+publisher:"Cornell University" +contributor:("Schwarz, Anette")

Cornell University

1. Eaton, Megan. From One, Many: Ruth Klxc3X9Cger'S Weiter Leben And The Evolution Of Holocaust Memories.

Degree: MA, Germanic Studies, 2011, Cornell University

► In her 1991 memoir weiter leben, Ruth Klüger attacks the development of the culture of remembrance that has sprung up surrounding the Holocaust. She views… (more)

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APA (6^th Edition):

Eaton, M. (2011). From One, Many: Ruth Klxc3X9Cger'S Weiter Leben And The Evolution Of Holocaust Memories. (Masters Thesis). Cornell University. Retrieved from http://hdl.handle.net/1813/29424

Chicago Manual of Style (16^th Edition):

Eaton, Megan. “From One, Many: Ruth Klxc3X9Cger'S Weiter Leben And The Evolution Of Holocaust Memories.” 2011. Masters Thesis, Cornell University. Accessed January 15, 2021. http://hdl.handle.net/1813/29424.

MLA Handbook (7^th Edition):

Eaton, Megan. “From One, Many: Ruth Klxc3X9Cger'S Weiter Leben And The Evolution Of Holocaust Memories.” 2011. Web. 15 Jan 2021.

Vancouver:

Eaton M. From One, Many: Ruth Klxc3X9Cger'S Weiter Leben And The Evolution Of Holocaust Memories. [Internet] [Masters thesis]. Cornell University; 2011. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/1813/29424.

Council of Science Editors:

Eaton M. From One, Many: Ruth Klxc3X9Cger'S Weiter Leben And The Evolution Of Holocaust Memories. [Masters Thesis]. Cornell University; 2011. Available from: http://hdl.handle.net/1813/29424

Cornell University

2. Phillips, Alexander. Transfiguring Social Nature: Environmental And Aesthetic Transformations In German Realism.

Degree: PhD, Germanic Studies, 2015, Cornell University

URL: http://hdl.handle.net/1813/41069

► TRANSFIGURING SOCIAL NATURE: ENVIRONMENTAL AND AESTHETIC TRANSFORMATIONS IN GERMAN REALISM Alexander Robert Phillips, Ph.D. This dissertation investigates the relation between post-1848 German realist aesthetics and… (more)

▼ TRANSFIGURING SOCIAL NATURE: ENVIRONMENTAL AND AESTHETIC TRANSFORMATIONS IN GERMAN REALISM Alexander Robert Phillips, Ph.D. This dissertation investigates the relation between post-1848 German realist aesthetics and the representation of nature as physically reconstituted by the human labor process. Environmental transformation in the form of cultivation, pollution, and sprawl would appear to pose a challenge to a realist poetics invested in achieving artistic status through "transfiguration" (Verklärung), or the synthesis between material reality and poesy, inasmuch as the mimetic representation of ecological depredation carries with it a reassertion of both prosaic capitalist relations and the base material reality capitalism produces. This study asks how Adalbert Stifter, Wilhelm Raabe, and Theodor Fontane negotiate the mimetic and poetic imperatives of realism where their texts encounter environmental depredation. I argue that the environment's increasingly social character feeds into each author's poetic project, such that environmental transformation grounds a dynamic realism that binds political critique with a broader theoretical reflection on the conditions of possibility for poesy in modernity. The encounter between the social production of nature and poetic realism is crucial for Stifter, for whom the cultivation of the environment mirrors the task he assigns to realist narrative of making perceptible the general moral order that sustains the universe. These cultivated utopias are impossible for Wilhelm Raabe, for whom environmental depredation becomes an agent of generative destabilization that stymies the transfiguration gesture and catalyzes a critical reevaluation of the status of art in a degraded world. Finally I turn to Fontane's Stechlin to consider how the poetic character of Brandenburg is determined by an emerging Anthropocene reality. By looking at the relation between environmental depredation and art, "Transfiguring Social Nature" develops a line of ecocritical inquiry that moves beyond the focus of much earlier ecocritical scholarship on nature and place to account for the poetically constitutive aspects of environmental transformation while also considering its deleterious effects. At the same time considering environmental issues as integral to the texts' otherwise social framework allows us to see realism both as a dynamic literary and theoretical discourse that also figures within the genealogy of contemporary environmentalism. Advisors/Committee Members: Schwarz,Anette (chair), McBride,Patrizia C. (committee member), Fleming,Paul A. (committee member).

