From Walden Pond To Jurassic Park

Paul Lauter, an icon of American Studies who has been a primary agent in its transformation and its chief ambassador abroad, offers a wide-ranging collection of essays that demonstrate and reflect on this important and often highly politicized discipline. While American Studies was formerly seen as a wholly subsidiary academic program that loosely combined the study of American history, literature, and art, From Walden Pond to Jurassic Park reveals the evolution of an independent, highly interdisciplinary program with distinctive subjects, methods, and goals that are much different than the traditional academic departments that nurtured it. With anecdote peppered discussions ranging from specific literary texts and movies to the future of higher education and the efficacy of unions, From Walden Pond to Jurassic Park entertains even as it offers a twenty-first century account of how and why Americanists at home and abroad now do what they do. Drawing on his forty-five years of teaching and research as well as his experience as a political activist and a cultural radical, Lauter shows how a multifaceted increase in the United States’ global dominion has infused a particular political urgency into American Studies. With its military and economic influence, its cultural and linguistic reach, the United States is—for better or for worse—too formidable and potent not to be understood clearly and critically.

Seminar paper from the year 2011 in the subject American Studies - Culture and Applied Geography, grade: 2,0, Free University of Berlin (John-F.-Kennedy-Institut), language: English, abstract: This paper will try to work and point out parallels and differences between a classical piece of American literature, Henry David Thoreau's Walden, and contemporary Hollywood blockbuster cinema, represented by Steven Spielberg's Jurassic Park. Point of departure and main focus of this paper will be the concept and aspects of the frontier and it's reoccurrence as a mythological tool throughout American cultural history. After establishing the historical concept of the frontier, I will therefore go ahead and dig for traces of how this is woven into both works, which in conclusion will hopefully show the assumed American cultural connection between the later acclaimed book written some 150 years ago looking deep into the romantic soul of its protagonist and a consumerist movie from the early nineties that was able to use the benefits of a huge marketing machine to attract its viewership and became a worldwide box office hit. The usefulness of such an undertaking may be questionable for followers of classical cultural American studies but I would like to go with Paul Lauter here and filter out the trivial in mass culture to get to the subject's core of meaning. Essays from his book From Walden Pond to Jurassic Park inspired to look for similarities in those two pieces and maybe find a development of what the concept of the frontier has been transformed into through societal and cultural changes within the last century.

The volume reexamines the trope of the intrusive machine and the regenerative pastoral garden, laid out fifty years ago by Leo Marx in The Machine in the Garden, one of the founding texts of American Studies. Contributions explore the lasting influence of the trope in American culture and the arts, rereading it as a dialectics where nature is as much technologized as technology is naturalized. They trace this dialectic trope in filmic and literary representations of industrial, bureaucratic, and digital gardens; they explore its function in the aftermath of the civil war, the rural electrification during the New Deal, in landscape art, and in ethnic literatures; and they discuss the historical premises and lasting influence of Leo Marx's seminal study.

Unplugging Popular Culture showcases youth and young adult characters from film and television who defy the stereotype of the "digital native" who acts as an unquestioning devotee to screened technologies like the smartphone. In this study, unplugged tools, or non-digital tools, do not necessitate a ban on technology or a refusal to acknowledge its affordances but work instead to highlight the ability of fictional characters to move from high tech settings to low tech ones. By repurposing everyday materials, characters model the process of reusing and upcycling existing materials in innovative ways. In studying examples such as Pitch Perfect, Supernatural, Stranger Things, and Get Out, the book aims to make theories surrounding materiality apparent within popular culture and to help today’s readers reconsider stereotypes of the young people they encounter on a daily basis.

This volume stems from the idea that the notion of borders and borderlines as clear-cut frontiers separating not only political and geographical areas, but also cultural, linguistic and semiotic spaces, does not fully address the complexity of contemporary cultural encounters. Centering on a whole range of literary works from the United States and the Caribbean, the contributors suggest and discuss different theoretical and methodological grounds to address the literary production taking place across the lines in North American and Caribbean culture. The volume represents a pioneering attempt at proposing the concept of the border as a useful paradigm not only for the study of Chicano literature but also for the other American literatures. The works presented in the volume illustrate various aspects and manifestations of the textual border(lands), and explore the double-voiced discourse of border texts by writers like Harriet E. Wilson, Rudolfo Anaya, Toni Morrison, Cormac McCarthy, Louise Erdrich, Helena Viramontes, Paule Marshall and Monica Sone, among others. This book is of interest for scholars and researchers in the field of comparative American studies and ethnic studies.

