TY  - INPR
A1  - Eckstein, Lars
T1  - Transatlantic slavery and the literary imagination
Y1  - 2009
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-85548
ER  - 
TY  - GEN
A1  - Eckstein, Lars
T1  - Transatlantic slavery and the literary imagination
N2  - Transatlantic slavery and the literary imagination The challenges of turning transatlantic slavery into literature A polyphony of historical voices: Caryl Phillips’s dialogic imagination Literary imagination and the Zong Massacre: Fred D’Aguiar and David Dabydeen Perspectives
T3  - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 81 
Y1  - 2009
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-59201
ER  - 
TY  - JOUR
A1  - Eckstein, Lars
A1  - Reinfandt, Christoph
T1  - The adventures of William Bloke, or : romanticism today and how it got here
Y1  - 2009
ER  - 
TY  - JOUR
A1  - Eckstein, Lars
T1  - "Talking Without Speaking" in Mike Nichols"s the Graduate : some reflections on the rhetoric of song lyrics in film scores
Y1  - 2009
SN  - 978-3-86821-141-2
ER  - 
TY  - JOUR
A1  - Eckstein, Lars
T1  - Against the Grain : Shakespeare"s Caliban and the Exotic Imaginary in 18th- and 19th-Century British painting
Y1  - 2009
SN  - 978-3-86821-194-8
ER  - 
TY  - JOUR
A1  - Eckstein, Lars
T1  - Witi Ihimaera, The Whale Rider
Y1  - 2009
SN  - 978-3- 476-04000-8
ER  - 
TY  - JOUR
A1  - Eckstein, Lars
T1  - Alan Duff Once Were Warriors
Y1  - 2009
SN  - 978-3- 476-04000-8
ER  - 
TY  - JOUR
A1  - Eckstein, Lars
T1  - Maurice Duggan
Y1  - 2009
SN  - 978-3- 476-04000-8
ER  - 
TY  - JOUR
A1  - Eckstein, Lars
T1  - Alan Duff
Y1  - 2009
SN  - 978-3- 476-04000-8
ER  - 
TY  - JOUR
A1  - Eckstein, Lars
T1  - Maurice Duggan Summer in the Gravel Pit
Y1  - 2009
SN  - 978-3- 476-04000-8
ER  - 
TY  - GEN
A1  - Eckstein, Lars
T1  - Torpedoing the authorship of popular music : a reading of Gorillaz’ ‘Feel Good Inc.’
N2  - This article addresses problems of authorship and creative authority in popular music, in particular in view of a pervasive split between modes of aesthetic production (involving modernist assemblage, multiple authorship, and the late capitalist logic of major label policies) and modes of aesthetic reception (which tend to take popular music as the organic output of individual performers). While rock musicians have attempted to come to terms with this phenomenon by either performing a ‘Romantic’ sense of authenticity (basically by importing folk values to the production process) or ‘Modernist authenticity’ (by highlighting experimen- tation and alienation), Damon Albarn and Jamie Hewlett, creators of Gorillaz, found a third way which ingeniously allows them to do both. By creating a virtual rock band, and by hiding their own media personalities behind those of their virtual alter egos, they brought themselves into a position which allows them to produce ‘sincere’ popular music which ‘playfully’ stages the absurdities of major label music business while very successfully operating within its very confines.
T3  - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 80 
Y1  - 2009
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus-59116
ER  -