Subjects/Keywords: realism; environment; ecocriticism

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APA (6^th Edition):

Phillips, A. (2015). Transfiguring Social Nature: Environmental And Aesthetic Transformations In German Realism. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/41069

Chicago Manual of Style (16^th Edition):

Phillips, Alexander. “Transfiguring Social Nature: Environmental And Aesthetic Transformations In German Realism.” 2015. Doctoral Dissertation, Cornell University. Accessed January 15, 2021. http://hdl.handle.net/1813/41069.

MLA Handbook (7^th Edition):

Phillips, Alexander. “Transfiguring Social Nature: Environmental And Aesthetic Transformations In German Realism.” 2015. Web. 15 Jan 2021.

Vancouver:

Phillips A. Transfiguring Social Nature: Environmental And Aesthetic Transformations In German Realism. [Internet] [Doctoral dissertation]. Cornell University; 2015. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/1813/41069.

Council of Science Editors:

Phillips A. Transfiguring Social Nature: Environmental And Aesthetic Transformations In German Realism. [Doctoral Dissertation]. Cornell University; 2015. Available from: http://hdl.handle.net/1813/41069

Cornell University

3. Gelderloos, Carl. The Instrumental Body And The Organic Machine: Technology As Nature In Weimar Germany.

Degree: PhD, Germanic Studies, 2014, Cornell University

URL: http://hdl.handle.net/1813/37031

► This dissertation explores cultural narratives about technology in the Weimar Republic with a particular focus on tropes of the body-as-tool and the organic machine. At… (more)

▼ This dissertation explores cultural narratives about technology in the Weimar Republic with a particular focus on tropes of the body-as-tool and the organic machine. At once the organic seat of the self and merely one instrument among others in the shaping of the natural world, the ambiguous figure of the instrumental body straddles the border between nature and technology while undermining any strong distinction between the two spheres. The technological anthropologies of Karl Marx, Ernst Kapp, and Helmut Plessner invoke radically divergent political visions from the relationship between technology, the human body, and its environment. The conflicted implications of this relationship are literalized in Alfred Döblin's emblematic novel Berge Meere und Giganten (1924), which pushes the trope of the body-as-tool to a breaking point by repeatedly and spectacularly rupturing the bounds of the body itself; this topological assault on the autonomous individual reflects the confluence of Döblin's monist philosophy of nature and his avant-garde critique of the novel form. I then analyze key contributions to Weimar-era photographic discourse by Döblin, Brecht, Benjamin, Kracauer, and Albert Renger-Patzsch to unfold the uneasy relationship between physiognomy - the belief in the body's inherent legibility - and the way photography as technology compels the visible body to speak. And for Ernst Jünger, future technology itself becomes a human organ, thereby closing the progression of human history in a static, elemental temporality. In contrast to accounts of modernity that see an encroachment of a mechanical register on the organicist discourse of the body, my dissertation shows how the tropes of the body-as-tool and the organic machine destabilize any unidirectional relationship between nature and technology. By recovering the centrality of the organic body within contemporary technological imaginaries, my project intervenes in scholarship on the culture of the Weimar Republic by contributing a more complex - and non-teleological - picture of the aesthetic, philosophical, and political stakes of the discursive entwinements of nature and technology. Advisors/Committee Members: McBride, Patrizia C. (chair), Adelson, Leslie Allen (committee member), Schwarz, Anette (committee member).

