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Omschrijving
Jessica Pressman explores the rise of “bookishness” as an identity and an aesthetic strategy that proliferates from store-window décor to experimental writing. Ranging from literature to kitsch objects, stop-motion animation films to book design, she considers the multivalent meanings of books in contemporary culture.
Fizzing with ideas and sparkling with finds, this analysis of the digital age’s love affair with print shows Pressman’s keen eye for the paradoxes of contemporary cultural practices.
Jessica Pressman’s great strength lies in her wonderful touch for the material. Her expansive command of exemplars runs the gamut from the high literary to cultural kitsch. Bookishness offers that rare and enviable combination of fascinating source material and an easily transportable take-away—the title term itself, which is sure to become widely adopted and relied upon.
Jessica Pressman has written an eloquent book on our attempts, at once kitschy and inspired, to maintain a sense of attachment to reading during the book's twilight. A profound reminder of the continued hold books have on our imaginations.
Ultimately, both hobbyist and scholar will take bookishness seriously after reading Bookishness by Jessica Pressman.
A brainy exploration of what it means to be a book lover in the 21st century.
Understanding how our relationship with words has changed, and recognising bookishness as a way of navigating this shift, is what Pressman’s clear-sighted study brings to light.
Pressman absorbs academic debate into her sometimes heartfelt prose, and treads the line between readability and rigour with ease. If Bookishness articulates a democratic world where ‘books’ are enjoyed by a demographic of ‘readers’ more broadly conceived, then this book performs that aspirational inclusivity.
A delight to read.
Bookishness is a trenchant, original exploration of a widespread contemporary phenomenon. Situated at the intersection of literary studies, media studies and book history, it innovatively combines analyses of literary fiction and material culture.
A quick, timely, provocative read that—as with the command "Don’t think of pink elephants"—readers won’t be able to walk away from seeing the world the way they did going in. It opens a field of inquiry that stretches to the far corners of culture. “Look there,” one wants to say, pointing at another example of bookishness. And there. And there! Bookishness makes one want to make such lists and then shout—er, write down on paper—The book is dead, long live the book!
Bookishness will likely be of interest to technical communicators interested in literature and books broadly, and those concerned with how physical and digital mediums interact in our contemporary world.
Jessica Pressman is associate professor of English and comparative literature at San Diego State University, where she cofounded the Digital Humanities Initiative. She is the author of Digital Modernism: Making It New in New Media (2014); coauthor of Reading “Project”: A Collaborative Analysis of William Poundstone’s “Project for Tachistoscope {Bottomless Pit}” (2015); and coeditor of Comparative Textual Media: Transforming the Humanities in the Postprint Era (2013) and Book Presence in a Digital Age (2018).
Fizzing with ideas and sparkling with finds, this analysis of the digital age’s love affair with print shows Pressman’s keen eye for the paradoxes of contemporary cultural practices.
Jessica Pressman’s great strength lies in her wonderful touch for the material. Her expansive command of exemplars runs the gamut from the high literary to cultural kitsch. Bookishness offers that rare and enviable combination of fascinating source material and an easily transportable take-away—the title term itself, which is sure to become widely adopted and relied upon.
Jessica Pressman has written an eloquent book on our attempts, at once kitschy and inspired, to maintain a sense of attachment to reading during the book's twilight. A profound reminder of the continued hold books have on our imaginations.
Ultimately, both hobbyist and scholar will take bookishness seriously after reading Bookishness by Jessica Pressman.
A brainy exploration of what it means to be a book lover in the 21st century.
Understanding how our relationship with words has changed, and recognising bookishness as a way of navigating this shift, is what Pressman’s clear-sighted study brings to light.
Pressman absorbs academic debate into her sometimes heartfelt prose, and treads the line between readability and rigour with ease. If Bookishness articulates a democratic world where ‘books’ are enjoyed by a demographic of ‘readers’ more broadly conceived, then this book performs that aspirational inclusivity.
A delight to read.
Bookishness is a trenchant, original exploration of a widespread contemporary phenomenon. Situated at the intersection of literary studies, media studies and book history, it innovatively combines analyses of literary fiction and material culture.
A quick, timely, provocative read that—as with the command "Don’t think of pink elephants"—readers won’t be able to walk away from seeing the world the way they did going in. It opens a field of inquiry that stretches to the far corners of culture. “Look there,” one wants to say, pointing at another example of bookishness. And there. And there! Bookishness makes one want to make such lists and then shout—er, write down on paper—The book is dead, long live the book!
Bookishness will likely be of interest to technical communicators interested in literature and books broadly, and those concerned with how physical and digital mediums interact in our contemporary world.
Jessica Pressman is associate professor of English and comparative literature at San Diego State University, where she cofounded the Digital Humanities Initiative. She is the author of Digital Modernism: Making It New in New Media (2014); coauthor of Reading “Project”: A Collaborative Analysis of William Poundstone’s “Project for Tachistoscope {Bottomless Pit}” (2015); and coeditor of Comparative Textual Media: Transforming the Humanities in the Postprint Era (2013) and Book Presence in a Digital Age (2018).