Abstract
In The Merchants of Culture, John B. Thompson remarks on the difficulties of writing about a present-day industry, where its swift evolution renders any scholarship on it in danger of âimmediate obsolescenceâ (xi). This challenge is especially familiar to scholars of contemporary popular fiction, a sector of the industry which is in a constant state of flux, where scholarly work can go out of date soon after â or sometimes even before â it is published. This is a particular challenge when it comes to defining genres: how are we to construct genre definitions which account for the fast pace of development?
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