Subjects/Keywords: Weimar Republic; Technology; Culture

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APA (6^th Edition):

Gelderloos, C. (2014). The Instrumental Body And The Organic Machine: Technology As Nature In Weimar Germany. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/37031

Chicago Manual of Style (16^th Edition):

Gelderloos, Carl. “The Instrumental Body And The Organic Machine: Technology As Nature In Weimar Germany.” 2014. Doctoral Dissertation, Cornell University. Accessed January 15, 2021. http://hdl.handle.net/1813/37031.

MLA Handbook (7^th Edition):

Gelderloos, Carl. “The Instrumental Body And The Organic Machine: Technology As Nature In Weimar Germany.” 2014. Web. 15 Jan 2021.

Vancouver:

Gelderloos C. The Instrumental Body And The Organic Machine: Technology As Nature In Weimar Germany. [Internet] [Doctoral dissertation]. Cornell University; 2014. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/1813/37031.

Council of Science Editors:

Gelderloos C. The Instrumental Body And The Organic Machine: Technology As Nature In Weimar Germany. [Doctoral Dissertation]. Cornell University; 2014. Available from: http://hdl.handle.net/1813/37031

Cornell University

4. Shapiro, Lawrence. Friedrich S. Krauss And Alois Riegl, Social Network Formation In Viennese Ethnography.

Degree: PhD, History of Architecture and Urban Development, 2015, Cornell University

URL: http://hdl.handle.net/1813/40678

► This project sets out to articulate the faint indicators of connectedness and relatedness between Alois Riegl (1858-1905) and Friedrich S. Krauss (1859-1938). Both were central… (more)

▼ This project sets out to articulate the faint indicators of connectedness and relatedness between Alois Riegl (1858-1905) and Friedrich S. Krauss (1859-1938). Both were central to moments of intensified activity and institutional formation in 1883/84 and 1894/95, respectively the formation of the Ethnographische Commission within the Anthropologische Gesellschaft Wien (AGW) in 1883/84 and the mobilization in support of the Verein für österreichische Volkskunde (VöV) in 1894/95. Both entities responded to the crises of the Nationalities Problem in Austria, which included the rapid growth of modern anti-Semitism after 1880. Volkskunde in Germany was predominantly nostalgic, bourgeoise, and anti-modern, more like folklore studies than like cultural anthropology, under the influence of Wilhelm Heinrich Riehl. Austrian liberal Volkskunde followed the Enlightenment ideals of Alexander von Humboldt and his study of Volksgeist (spirit of the people), as articulation of the infinite, plastic variability of subjectivity. Moritz Lazarus and Chaim Steinthal advanced, in the period 1860-1890, Humboldt's proposition for a liberal Völkerpsychologie, (ethno-psychology) to normalize ethnic difference, including the legitimacy of the Jews as citizens of a civic rather than ethnic nation. Riegl's concept of Kunstwollen (artistic will) explored the plasticity of artistic production and apperception in a manner consistent with ethno-psychology's influence on nascent social psychology, sociology and ethnographic study, as in the work Lazarus's prominent Jewish students Franz Boas and Georg Simmel. The organization in Vienna of the Verein zur Abwehr des Antisemitismus (Society for Defense Against Anti-Semitism), known at the time as the anti-anti, ran up against the problem of blowback against overt opponents against anti-Semitism. On the other hand, the diverse advocates of Volkskunde or Ethnographie in Vienna, both universalist and particularist, e.g. Max Grunwald's Jüdische Volkskunde mobilized in 1896/97, articulated the diversity of Austrian ethnicities and sought to hold open the spaces of Jewish civic identity. Krauss was advanced in his exploration of an ethnography of the abject, traveling to the East to give aid to victims of pogroms. The networks of Riegl's Jewish connections suggest his Judeo-sympathetic advocacy, overlapping with the contrasting radicalism of Krauss's public sphere activities. Advisors/Committee Members: MacDougall,Bonnie Graham (chair), Schwarz,Anette (committee member), Gilgen,Peter (committee member).

