Download The Real South: Southern Narrative in the Age of Cultural by Scott Romine PDF

By Scott Romine

During this stimulating, state-of-the-art research, Scott Romine explores the influence of globalization on modern southern tradition and the South's endurance in an age of media and what he phrases "cultural reproduction." instead of being compromised, Romine asserts, southern cultures are either complex and reconfigured as they're more and more indifferent from culture in its traditional feel. In contemplating Souths that would seem fake--the Souths of the topic eating place, advertisement tv, and well known neighborhood magazines, for example--Romine contends that authenticity and fact become significant thoughts that permit teams and contributors to visualize and navigate social worlds.Romine addresses an enormous serious problem--"authenticity"--in a essentially new demeanour. much less inquisitive about what truly constitutes an "authentic" or "real" South than in how those thoughts are used this present day, the true South explores a variety of southern narratives that describe and go back and forth via digital, simulated, and commodified Souths. the place past critics have tended to imagine a true or real South, Romine questions what's at stake in such assumptions and no matter if the "authentic South" ever really existed. From long gone with the Wind, Civil conflict reenactments, and a tennis group outdoor Atlanta referred to as Tara, to the paintings of Josephine Humphreys, the commute narratives of V. S. Naipaul and Tony Horwitz, and the ancient fiction of Lewis Nordan, Romine examines how narratives (and areas) are used to style social unity and cultural continuity in a time of fragmentation and alter. faraway from deteriorating or disappearing in an international financial system, Romine exhibits, the South remains to be reproduced and utilized by diversified teams engaged in varied cultural initiatives. If one South unavoidably offers itself because the actual South, the presence of one other South and its competing rhetorics of authenticity, its substitute (but in all probability intersecting) tales, unavoidably places the South in play as a website of negotiation and mutual navigation. This strikingly unique paintings of literary and cultural feedback exhibits that, in spite of everything, we may perhaps come to varied Souths, yet none should be good in reality or in perform.

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Additional resources for The Real South: Southern Narrative in the Age of Cultural Reproduction (Southern Literary Studies)

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Circulating as such, Tara enacts the catachrestic logic of the objet a as, in Krips’s words, “a substitute for an object constituted retrospectively through the act of substitution” that, in turn, “creates the false impression that there was something . . ”6 To be sure, Gone with the Wind is not the first text to conjure an Old South as nostalgic compensation for present deprivations. But no cultural text has ever done it better or more completely. Tara is the sim-plantation that all real plantations of the tourist industry strive to reproduce, an ineffable space toward which actual spaces of all kinds are mobilized, a platonic ideal that quotidian objects of all sorts, from wedding cake toppers to Barbie dolls, strive to represent.

4 Apter is not, however, speaking of Tara per se, but of the fetish, and in reading the former through the analytical lens of the latter, I hope to account for what I regard as the narrative’s fundamental rearrangement of (southern) culture from a default condition coding and regulating desire to an object in itself desirable, if never fully attainable. ” Within this economy, the fetish acquires two analogues central to my project: the commodity and the simulacrum. ” Just so, I argue, with Tara: no one ever fully buys into it, which is not to say that no one buys it.

42 But a world so connected is an affront to narrative, and, as it turns out, an affront to Todd and Anna as well: however capriciously, the episode recuperates disarray as a form of order. ”) Critically, we would judge Anna’s conclusion of a southern way of life as having a tacked-on quality. But whatever its aesthetic shortcomings, Anna uses the South to tell a story about her weekend, just as she uses her weekend to fabricate a location of culture. In its broad contours, as I hope to show in the chapters that follow, this logic informs as well more substantive and compelling narratives of cultural reproduction.

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