however, typically rely on De Man’s trope of prosopopeia, or personification, in order to project a human vision (generally, the author’s) into a future “without us,” as the title of Weisman’s apocalyptic book has it. This article analyzes Laura Pugno’s novel Sirene (2007), as a way of seeing not only how visions of the end of history are gendered, but also what happens to the future when the author turns to objectification rather than personification. Pugno cannot escape De Man’s “linguistic predicament” (there is no way to write “after death” without projecting a human voice into its inhuman and voiceless space), but comes perhaps as close as possible to imagining a world without Italy, without humanity, without consciousness, without language
Vigilantes, incorporated: an ideological economy of the superhero blockbuster by Stephen Ezra Claverie( )

1 edition published in 2016 in English and held by 0 WorldCat member libraries 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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Resisting arrest : desire & enjoyment in the detective genre
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English (54)