Subjects/Keywords: Alois Riegl; Friedrich S. Krauss; Volkskunde – Austria

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APA (6^th Edition):

Shapiro, L. (2015). Friedrich S. Krauss And Alois Riegl, Social Network Formation In Viennese Ethnography. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/40678

Chicago Manual of Style (16^th Edition):

Shapiro, Lawrence. “Friedrich S. Krauss And Alois Riegl, Social Network Formation In Viennese Ethnography.” 2015. Doctoral Dissertation, Cornell University. Accessed January 15, 2021. http://hdl.handle.net/1813/40678.

MLA Handbook (7^th Edition):

Shapiro, Lawrence. “Friedrich S. Krauss And Alois Riegl, Social Network Formation In Viennese Ethnography.” 2015. Web. 15 Jan 2021.

Vancouver:

Shapiro L. Friedrich S. Krauss And Alois Riegl, Social Network Formation In Viennese Ethnography. [Internet] [Doctoral dissertation]. Cornell University; 2015. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/1813/40678.

Council of Science Editors:

Shapiro L. Friedrich S. Krauss And Alois Riegl, Social Network Formation In Viennese Ethnography. [Doctoral Dissertation]. Cornell University; 2015. Available from: http://hdl.handle.net/1813/40678

Cornell University

5. Duncan, Michelle. Freud And The Problem With Music: A History Of Listening At The Moment Of Psychoanalysis.

Degree: PhD, Germanic Studies, 2013, Cornell University

URL: http://hdl.handle.net/1813/34055

► An analysis of voice in performance and literary theory reveals a paradox: while voice is generally thought of as the vehicle through which one expresses… (more)

Subjects/Keywords: Opera; Richard Wagner; Max Graf

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APA (6^th Edition):

Duncan, M. (2013). Freud And The Problem With Music: A History Of Listening At The Moment Of Psychoanalysis. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/34055

Chicago Manual of Style (16^th Edition):

Duncan, Michelle. “Freud And The Problem With Music: A History Of Listening At The Moment Of Psychoanalysis.” 2013. Doctoral Dissertation, Cornell University. Accessed January 15, 2021. http://hdl.handle.net/1813/34055.

MLA Handbook (7^th Edition):

Duncan, Michelle. “Freud And The Problem With Music: A History Of Listening At The Moment Of Psychoanalysis.” 2013. Web. 15 Jan 2021.

Vancouver:

Duncan M. Freud And The Problem With Music: A History Of Listening At The Moment Of Psychoanalysis. [Internet] [Doctoral dissertation]. Cornell University; 2013. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/1813/34055.

Council of Science Editors:

Duncan M. Freud And The Problem With Music: A History Of Listening At The Moment Of Psychoanalysis. [Doctoral Dissertation]. Cornell University; 2013. Available from: http://hdl.handle.net/1813/34055

Cornell University

6. Van Esveld, William. Primitivism In Modernist Literature: A Study Of Eliot, Woolf And Lawrence.

Degree: PhD, English Language and Literature, 2012, Cornell University

URL: http://hdl.handle.net/1813/31501

► The subjects of "civilization" are trapped in an alienating, inauthentic culture, but can escape by cultivating the "primitive" hidden within themselves: grotesque, even terrifying, but… (more)

