restricted access   Volume 44, Number 2, Summer 2014

Table of Contents

Aesthetics of Renewal; or, Everything Old Is New Again


Introduction: What Does It Really Matter If Nothing Is Ever New?

pp. 161-168

Introduction: Est-ce vraiment important si rien n’est jamais nouveau?

pp. 169-177

The Inward Turn: American Opera Revisits America’s Past

pp. 178-193

Doing the Lady Gaga Dance: Postmodern Transaesthetics and the Art of Spectacle in Don DeLillo’s The Body Artist

pp. 194-213

Performing Vintage: The Cultivation and Dissemination of Vintage Sensibilities at the Brooklyn Flea

pp. 214-239

Cartography and Renewal in Rebecca Solnit’s Infinite City: A San Francisco Atlas

pp. 240-259

How Tonto Became Mr. T: The A-Team and the Transformation of the Western in Post-Vietnam America

pp. 260-280

Joy in Labour: The Politicization of Craft from the Arts and Crafts Movement to Etsy

pp. 281-301

“You See, Children Were the—the Raison D’être”: The Reproductive Futurism of Charlotte Perkins Gilman’s Herland

pp. 302-319

Laying Tracks and Tracking Change: An Interrogation of Nostalgia, National Identity, and the Railway in Contemporary Photography

pp. 320-344

“I Love Working for Uncle Sam, Lets Me Know Just Who I Am”: Culture, the Human Terrain System, and the Inquiry of World War I

pp. 345-364

The Aesthetics of Garbage in Philip K. Dick’s Martian Time-Slip

pp. 365-386