The Fiction of America juxtaposes classic literature of the American Renaissance with twentieth-century popular culture—pairing, for instance, Ralph Waldo Emerson with Finding Nemo, Walt Whitman with Spiderman, and Hester Prynne with Madonna—to investigate how the “Americanness” of American culture constitutes itself in the interplay of the cultural imaginary and performance. Conceptualizing “America” as a transhistorical practice, Susanne Hamscha reveals disruptive, spectral moments in the narrative of “America,” which confront American culture with its inherent inconsistencies.

"Color Monitors looks at a particular subset of imagined computer use, focusing on scenarios that demand from the person at the keyboard an intimate technical knowledge. My research has uncovered a peculiar pattern: race comes into sharp relief when computer use is depicted as difficult labor requiring special expertise. Time and again, in such scenarios, the helpful person of color is there to take the call—to provide technical support, to deal with the machines. In interpreting such images, Color Monitors analyzes the computer-fearing strain in American whiteness, an aspect of white identity that defines itself against information technology and the racial other imagined to love it and excel at it."—Martin KevorkianFollowing up on Ralph Ellison's intimation that blacks serve as "the machines inside the machine," Color Monitors examines the designation of black bodies as natural machines for the information age. Martin Kevorkian shows how African Americans are consistently depicted as highly skilled, intelligent, and technologically savvy as they work to solve complex computer problems in popular movies, corporate advertising, and contemporary fiction. But is this progress? Or do such seemingly positive depictions have more disturbing implications? Kevorkian provocatively asserts that whites' historical "fear of a black planet" has in the age of microprocessing converged with a new fear of computers and the possibility that digital imperatives will engulf human creativity.Analyzing escapist fantasies from Mission: Impossible to Minority Report, Kevorkian argues that the placement of a black man in front of a computer screen doubly reassures audiences: he is nonthreatening, safely occupied—even imprisoned—by the very machine he attempts to control, an occupation that simultaneously frees the action heroes from any electronic headaches. The study concludes with some alternatives to this scheme, looking to a network of recent authors, with shared affinities for Ellison and Pynchon, willing to think inside the black box of technology.Connecting race, technology, and American empire, Color Monitors will attract attention from scholars working in emerging areas of race theory, African American studies, film studies, cultural studies, and technology and communication studies.

“What if American Studies is defined not so much in the pages of the most cutting-edge publications, but through what happens in our classrooms and other learning spaces?” In Teaching American Studies Elizabeth Duclos-Orsello, Joseph Entin, and Rebecca Hill ask a diverse group of American Studies educators to respond to that question by writing chapters about teaching that use a classroom activity or a particular course to reflect on the state of the field of American Studies. Teaching American Studies speaks to teachers with a wide range of relationships to the field. To start, it is a useful how-to guide for faculty who might be new to, or unfamiliar with, American Studies. Each author brings the reader into their classes to offer specific, concrete details about their pedagogical practice, and their students' learning. The resulting chapters connect theory and educational action as well as share challenges, difficulties, and lessons learned. The volume also provides a collective impression of American Studies from the point of view of students and teachers. What primary and secondary texts and what theoretical challenges and issues do faculty use to organize their teaching? How does the teaching we do respond to our institutional and educational contexts? How do our experiences and those of our students challenge or change our understanding of American Studies? Chapters in this collection discuss teaching a broad range of materials, from memoirs and novels by Anne Moody and Octavia Butler to cutting-edge cultural theory, to the widely used collection Keywords for American Cultural Studies. But the chapters in this collection are also about dancing, eating, and walking around a campus to view statues and gravestones. They are about teaching during the era of Donald Trump, Black Lives Matter, and giving up authority in the classroom. Teaching American Studies is both a new way to think about American Studies and a timely collection of effective ways to teach about race, gender, sexuality, and power in a moment of political polarization and intense public scrutiny of universities.