2016 CAL Faculty Publications
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Item Paper Bodies: Letters and Letter Writing in the Early American Novel(The University of Tulsa, 2016) Tillman, KacyThis article suggests that in early American novels, the letter served as a kind of paper body, a contested space where women writers and their readers vied for control over the female form, symbolizing the broader cultural struggle in which women were enmeshed during and shortly after the American Revolution. Using Susanna Rowson’s Charlotte Temple, Hannah Webster Foster’s The Coquette, William Hill Brown’s The Power of Sympathy, Tabitha Gilman Tenney’s Female Quixotism, and the letter-writing manuals that informed these novels, this article argues that epistles in early American fiction function less like scenery and more like characters with rules of propriety governing their construction, delivery, reception, and response. While letters offered a certain amount of agency to women as paper bodies that could travel long distances unaccompanied into the private rooms of men, they could also pass out of their writers’ control. Men and women could intercept, change, misinterpret, redirect, and generally manipulate epistles as they saw fit. In these novels, no matter what choice a woman makes—write or avoid writing, read or avoid reading—her agency is as easily destroyed as the paper on which her words are written.Item The Portable Recording Studio: Documentary Filmmaking and Live Album Recording, 1967-1969(International Association for the Study of Popular Music (IASPM), 2016) Palmer, LandonWhile live performance and rock authenticity are topics widely investigated across popular music studies, cultural studies, and performance studies, the particular media practices that constitute “liveness” in rock music have been treated without rigorous historical specificity. Utilizing the concept of “fidelity” as it has developed within sound media scholarship as a means for historicizing the technological and cultural practices of sound recording, this article examines the construction of liveness through media objects produced via intersecting practices of documentary filmmaking and live album recording. By exploring the operations of filmmaking and sound recording in four live albums produced from North American rock music festivals between 1967 and 1969, this article not only highlights an overlooked history of the relationship between cinema and popular music recording, but also demonstrates how liveness as an experiential category is constituted through media practices not always exclusive to the conventional parameters of popular music industries.