New sincerity

Last updated

New sincerity (closely related to and sometimes described as synonymous with post-postmodernism) is a trend in music, aesthetics, literary fiction, film criticism, poetry, literary criticism and philosophy that generally describes creative works that expand upon and break away from concepts of postmodernist irony and cynicism.

Contents

Its usage dates back to the mid-1980s; however, it was popularized in the 1990s by American author David Foster Wallace. [1] [2] [3]

In music

"New sincerity" was used as a collective name for a loose group of alternative rock bands, centered in Austin, Texas, in the years from about 1985 to 1990, who were perceived as reacting to the ironic and cynical outlook of then-prominent music movements like punk rock and new wave. The use of "new sincerity" in connection with these bands began with an off-handed comment by Austin punk rock artist and author Jesse Sublett to his friend, local music writer Margaret Moser. According to author Barry Shank, Sublett said: "All those new sincerity bands, they're crap." [4] Sublett (at his own website) states that he was misquoted, and actually told Moser, "It's all new sincerity to me ... It's not my cup of tea." [5] In any event, Moser began using the term in print, and it ended up becoming the catch phrase for these bands. [4] [6]

Nationally, the most successful "new sincerity" band was the Reivers (originally called "Zeitgeist"), who released four well-received albums between 1985 and 1991. True Believers, led by Alejandro Escovedo and Jon Dee Graham, also received extensive critical praise and local acclaim in Austin, but the band had difficulty capturing its live sound on recordings, among other problems. [7] Other important "new sincerity" bands include Doctors Mob, [8] [9] Wild Seeds, [10] and Glass Eye. [11] Another significant "new sincerity" figure was the eccentric, critically acclaimed songwriter Daniel Johnston. [4] [12]

Despite extensive critical attention (including national coverage in Rolling Stone and a 1985 episode of the MTV program The Cutting Edge ), none of the "new sincerity" bands met with much commercial success, and the "scene" ended within a few years. [13] [14]

Other music writers have used "new sincerity" to describe later performers such as Arcade Fire, [15] Conor Oberst, [16] Cat Power, Devendra Banhart, Joanna Newsom, [17] Neutral Milk Hotel, [18] Sufjan Stevens, [19] Idlewild, [20] as well as Austin's Okkervil River [21] Leatherbag, [22] and Michael Waller. [23]

In film criticism

Critic Jim Collins introduced the concept of "new sincerity" to film criticism in his 1993 essay titled "Genericity in the 90s: Eclectic Irony and the New Sincerity". In this essay he contrasts films that treat genre conventions with "eclectic irony" and those that treat them seriously, with "new sincerity". Collins describes,

the "new sincerity" of films like Field of Dreams (1989), Dances With Wolves (1990), and Hook (1991), all of which depend not on hybridization, but on an "ethnographic" rewriting of the classic genre film that serves as their inspiration, all attempting, using one strategy or another, to recover a lost "purity", which apparently pre-dated even the golden age of film genre. [24]

Cinematic examples

Sources: [25] [26] [27] [28] [29] [30]

In literary fiction and criticism

In response to the hegemony of metafictional and self-conscious irony in contemporary fiction, writer David Foster Wallace predicted, in his 1993 essay "E Unibus Pluram: Television and U.S. Fiction", [1] a new literary movement which would espouse something like the new sincerity ethos:

The next real literary "rebels" in this country might well emerge as some weird bunch of "anti-rebels," born oglers who dare to back away from ironic watching, who have the childish gall to actually endorse single-entendre values. Who treat old untrendy human troubles and emotions in U.S. life with reverence and conviction. Who eschew self-consciousness and fatigue. These anti-rebels would be outdated, of course, before they even started. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that'll be the point, why they'll be the next real rebels. Real rebels, as far as I can see, risk things. Risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. The new rebels might be the ones willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the "How banal." Accusations of sentimentality, melodrama. Credulity. Willingness to be suckered by a world of lurkers and starers who fear gaze and ridicule above imprisonment without law. Who knows.

