Examines Perec's impact on architecture, art, design, media, electronic communications, computing and the everydayWhat do Perec's descriptions of the minutiae of everyday life reveal about our use of information and communications technologies?What happens if we read Life: A Users Manual as a toolbox of ideas for games studies? What light does the concept of the ainfra-ordinary shed on social media? What insights does algorithmic writing generate for the digital humanities? What lessons can architects, artists, game-designers and writers draw from Perec's fascination with creative constraints? Through an examination of such questions, this collection takes Perec scholarship beyond its existing limits to offer new ways of rethinking our present.ContributorsTom Apperley, Monash University, Australia.Caroline Bassett, University of Sussex, UK. David Bellos, Princeton, USA.Justin Clemens, University of Melbourne, Australia.Ben Highmore, University of Sussex, UK.Alison James, University of Chicago, USA.Sandra Kaji-OGrady, University of Sydney, Australia. Christian Licoppe, TA(c)lA(c)com ParisTech, France.Anthony McCosker, Swinburne University of Technology, Melbourne, Australia. Mireille RibiA*re, independent scholar, translator and author.Darren Tofts, Swinburne University of Technology, Melbourne, Australia.Rowan Wilken, RMIT, Melbourne, Australia.Mark Wolff, Hartwick College in Oneonta, New York, USA.

Georges Perec, novelist, filmmaker and essayist, was one of the most inventive and original writers of the twentieth century. A fascinating aspect of his work is its intrinsically geographical nature. With major projects on space and place, Perec’s writing speaks to a variety of geographical, urban and architectural concerns, both in a substantive way, including a focus on cities, streets, homes and apartments, and in a methodological way, experimenting with methods of urban exploration and observation, classification, enumeration and taxonomy. Georges Perec’s Geographies is the first book to offer a rounded picture of Perec’s geographical interests. Divided into two parts, Part I, Perec’s Geographies, explores the geographies within Perec’s work in film, literature and radio, from descriptions of streets to the spaces of his texts, while Part II, Perecquian Geographies, explores geographies in a range of material and metaphorical forms, including photographic essays, soundscapes, theatre, dance and writing, created by those directly inspired by Perec. Georges Perec’s Geographies extends the body of Perec criticism beyond Literary and French Studies to disciplines including Geography, Urban Studies, Planning and Architecture to offer a complete and systematic examination of Georges Perec’s geographies. The diversity of readings and approaches will be of interest not only to Perec readers and fans but to students and researchers across these subjects.

This book explores the relationship of the life and work of the remarkable Parisian-Jewish writer Georges Perec (1936–1983) to dance. "Dancing" addresses art-making parallels and their personal and sociocultural contexts, including Perec’s childhood loss of his parents in the Holocaust and its repercussions in the significance of the body, everydayness, space, and attention permeating his work. This book, emerging from the author Leslie Satin’s perspective as a dancer and scholar, links Perec’s concerns with those of dance and demonstrates that Perec’s work has implications for dance and how we think about it. Moreover, it is framed as a performative autobiographical enactment of the author's relationship to Perec, periodically linking their written, danced, and imagined lives. This exploration will be of great interest to dancers, dance scholars, and dance students interested in contemporary experimental dance and contemporary dance.

The present book is a special gift for a special colleague and friend. Defined as an “Unfestschrift,” it gives colleagues, students, and friends of Regina Bendix an opportunity to express their esteem for Regina’s inspiration, cooperation, leadership, and friendship in an adequate and lasting manner. The title of the present book, Reading Matters, is as close as possible to an English equivalent of the beautiful German double entendre Erlesenes (meaning both “something read/a reading” and “something exquisite”). Presenting “matters for reading,” the Unfestschrift unites short contributions about “readings” that “mattered” in some way or another for the contributors, readings that had an impact on their understanding of whatever they were at some time or presently are interested in. The term “readings” is understood widely. Since most of the invited contributors are academics, the term implies, in the first place, readings of an academic or scholarly nature. In a wider notion, however, “readings” also refer to any other piece of literature, the perception of a piece of art (a painting, a sculpture, a performance), listening to music, appreciating a “folkloric” performance or a fieldwork experience, or just anything else whose “reading” or individual perception has been meaningful for the contributors in different ways. Contrary to a strictly scholarly treatment of a given topic in which the author often disappears behind the subject, the presentations unveil and highlight the contributor’s personal involve¬ment, and thus a dimension of crucial importance for ethnographers such as the dedicatee.

The Afterlife of Texts in Translation: Understanding the Messianic in Literature reads Walter Benjamin’s and Jacques Derrida’s writings on translation as suggesting that texts exist within a process of continual translation. Understanding Benjamin’s and Derrida’s concept of ‘afterlife’ as ‘overliving’, this book proposes that reading Benjamin’s and Derrida’s writings on translation in terms of their wider thought on language and history suggests that textuality itself possesses a ‘messianic’ quality. Developing this idea in relation to the many rewritings and translations of Don Quijote, particularly the multiple rewritings by Jorge Luis Borges, Edmund Chapman asserts that texts consist of a structure of potential for endless translation that continually promises the overcoming of language, history and textuality itself.

An exploration of how email is experienced, understood, and materially structured as a practice spanning our everyday domestic and work lives. Despite its many obituaries, email is not dead. As a global mode of business and personal communication, email outstrips newer technologies of online interaction; it is deeply embedded in our everyday lives. And yet—perhaps because the ubiquity of email has obscured its study—this is the first scholarly book devoted to email as a key historical, social, and commercial site of digital communication in our everyday lives. In Email and the Everyday, Esther Milne examines how email is experienced, understood, and materially structured as a practice spanning the domestic and institutional spaces of daily life. Email experiences range from the routine and banal to the surprising and shocking. Drawing on interviews and online surveys, Milne focuses on both the material and the symbolic properties of email. She maps the development of email as a technology and as an industry; considers institutional uses of email, including “bureaucratic intensity” of workplace email and the continuing vibrancy of email groups; and examines what happens when private emails end up in public archives, discussing the Enron email dataset and Hillary Clinton's infamous private server. Finally, Milne explores the creative possibilities of email, connecting eighteenth-century epistolary novels to contemporary “email novels,” discussing the vernacular expression of ASCII art and mail art, and examining email works by Carl Steadman, Miranda July, and others.

In his prose fiction, memoirs, poetry, and drama, Thomas Bernhard (1931-1989)--one of the 20th century's most uniquely gifted writers--created a new and radical style, seemingly out of thin air. His books never “tell a story” in the received sense. Instead, he rages on the page, he rants and spews vitriol about the moral failures of his homeland, Austria, in the long amnesiac aftermath of the Second World War. Yet this furious prose, seemingly shapeless but composed with unparalleled musicality, and taxing by conventional standards, has been powerfully echoed in many writers since Bernhard's death in 1989. These explorers have found in Bernhard's singular accomplishment new paths for the expression of life and truth. Thomas Bernhard's Afterlives examines the international mobilization of Bernhard's style. Writers in Italian, German, Spanish, Hungarian, English, and French have succeeded in making Bernhard's Austrian vision an international vision. This book tells that story.