#canon formation

[canonfodderblog]

In all frankness, our present-day evaluative criteria are so unfairly weighted towards whiteness, maleness, middle-classness, straightness, monoculturality–so rotted through with white supremacy–as to be utterly useless for really seeing what's going on in the field, given how little we really see and value of the art we're not producing because our hegemonic scotoma...No question that today, in the margins of what is considered Real Literature, there are unacknowledged Kafkas toiling away who are more likely women, colored, queer and poor.

Junot Diaz in an interview with Chuck Klosterman for But What If We’re Wrong

[toranosukev]

A Who's Who of Prewar Okinawan Cultural Figures

Yamazato in a 1958 issue of Okinawa Graph magazine. Reading an autobiographical piece by Okinawan artist / playwright / novelist / cultural writer / cultural official Yamazato Eikichi, and it’s kind of amazing how many big name, famous, notable, figures keep coming into the story. Seems like he knew everyone who was anyone in Okinawan culture at the time – or, they knew one another. It’s got me…

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[attorneyandlawyer]

POWER AND CANON FORMATION: AN INTERTEXTUAL STUDY OF THE INFLUENCE OF NIYI OSUNDARE’S POETRY ON RECENT NIGERIAN POETRY OF ENGLISH EXPRESSION

POWER AND CANON FORMATION: AN INTERTEXTUAL STUDY OF THE INFLUENCE OF NIYI OSUNDARE’S POETRY ON RECENT NIGERIAN POETRY OF ENGLISH EXPRESSION

POWER AND CANON FORMATION: AN INTERTEXTUAL STUDY OF THE INFLUENCE OF NIYI OSUNDARE’S POETRY ON RECENT NIGERIAN POETRY OF ENGLISH EXPRESSION

Abstract:

This study examines the intertextual relationship between second generation Nigerian poets and the recent Nigerian poets from the perspectives of power relation and canon formation. The study submits that Niyi Osundare, the iconic poet of the second…

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[canonfodderblog]

The canon...is not formed by contemporary audiences, but is instead crystallized by every new generation that reasserts the value of its constituent works.

Carys Wyn Jones’ Rock Canon: Canonical Values in the Reception of Rock Albums

[canonfodderblog]

Jody Rosen’s take on Bruno Mars’ deserving of Album of the Year at the 2018 Grammys.

[canonfodderblog]

It's an obligation that every generation must take upon itself in order for art to thrive: tear down what's come before and hail our own accomplishments as good enough. Otherwise we exist in a sort of dead time, retreating back to the nostalgic and sacrosanct...Let's be untethered from history, ignore the tug of the familiar, and resolve that any movie made before, say, 1986 has received its due respect and move on. Movies, as a medium, are too lively and populist to wait for historic consensus. History does not inform the value of a film; you need never see a stylized Godard flick or Cary Grant comedy to understand the enthralling power of Fargo or Independence Day. Movies are a mass art and everyone should have opinions on them regardless of if they've seen The Deer Hunter or not.

Natasha Vargas-Cooper’s Canon Fodder: Terminator 2: Judgment Day piece for GQ

[canonfodderblog]

Most commercial music disappears when the generation that made it dies...After each generation dies, only a few songs and artists enjoy a lingering fame. Louis Armstrong didn't sell as many records as Ben Selvin in the 1920s, but he has retained his fame because he's been championed by critics, historians and later musicians. A few artists succeed on both artistic and commercial rankings (for example, Bing Crosby), but for a reputation to last, the artistry needs to be at the highest run. Record sales don't matter when the people who bought the records are dead and gone.

Ted Gioia in an interview for Chuck Klosterman’s But What If We’re Wrong

[canonfodderblog]

The reason something becomes retrospectively significant in a far-flung future is detached from the reason it was significant at the time of its creation–and that's almost always due to a recalibration of social ideologies that future generations will accept as normative.

Chuck Klosterman’s But What If We’re Wrong