This was further examined on the blog Fiction Advocate: [31]

The theory is this: Infinite Jest is Wallace's attempt to both manifest and dramatize a revolutionary fiction style that he called for in his essay "E Unibus Pluram: Television and U.S. Fiction". The style is one in which a new sincerity will overturn the ironic detachment that hollowed out contemporary fiction towards the end of the 20th century. Wallace was trying to write an antidote to the cynicism that had pervaded and saddened so much of American culture in his lifetime. He was trying to create an entertainment that would get us talking again.

In his 2010 essay "David Foster Wallace and the New Sincerity in American Fiction", Adam Kelly argues that Wallace's fiction, and that of his generation, is marked by a revival and theoretical reconception of sincerity, challenging the emphasis on authenticity that dominated twentieth-century literature and conceptions of the self. [2] Additionally, numerous authors have been described as contributors to the new sincerity movement, including Jonathan Franzen, Marilynne Robinson, [32] Zadie Smith, Dave Eggers, [33] Stephen Graham Jones, [34] Michael Chabon, [35] [36] [37] and Victor Pelevin. [38]

In philosophy

"New sincerity" has also sometimes been used to refer to a philosophical concept deriving from the basic tenets of performatism. [39] It is also seen as one of the key characteristics of metamodernism. [40] Related literature includes Wendy Steiner's The Trouble with Beauty and Elaine Scarry's On Beauty and Being Just. Related movements may include post-postmodernism, New Puritans, Stuckism, the kitsch movement and remodernism, as well as the Dogme 95 film movement led by Lars von Trier. [41]

As a cultural movement

"New sincerity" has been espoused since 2002 by radio host Jesse Thorn of PRI's The Sound of Young America (now Bullseye), self-described as "the public radio program about things that are awesome". Thorn characterizes new sincerity as a cultural movement defined by dicta including "maximum fun" and "be more awesome". It celebrates outsized celebration of joy, and rejects irony, and particularly ironic appreciation of cultural products. Thorn has promoted this concept on his program and in interviews. [42] [43] [44] [45]

In a September 2009 interview, Thorn commented that "new sincerity" had begun as "a silly, philosophical movement that me and some friends made up in college" and that "everything that we said was a joke, but at the same time it wasn't all a joke in the sense that we weren't being arch or we weren't being campy. While we were talking about ridiculous, funny things we were sincere about them." [46]

Thorn's concept of "new sincerity" as a social response has gained popularity since his introduction of the term in 2002. Several point to the September 11, 2001, attacks and the subsequent wake of events that created this movement, in which there was a drastic shift in tone. The 1990s were considered a period of artistic works rife with irony, and the attacks shocked a change in the American culture. Graydon Carter, editor of Vanity Fair , published an editorial a few weeks after the attacks claiming that "this was the end of the age of irony". [47] Jonathan D. Fitzgerald for The Atlantic suggests this new movement could also be attributed to broader periodic shifts that occur in culture. [35]

As a result of this movement, several cultural works were considered elements of "new sincerity", [35] but this was also seen to be a mannerism adopted by the general public, to show appreciation for cultural works that they happened to enjoy. Andrew Watercutter of Wired saw this as having been able to enjoy one's guilty pleasures without having to feel guilty about enjoying them, and being able to share that appreciation with others. [48] One such example of a "new sincerity" movement is the brony fandom, generally adult and primarily male fans of the 2010 animated show My Little Pony: Friendship Is Magic which is produced by Hasbro to sell its toys to young girls. These fans have been called "internet neo-sincerity at its best", unabashedly enjoying the show and challenging the preconceived gender roles that such a show ordinarily carries. [49] [50]

A review of a 2016 play by Alena Smith The New Sincerity observes that it "captures the spirit of an age lightly lived and easily forgotten, which strives for a significance and a magnitude that won't be easily achieved". [51]