▼ The subjects of "civilization" are trapped in an alienating, inauthentic culture, but can escape by cultivating the "primitive" hidden within themselves: grotesque, even terrifying, but authentic in its drives, desires and relationship to the world. Known as primitivism, this diagnosis of cultural failure and its purported cure profoundly influenced modernist artists. Beyond the succès de scandale they enjoyed by inverting the hierarchy of savage and civilized, primitivists claimed to speak from a position that was, as Eliot put it, "deeper" and "older" than - and uncontaminated by - their culture. They plumbed an unchanging, inner essence, of which they saw glimpses everywhere from ancient artifacts and African masks to drawings by children and mental patients. The rediscovery of primitive mentality thus promised to overcome modernity's characteristic epistemological anxiety - what James Clifford called "off-centeredness in a world of distinct meaning systems." Yet while primitivism revalued the stereotype of the savage and prized the primitive as mysterious and unknowable, it never overcame the objectifying view that "primitives" were fundamentally all the same, and important primarily as a window onto suppressed aspects of the civilized personality. Primitivism informed (and in some cases deformed) Eliot's, Woolf's and Lawrence's critical social theories, their justifications for writing and publishing, and their understanding of their own aesthetic projects. These writers were preoccupied with the conflict between their need for authentic, radical expression, and their relationship to the public. Primitivist aesthetics justified their art as a spiritual and societal necessity and shielded it from attack as mere neurotic acting-out. Further, each writer drew on primitivist discourse to develop theories of literature and the artistic impulse, from Eliot's theories of poetic imagination to his and Woolf's ideas of the importance of "impersonality." At critical moments in their creative lives, including the writing of "The Waste Land," The Voyage Out, and The Plumed Serpent, primitivism enabled these writers to set the criteria by which their writing should be understood. Advisors/Committee Members: Hite, Molly Patricia (chair), Schwarz, Anette (committee member), Hanson, Ellis (committee member).

Subjects/Keywords: primitivism; modernism; woolf; lawrence; eliot; voyage out; plumed serpent; waste land

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APA (6^th Edition):

Van Esveld, W. (2012). Primitivism In Modernist Literature: A Study Of Eliot, Woolf And Lawrence. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/31501

Chicago Manual of Style (16^th Edition):

Van Esveld, William. “Primitivism In Modernist Literature: A Study Of Eliot, Woolf And Lawrence.” 2012. Doctoral Dissertation, Cornell University. Accessed January 15, 2021. http://hdl.handle.net/1813/31501.

MLA Handbook (7^th Edition):

Van Esveld, William. “Primitivism In Modernist Literature: A Study Of Eliot, Woolf And Lawrence.” 2012. Web. 15 Jan 2021.

Vancouver:

Van Esveld W. Primitivism In Modernist Literature: A Study Of Eliot, Woolf And Lawrence. [Internet] [Doctoral dissertation]. Cornell University; 2012. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/1813/31501.

Council of Science Editors:

Van Esveld W. Primitivism In Modernist Literature: A Study Of Eliot, Woolf And Lawrence. [Doctoral Dissertation]. Cornell University; 2012. Available from: http://hdl.handle.net/1813/31501

Cornell University

7. Linden, Ari. Between Complicity And Critique: The Limits Of Satire In Karl Kraus, Elias Canetti And Else Lasker-SchÜLer.

Degree: PhD, Germanic Studies, 2013, Cornell University

URL: http://hdl.handle.net/1813/34203

► This dissertation addresses the discourse of twentieth-century German-language satire in three representative dramas: Karl Kraus's Die letzten Tage der Menschheit (1915-1922), Elias Canetti's Komödie der… (more)

