Daniel Adleman
Biographic Data
| ID | 483685 |
|---|---|
| NAME | Daniel Adleman |
| GIVEN NAMES | Daniel |
| FAMILY NAME | Adleman |
| SIGNATURE | ADLEMAN D |
| AFFILIATIONS | University of Toronto Toronto, Ontario, Canada |
| ORCID | 0000-0002-4563-773X |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
Twilight of the Eidos
In ‘Twilight of the Eidos: Rhetoric, Ecology, Media (and White Noise)’, Daniel Adleman explores philosophy’s traditional exclusion of rhetoric as a part of a larger campaign against unregulated affect. Drawing on the work of Kenneth Burke and Peter Sloterdijk, as well as Don DeLillo’s Reagan-era novel White Noise, Adleman’s article makes a case for the integration of new-rhetorical optics into lines of inquiry concerned with media ecology. This ‘…
Mad Men and the Falling Bodies of 9/11
In this article, Daniel Adleman and Chris Vanderwees explore the unique manner in which AMC’s Mad Men remediates traumatic images of the 11 September 2001 terrorist attack on Manhattan’s Twin Towers. The authors take up the production of the show’s title sequence, the media controversy surrounding its representation of 9/11’s falling bodies, and Don Draper’s perilous trajectory over the course of the series. Their analyses lead Adleman and Vander…
Psychoanalysis and the New Rhetoric
Introduction—New Perspectives on New Television
The Late Oedipal Genre, Thantagonists, and Secondary Televisuality
This article explores a dominant turn-of-the-millennium televisual genre, the late Oedipal narrative. Late Oedipal narratives such as The Wire, The Sopranos, Deadwood, Mad Men, and Breaking Bad represent turbulent crises of sovereignty bound up with broader transitions in the spirit of the age. These crises are often connected to a change in the overriding media environment, which the late Oedipal genre tends to represent as a mortal challenge to…
The Advent of Media Modernity out of Wild Bill's Ashes
This article positions David Milch's Deadwood (2004–6) as a narrative universe that merits serious theoretical scrutiny on account of its far-reaching account of the dawn of American technocapitalism. While Kittlerian media-archaeological wisdom situates media modernity's primal scene at the turn of the century (with the emergence of the Edisonian gramophone, film, and typewriter), Deadwood figures the multimedia Big Bang as having taken place a …
Purloined Paranoia
University of Chicago German-Jewish studies scholar Eric L. Santner is a singular psychoanalytic thinker. His criticism stands out for the finesse with which he brings Lacanian thought into resonance with Foucault’s ideas about the advent of modernity. To this end, Santner’s My Own Private Germany performs a nuanced meta-reading of Lacan’s reading of Freud’s reading of fin-de-siècle Saxon jurist Daniel Paul Schreber’s Memoirs of My Nervous Illnes…
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Purloined Paranoia
University of Chicago German-Jewish studies scholar Eric L. Santner is a singular psychoanalytic thinker. His criticism stands out for the finesse with which he brings Lacanian thought into resonance with Foucault’s ideas about the advent of modernity. To this end, Santner’s My Own Private Germany performs a nuanced meta-reading of Lacan’s reading of Freud’s reading of fin-de-siècle Saxon jurist Daniel Paul Schreber’s Memoirs of My Nervous Illnes…
Introduction—New Perspectives on New Television
The Late Oedipal Genre, Thantagonists, and Secondary Televisuality
This article explores a dominant turn-of-the-millennium televisual genre, the late Oedipal narrative. Late Oedipal narratives such as The Wire, The Sopranos, Deadwood, Mad Men, and Breaking Bad represent turbulent crises of sovereignty bound up with broader transitions in the spirit of the age. These crises are often connected to a change in the overriding media environment, which the late Oedipal genre tends to represent as a mortal challenge to…
The Advent of Media Modernity out of Wild Bill's Ashes
This article positions David Milch's Deadwood (2004–6) as a narrative universe that merits serious theoretical scrutiny on account of its far-reaching account of the dawn of American technocapitalism. While Kittlerian media-archaeological wisdom situates media modernity's primal scene at the turn of the century (with the emergence of the Edisonian gramophone, film, and typewriter), Deadwood figures the multimedia Big Bang as having taken place a …
Twilight of the Eidos
In ‘Twilight of the Eidos: Rhetoric, Ecology, Media (and White Noise)’, Daniel Adleman explores philosophy’s traditional exclusion of rhetoric as a part of a larger campaign against unregulated affect. Drawing on the work of Kenneth Burke and Peter Sloterdijk, as well as Don DeLillo’s Reagan-era novel White Noise, Adleman’s article makes a case for the integration of new-rhetorical optics into lines of inquiry concerned with media ecology. This ‘…
Mad Men and the Falling Bodies of 9/11
In this article, Daniel Adleman and Chris Vanderwees explore the unique manner in which AMC’s Mad Men remediates traumatic images of the 11 September 2001 terrorist attack on Manhattan’s Twin Towers. The authors take up the production of the show’s title sequence, the media controversy surrounding its representation of 9/11’s falling bodies, and Don Draper’s perilous trajectory over the course of the series. Their analyses lead Adleman and Vander…
Psychoanalysis and the New Rhetoric
Art (4 works) · Literature (4 works) · Aesthetics (3 works) · Epistemology (3 works) · History (3 works) · History (3 works) · Philosophy (3 works) · Sociology (3 works) · Art history (2 works) · Contemporary Literature and Criticism (2 works)