In the early 2020s, the shift toward a more overt embrace of new sincerity was codified in James Poniewozik's New York Times piece titled, "How TV Went From David Brent to Ted Lasso." [52] Poniewozik details the shift, arguing that "In TV's ambitious comedies, as well as dramas, the arc of the last 20 years is not from bold risk-taking to spineless inoffensiveness. But it is, in broad terms, a shift from irony to sincerity. By 'irony' here, I don't mean the popular equation of the term with cynicism or snark. I mean an ironic mode of narrative, in which what a show 'thinks' is different from what its protagonist does. Two decades ago, TV's most distinctive stories were defined by a tone of dark or acerbic detachment. Today, they're more likely to be earnest and direct." Poniewozik goes on to address possible impetus for doing away with the disjoint between writer and character ascribing some cause to what Emily Nussbaum calls "bad fans", [53] but the thrust of his critique centers on the possible shift towards the representation of new and previously unrepresented voices. As Poniewozik puts it, "In some cases, it's also a question of who has gotten to make TV since 2001. Antiheroes like David Brent and Tony Soprano, after all, came along after white guys like them had centuries to be heroes. The voices and faces of the medium have diversified, and if you're telling the stories of people and communities that TV never made room for before, skewering might not be your first choice of tone. I don't want to oversimplify this: Series like Atlanta , Ramy, Master of None and Insecure all have complex stances toward their protagonists. But they also have more sympathy toward them than, say, Arrested Development." [54] With this perspective in mind and considering the shift towards an embrace of diverse views and opinions, [55] the appearance of new sincerity in film and television is understandable if not expected. However, it is important to note that prior to the current shift towards new sincerity, popular culture had embraced a period of "high irony", as Poniewozik deems it. [54]

Regional variants

This conception of "new sincerity" meant the avoidance of cynicism, but not necessarily of irony. In the words of Alexei Yurchak of the University of California, Berkeley, [56] it "is a particular brand of irony, which is sympathetic and warm, and allows its authors to remain committed to the ideals that they discuss, while also being somewhat ironic about this commitment". [56] [57]

In American poetry

Since 2005, poets including Reb Livingston, Joseph Massey, Andrew Mister, and Anthony Robinson have collaborated in a blog-driven poetry movement, described by Massey as "a 'new sincerity' brewing in American poetry – a contrast to the cold, irony-laden poetry dominating the journals and magazines and new books of poetry". [58] Other poets named as associated with this movement, or its tenets, have included David Berman, Catherine Wagner, Dean Young, Matt Hart, Miranda July (who is also a filmmaker herself), [59] Tao Lin, [59] Steve Roggenbuck, [59] D. S. Chapman, Frederick Seidel, Arielle Greenberg, [17] Karyna McGlynn, and Mira Gonzalez. [60]

See also

Related Research Articles

<span class="mw-page-title-main">Postmodernism</span> Artistic, cultural, and theoretical movement

Postmodernism is an intellectual stance or mode of discourse characterized by skepticism towards scientific rationalism and the concept of objective reality. It questions the "grand narratives" of modernity, rejects the certainty of knowledge and stable meaning, and acknowledges the influence of ideology in maintaining political power. Objective claims are dismissed as naïve realism, emphasizing the conditional nature of knowledge. Postmodernism embraces self-referentiality, epistemological relativism, moral relativism, pluralism, irony, irreverence, and eclecticism. It opposes the "universal validity" of binary oppositions, stable identity, hierarchy, and categorization.

<span class="mw-page-title-main">David Foster Wallace</span> American writer (1962–2008)

David Foster Wallace was an American novelist, short story writer, essayist, and university professor of English and creative writing. Wallace's 1996 novel Infinite Jest was cited by Time magazine as one of the 100 best English-language novels from 1923 to 2005. His posthumous novel, The Pale King (2011), was a finalist for the Pulitzer Prize for Fiction in 2012. The Los Angeles Times's David Ulin called Wallace "one of the most influential and innovative writers of the last twenty years".

<span class="mw-page-title-main">Remodernism</span> Present-day modernist philosophical movement

Remodernism is an artistic and philosophical movement aimed at reviving aspects of modernism, particularly in its early form, in a manner that both follows after and contrasts against postmodernism. The movement was initiated in 2000 by stuckists Billy Childish and Charles Thomson, with a manifesto, Remodernism in an attempt to introduce a period of new "spirituality" into art, culture and society to replace postmodernism, which they said was cynical and spiritually bankrupt. In 2002, a remodernism art show in Albuquerque was accompanied by an essay from University of California, Berkeley art professor, Kevin Radley, who said there was a renewal of artists working without the limitation of irony and cynicism, and that there was a renewal of the sense of beauty. Adherents of remodernism advocate it as a forward and radical, not reactionary, impetus.