▼ This dissertation addresses the discourse of twentieth-century German-language satire in three representative dramas: Karl Kraus's Die letzten Tage der Menschheit (1915-1922), Elias Canetti's Komödie der Eitelkeit (1934) and Else Lasker-Schüler's IchundIch (1940-1941). Using a wide range of theoretical approaches - from critical theory to contemporary theories of satire, laughter, parody and irony - and situating these dramas against the background of the two World Wars, this dissertation isolates a particular historical moment (1915-1941) in order to illuminate the ethical problems raised by modernist satire and the related phenomenon of the laughable. It asks: what are the stakes involved in producing a satire without the guarantee of an Archimedean point of authority, and what is entailed in laughing at historical catastrophe? Guided by the observations of Walter Benjamin, Chapters 1 and 2 analyze Kraus's "absolute" satire (Hermann Broch), and specifically the use of quotation and repetition in his dramatic lampoon of World War I, in order to show how the central figure of the text - the Nörgler - must be understood dialectically: his ability to critique the war is a direct function of his recognition, consumption and subsequent reproduction of its "language." Chapter 3 shows how Canetti's allegorical drama attempts to abandon the Krausian mold and produce a less annihilating satire of totalitarianism, only to expose the ambiguity of its laughter. Such laughter mimics the structures of power it aims to negate, similarly evoking the hermeneutic predicament introduced by Kraus. Chapter 4 shows how Lasker-Schüler's grotesque parody of National Socialism and "high" German culture alike invokes a different form of laughter altogether. Writing from the perspective of exile - which also manifests itself in the drama's aesthetics - Lasker-Schüler's laughter is not the embittered, authoritative laughter we find in Kraus and Canetti, but rather one that both embraces and is informed by an expression of subjectivity not bound to the single, ostensibly exterior authorial position. IchundIch thereby provides a model of how the comic disposition can maintain its legitimacy in times of terror without formally capitulating to its object of critique, while still pointing to a key internal aporia that lies at the core of twentiethcentury satire. Advisors/Committee Members: McBride, Patrizia C. (chair), Waite, Geoffrey Carter W (committee member), Schwarz, Anette (committee member), Fleming, Paul A. (committee member).

Subjects/Keywords: satire; Kraus; critique

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APA (6^th Edition):

Linden, A. (2013). Between Complicity And Critique: The Limits Of Satire In Karl Kraus, Elias Canetti And Else Lasker-SchÜLer. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/34203

Chicago Manual of Style (16^th Edition):

Linden, Ari. “Between Complicity And Critique: The Limits Of Satire In Karl Kraus, Elias Canetti And Else Lasker-SchÜLer.” 2013. Doctoral Dissertation, Cornell University. Accessed January 15, 2021. http://hdl.handle.net/1813/34203.

MLA Handbook (7^th Edition):

Linden, Ari. “Between Complicity And Critique: The Limits Of Satire In Karl Kraus, Elias Canetti And Else Lasker-SchÜLer.” 2013. Web. 15 Jan 2021.

Vancouver:

Linden A. Between Complicity And Critique: The Limits Of Satire In Karl Kraus, Elias Canetti And Else Lasker-SchÜLer. [Internet] [Doctoral dissertation]. Cornell University; 2013. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/1813/34203.

Council of Science Editors:

Linden A. Between Complicity And Critique: The Limits Of Satire In Karl Kraus, Elias Canetti And Else Lasker-SchÜLer. [Doctoral Dissertation]. Cornell University; 2013. Available from: http://hdl.handle.net/1813/34203

Cornell University

8. Arslan, Gizem. Metamorphoses Of The Letter In Paul Celan, Georges Perec, And Yoko Tawada.

Degree: PhD, Germanic Studies, 2013, Cornell University

URL: http://hdl.handle.net/1813/34241

► This comparative dissertation project examines the critical status of written signs (letters of phonetic alphabets, Sino-Japanese ideograms, mathematical symbols, and punctuation marks) in translational, multilingual… (more)

