Landscape and Subjectivity in the Work of Patrick Keiller, W.G. Sebald, and Iain Sinclair
Produktdetaljer
Om bidragsyterne
David Anderson is Leverhulme Early Career Fellow in the Department of Comparative Literature at Queen Mary University of London. His research interests encompass Anglo-German cultural relations as well as representations of London in literature and film. He has recently been engaged as a Research Associate in UCL's Urban Laboratory, co-curating the symposium and screening series City, Essay, Film.my few paragraphs can never do justice to the 275 pages of David Anderson's remarkable book. I urge you to read it yourself.
Terry Pitt, Vertigo
To add something new in what seems like a firmly established discourse of millennial writer-walkers is no mean feat. That David Anderson manages to do so while discussing three artists with such differences of style and medium is hugely impressive.
Jamie Harris, Aberystwyth University, Modern Language Review
It has opened my eyes to how [Sebald's] books, though originally written in German and maintaining a decidedly European outlook, participate in a very English tradition of engagement with landscape. Most enjoyable, however, were not only the many insights I gained, but also the fact that it is written without the jargon that mars so many studies of Sebald.
Uwe Schütte, Aston University, What are you reading?
Anderson's study captures in great detail a powerful sense of the 1990s as a decade caught up in examining the ways that globalisation had problematised landscape both as an aesthetic category and as a space of imaginative renewal.
Niall Martin, University of Amsterdam, Review 31
...one will profit greatly from this carefully researched and impressively crafted study.
Richard Sheppard, Journal of European Studies
This is a convincing thesis...This breadth of reference is one of the strengths of Anderson's work on Keiller (and, for that matter, on Sebald and Sinclair too). Since all three are richly allusive and have densely elaborate frames of reference, writing about them presents its challenges, but this book rises to them well, and makes a particularly valuable addition to the literature on Keiller.
Julian Petley, Journal of British Cinema and Television