<span class="mw-page-title-main">Postmodern literature</span> 20th-century literary form and movement

Postmodern literature is a form of literature that is characterized by the use of metafiction, unreliable narration, self-reflexivity, intertextuality, and which often thematizes both historical and political issues. This style of experimental literature emerged strongly in the United States in the 1960s through the writings of authors such as Kurt Vonnegut, Thomas Pynchon, William Gaddis, Philip K. Dick, Kathy Acker, and John Barth. Postmodernists often challenge authorities, which has been seen as a symptom of the fact that this style of literature first emerged in the context of political tendencies in the 1960s. This inspiration is, among other things, seen through how postmodern literature is highly self-reflexive about the political issues it speaks to.

Hysterical realism is a term coined in 2000 by English critic James Wood to describe what he sees as a literary genre typified by a strong contrast between elaborately absurd prose, plotting, or characterization, on the one hand, and careful, detailed investigations of real, specific social phenomena on the other. It is also known as recherché postmodernism.

Post-postmodernism is a wide-ranging set of developments in critical theory, philosophy, architecture, art, literature, and culture which are emerging from and reacting to postmodernism.

Linda Hutcheon, FRSC, OC is a Canadian academic working in the fields of literary theory and criticism, opera, and Canadian studies. She is a University Professor Emeritus in the Department of English and of the Centre for Comparative Literature at the University of Toronto, where she has taught since 1988. In 2000 she was elected the 117th President of the Modern Language Association, the third Canadian to hold this position, and the first Canadian woman. She is particularly known for her influential theories of postmodernism.

<span class="mw-page-title-main">Dmitri Prigov</span> Russian writer, artist, and Soviet dissident

Dmitri Aleksandrovich Prigov was a Russian writer and artist. Prigov was part of the unofficial Moscow Conceptualists during the era of the Soviet Union and was briefly sent to a psychiatric hospital in 1986.

<span class="mw-page-title-main">Jesse Thorn</span> American radio personality (born 1981)

Jesse Michael Gabriel Thorn is an American media entrepreneur and public radio and podcast host/creator. He is the founder of the Maximum Fun podcast network, and the host and producer of the podcasts Judge John Hodgman and Jordan, Jesse, Go! and the radio show and podcast Bullseye. Bullseye, is distributed by National Public Radio to several hundred public terrestrial radio stations. In addition to his work in radio and podcasts, Jesse Thorn also hosted the television program The Grid, which formerly aired on IFC, and The Sound of Young America, which aired on Current, and runs a blog and web video series devoted to men's fashion called Put This On. As an actor, he has appeared on stage with the sketch comedy group Prank the Dean and on IFC's Comedy Bang Bang.

Reconstructivism is a philosophical theory holding that societies should continually reform themselves in order to establish better governments or social networks. This theory involves recombining or recontextualizing the ideas arrived at by the philosophy of deconstruction, in which an existing system or medium is broken into its smallest meaningful elements and in which these elements are used to build a new system or medium free from the strictures of the original.

<span class="mw-page-title-main">Irony</span> Rhetorical device and literary technique

Irony, in its broadest sense, is the juxtaposition of what on the surface appears to be the case and what is actually the case or to be expected. It typically figures as a rhetorical device and literary technique. In some philosophical contexts, however, it takes on a larger significance as an entire way of life.

<span class="mw-page-title-main">Jesse Sublett</span>

Jesse Sublett is a musician and writer from Austin, Texas. As a musician, he is best known for his long-running rock trio, The Skunks. His essays and journalism have appeared in a wide range of publications, and he is also known for his mystery novels featuring a bass-playing sleuth named Martin Fender.

Andy Holden is an artist whose work includes sculpture, large installations, painting, music, performance, animation and multi-screen videos. His work is often defined by very personal starting points used to arrive at more abstract, or universal philosophical questions.

Post-irony is a term used to denote a state in which earnest and ironic intents become muddled. It may less commonly refer to its converse: a return from irony to earnestness, similar to New Sincerity.

Metamodernism refers to a variety of related discourses that aim to describe cultural phenomena beyond the constraints of postmodernism. Both/and mediations between modernism and postmodernism are defining features of the topic; however, their applications differ substantially. Some scholars view it predominately as a way to analyse contemporary artistic expression, and as inspiration for such art, while a growing number of people also seek to integrate metamodern ideas into the liberal arts and popular discourse more broadly.

<span class="mw-page-title-main">David Foster Wallace bibliography</span> List of works

David Foster Wallace (1962–2008) was an American author of novels, essays, and short stories. In addition to writing, Wallace was employed as a professor at Illinois State University in Normal, Illinois, and Pomona College in Claremont, California.

<i>The Comedy</i> (film) 2012 American film

The Comedy is a 2012 American metamodern drama film co-written, co-edited, and directed by Rick Alverson, and starring Tim Heidecker, Eric Wareheim, James Murphy, and Gregg Turkington. The film was executive produced by David Gordon Green, Danny McBride, Jody Hill, Darius Van Arman, and Larry Fessenden.

<i>Both Flesh and Not</i> 2012 collection of essays by David Foster Wallace

Both Flesh and Not: Essays is a collection of fifteen essays by American author David Foster Wallace published posthumously in 2012. It is Wallace's third essay collection.

<span class="mw-page-title-main">Lee Konstantinou</span> American novelist

Lee Konstantinou is an associate professor of English Literature at University of Maryland, College Park.

American eccentric cinema is a mode of contemporary American filmmaking that emerged in what has been termed the metamodern or new sincerity. Its attachment to indie cinema has led some to consider it a movement and genre of cinema in the United States. Its key filmmakers, including Wes Anderson, Charlie Kaufman, and Spike Jonze, are at times referred to as the "American Eccentrics". It occurred during the 1990s and 2000s, when indie directors sought to create films that diverted from the style and content of Hollywood franchise films. American eccentric cinema came in opposition to the mainstream ideas of formulaic narratives and the digitisation within films and new technologies that came about during the time period. American eccentric cinema is marked by films that are "deeply concerned with ethics and morality, the obligations of the individual, the effects of family breakdown, and social alienation."

References

  1. 1 2 Wallace, David Foster. "E Unibus Pluram: Television and U.S. Fiction", Review of Contemporary Fiction 13(2), Summer 1993, pp. 151-194.
  2. 1 2 Adam Kelly. "David Foster Wallace and the New Sincerity in American Fiction". Consider David Foster Wallace: Critical Essays. Ed. David Hering. Austin, TX: SSMG Press, 2010. 131-46.
  3. ↑ Williams, Iain (May 27, 2015). "(New) Sincerity in David Foster Wallace's "Octet"". Critique: Studies in Contemporary Fiction. 56 (3): 299–314. doi:10.1080/00111619.2014.899199. ISSN   0011-1619. S2CID   142547118.
  4. 1 2 3 Barry Shank, Dissonant Identities: The Rock'N'Roll Scene in Austin, Texas (Wesleyan University Press, 1994) ( ISBN   9780819562760), p. 148–149 & p.271 n.84. (excerpt available at Google Books).
  5. ↑ "Jesse's Music Bio" at Jesse Sublett's Little Black Book (retrieved September 18, 2009).
  6. ↑ Peter Blackstock, "'is it worth the admission....'" Archived December 4, 2008, at the Wayback Machine , No Depression blog post dated January 15, 2008.
  7. ↑ True Believers at AllMusic.
  8. ↑ Kent H. Benjamin, "Why Should Anyone Care Now?", Austin Chronicle Weekly Wire August 30, 1999.
  9. ↑ Doctors Mob at AllMusic.
  10. ↑ Wild Seeds at AllMusic.
  11. ↑ Glass Eye at AllMusic.
  12. ↑ "Donald Trump and the "New Sincerity" Artists Have More in Common Than Either Would Like to Admit". pastemagazine.com. August 9, 2016.
  13. ↑ Kristin Gorski, Almost Famous: The Austin Texas Soundtrack Circa 1985 Archived October 16, 2008, at the Wayback Machine , Annabelle Magazine, No. 12 (2006).
  14. ↑ Michael Corcoran, "The New Sincerity: Austin in the Eighties", reprinted in Michael Corcoran, All Over the Map: True Heroes of Texas Music (University of Texas Press, 2005), ISBN   978-0-292-70976-8, pp. 150–156.
  15. ↑ Huffington Post, "ultra-sincere indie artists from Arcade Fire" Huffington Post , May 16, 2013.
  16. ↑ "Mr. Sincerity tries a new trick" The New York Times , January 16, 2005.
  17. 1 2 Jason Morris, “The Time Between Time: Messianism & the Promise of a “New Sincerity”, Jacket 35 (2008)
  18. ↑ Huffington Post, "many significant indie artists" Huffington Post , May 16, 2013.
  19. ↑ Huffington Post, " many significant indie artists" Huffington Post , May 16, 2013.
  20. ↑ Robert Christgau, "Vibrators", The Village Voice , March 27, 2001.
  21. ↑ Kate X. Messer, "Okkervil River: The New Sincerity", Austin Chronicle , March 3, 2000.
  22. ↑ Austin Powell, "Texas Platters: deEP end", Austin Chronicle , March 13, 2009.
  23. ↑ "Boring Like A Drill. A Blog. » Michael Vincent Waller: The South Shore". www.cookylamoo.com. Retrieved December 15, 2017.
  24. ↑ Jim Collins, "Genericity in the 90s: Eclectic Irony and the New Sincerity" in Jim Collins, Hilary Radner and Ava Preacher Collins, eds., Film Theory Goes to the Movies (New York: Routledge, 1993) ( ISBN   0415905761, ISBN   978-0-415-90576-3), p. 242, 245.
  25. ↑ "New Sincerity". Filmtheory.org. June 3, 2015. Retrieved December 30, 2021.
  26. ↑ Avatar, Top Gun: Maverick, Scream, Creed III, & the New Sincerity - The Escapist
  27. ↑ 'Eternal Sunshine' Is a Perfect '00s Time Capsule - Vulture
  28. ↑ With Shrek, Irony Went Mainstream – for Better and for Worse - The Escapist
  29. ↑ In Defense of ‘The Secret Life of Walter Mitty’: Toward a New Sincerity - Hollywood Insider
  30. ↑ Puchko, Kristy (July 12, 2023). "You're wrong about Timothée Chalamet in 'Wonka'". mashable.com. Retrieved October 29, 2023.
  31. ↑ Moats, Michael (September 19, 2012). "The Infinite Jest Liveblog: What Happened, Pt. 2" . Retrieved April 23, 2016.
  32. ↑ Gorenstein, Zuzanna. New Sincerity and the Contemporary American Family Novel: Jonathan Franzen's The Corrections and Marilynne Robinson's Gilead, Dissertation, Free University of Berlin, December 2014. Retrieved July 22, 2020.
  33. ↑ Jensen, Mikkel. 2014. "A Note on a Title: A Heartbreaking Work of Staggering Genius" in The Explicator , 72:2, 146–150.
  34. ↑ Gaudet, Joseph (Spring 2016). "I Remember You: Postironic Belief and Settler Colonialism in Stephen Graham Jones's Ledfeather". Sail. 28.
  35. 1 2 3 Fitzgerald, Jonathan D. (November 20, 2012). "Sincerity, Not Irony, Is Our Age's Ethos". The Atlantic. Retrieved March 24, 2016.
  36. ↑ Hamilton, Caroline D. (October 21, 2010). One Man Zeitgeist: Dave Eggers, Publishing and Publicity. Bloomsbury Publishing USA. ISBN   9781441167491.
  37. ↑ Hoffmann, Lukas (2016). Postirony: The Nonfictional Literature of David Foster Wallace and Dave Eggers. Bielefeld: transcript Verlag. ISBN   978-3-8376-3661-1.
  38. ↑ "Пелевин, Виктор Олегович" [Victor Pelevin]. Большая российская энциклопедия/Great Russian Encyclopedia Online (in Russian). 2018. Archived from the original on February 24, 2021. Retrieved March 8, 2021.
  39. ↑ Raoul Eshelman, "Performatism, or the End of Postmodernism" in Anthropoetics 6 (2000/2001). See also his book, Performatism or the End of Postmodernism. Davies Group: Aurora, Colorado 2008.
  40. ↑ Timotheus Vermeulen & Robin van den Akker, "Notes on metamodernism" in Journal of Aesthetics and Culture 2 (2010)
  41. ↑ Alexei Yurchak, "Post-Post-Communist Sincerity: Pioneers, Cosmonauts, and Other Soviet Heroes Born Today", in Thomas Lahusen and Peter H. Solomon, eds., What Is Soviet Now?: Identities, Legacies, Memories (LIT Verlag Berlin-Hamburg-Münster, 2008), ISBN   978-3-8258-0640-8, p. 258 & n.4, excerpt available at Google Books.
  42. ↑ Ben Kharakh, "Jesse Thorn, America's Radio Sweetheart" Archived September 29, 2008, at the Wayback Machine in Gothamist, posted November 2, 2006.
  43. ↑ "Interview: Jesse Thorn, Part 1" Archived September 13, 2017, at the Wayback Machine , The Merlin Show , posted June 4, 2007.
  44. ↑ Dan Brodnitz, "An Interview with The Sound of Young America's Jesse Thorn" Archived October 19, 2008, at the Wayback Machine , O'Reilly Digital Media , posted September 15, 2008.
  45. ↑ But see Bill Forman, "Müz: The New Ambiguity", Metro Santa Cruz , March 8–15, 2006 (opining that New Sincerity is "just another ironic hoax").
  46. ↑ Jonathan Valania, "Q&A: With Jesse Thorn, America's Radio Sweetheart", Phawker, September 15, 2009.
  47. ↑ Beers, David (September 25, 2001). "Irony is dead! Long live irony!". Salon . Retrieved April 20, 2016.
  48. ↑ Watercutter, Angela (September 21, 2010). "Sincerely Ours: Glee's Success Cements Age of Geeky 'New Sincerity'". Wired . Retrieved April 20, 2016.
  49. ↑ Ghomeshi, Jian (December 7, 2011). Curious about Bronies? (Adobe Flash) (Radio broadcast). CBC Radio . Retrieved December 7, 2011.
  50. ↑ Watchcutter, Angela (June 9, 2011). "My Little Pony Corrals Unlikely Fanboys Known as 'Bronies'". Wired . Retrieved June 9, 2011.
  51. ↑ Hsiao, Irene (March 11, 2016). "Review: The New Sincerity/Theater Wit". NewCityStage. Retrieved January 30, 2021.
  52. ↑ Poniewozik, James (July 26, 2021). "How TV Went From David Brent to Ted Lasso". The New York Times . Retrieved December 30, 2021.
  53. ↑ "That Mind-Bending Phone Call on Last Night's "Breaking Bad"". Newyorker.com. September 16, 2013.
  54. 1 2 Poniewozik, James (July 26, 2021). "How TV Went from David Brent to Ted Lasso". The New York Times .
  55. ↑ Maese, Ellyn (July 28, 2021). "Diversity, Equity and Inclusion: 10 Lessons From 231 CHROs". Gallup.com. Retrieved December 30, 2021.
  56. 1 2 Alexei Yurchak biography Archived June 20, 2013, at the Wayback Machine at University of California, Berkeley Department of Anthropology website (retrieved February 15, 2009).
  57. ↑ Yurchak, at p.259 n.6, further explains this contrast in terms of Susan Sontag's comment that a good writer should "Be serious. By which I meant: never be cynical. And which doesn't preclude being funny." (Citing Sontag as quoted in Jenny Diski, "Seriously Uncool", London Review of Books 29, no. 6 (March 22, 2007).)
  58. ↑ Katy Henriksen, " Drunk Bunnies, The New Sincerity, Flarf: How Blogs are Transforming Poetry" Archived November 10, 2007, at the Wayback Machine , EconoCulture, January 23, 2007.
  59. 1 2 3 "What we talk about when we talk about the New Sincerity, part 1". Htmlgiant.com. Retrieved December 30, 2021.
  60. ↑ Blueskye, Brian (July 19, 2013). "Western Lit: SoCal Poet Mira Gonzalez's Debut Collection Finds Success With Deep Simplicity" . Retrieved December 15, 2017.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.