▼ This comparative dissertation project examines the critical status of written signs (letters of phonetic alphabets, Sino-Japanese ideograms, mathematical symbols, and punctuation marks) in translational, multilingual and intermedial techniques in literature since World War II and in an increasingly global and multicultural world since the fall of the Berlin Wall. Romanian-German poet Paul Celan, French author Georges Perec, and Japanese-German author Yoko Tawada respond to historical, political and literary moments in Europe that challenge the capacities of verbal arts to articulate turmoil, transformation, and silence, by transfiguring the very medium of writing on the micro-level of individual written signs. International scholarship on these authors and theoretical work on translation and multilingualism focus heavily on reference and meaning, frequently conflating word-fragmentation with illegibility. Often overlooked are elements of writing not widely considered to be vehicles of meaning. In response, this dissertation offers strategies for reading what might appear nonsensical as sensory, and the unreadable as newly legible. This project draws on the history and theories of writing systems from Plato's Cratylus to debates on logocentrism (Jacques Derrida), as well as studies on writing and media, particularly the concept of notational iconicity (Sybille Krämer, Wolfgang Raible, Friedrich Kittler). It argues that Celan, Perec and Tawada subtly transform the very material of writing at the elemental level of written signs, treating letters and by extension texts as material objects in continual transformation. Relatedly, this project shifts its focus from translation as the reproduction of something familiar to transformation as the creation of something new, in order to illustrate that a transformative approach to translation gains far more than what is lost in translation, and that it gains something in addition to the semantic meanings that may accrue in translation. In doing so, this dissertation project offers the microperspective of written signs to Celan, Perec and Tawada scholarship in particular and to the literary humanities in general. Advisors/Committee Members: Adelson, Leslie Allen (chair), Schwarz, Anette (committee member), Melas, Natalie Anne-Marie (committee member), Kittler, Wolf (committee member).

Subjects/Keywords: written signs; translation; letters; transformation; intermedia aesthetics; Paul Celan; Georges Perec; Yoko Tawada

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APA (6^th Edition):

Arslan, G. (2013). Metamorphoses Of The Letter In Paul Celan, Georges Perec, And Yoko Tawada. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/34241

Chicago Manual of Style (16^th Edition):

Arslan, Gizem. “Metamorphoses Of The Letter In Paul Celan, Georges Perec, And Yoko Tawada.” 2013. Doctoral Dissertation, Cornell University. Accessed January 15, 2021. http://hdl.handle.net/1813/34241.

MLA Handbook (7^th Edition):

Arslan, Gizem. “Metamorphoses Of The Letter In Paul Celan, Georges Perec, And Yoko Tawada.” 2013. Web. 15 Jan 2021.

Vancouver:

Arslan G. Metamorphoses Of The Letter In Paul Celan, Georges Perec, And Yoko Tawada. [Internet] [Doctoral dissertation]. Cornell University; 2013. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/1813/34241.

Council of Science Editors:

Arslan G. Metamorphoses Of The Letter In Paul Celan, Georges Perec, And Yoko Tawada. [Doctoral Dissertation]. Cornell University; 2013. Available from: http://hdl.handle.net/1813/34241

9. Ramesh Sankar, Nandini. Poetics Of Difficulty In Postmodern Poetry.

Degree: PhD, English Language and Literature, 2012, Cornell University

URL: http://hdl.handle.net/1813/31228

► This dissertation explores aspects of difficulty in the work of post-1945 British and American poets. While no unified theory of difficulty is attempted, difficulty is… (more)

▼ This dissertation explores aspects of difficulty in the work of post-1945 British and American poets. While no unified theory of difficulty is attempted, difficulty is interpreted as part of the poem's ethical and intellectual commitment towards the sociohistorical matrix that harbors it. Chapter 1 undertakes a general overview of the aesthetic and social issues involved in the practice of poetic difficulty. In chapter 2, I examine the work of the American poet John Ashbery. Through readings of The Tennis Court Oath, "The Skaters," and "Self-Portrait in a Convex Mirror," I argue that Ashbery's poetry is uncertain about the ethicality of difficulty, and as a result the difficulty of his poetry performs complex involutions and self-defeating maneuvers in which irony becomes both indispensable and insufficient. In chapter 3, I discuss both the early and late poetry of J.H. Prynne with a special emphasis on the reader's complex relationship with a lateModernist text that demands tremendous amounts of labor. I argue that this relationship can be understood in terms of a version of love that is shaped both by Prynne's explicit theoretical positions and by the reader's own perceptions of loyalty and reward. Chapter 4 takes up the possibility that difficulty in poetry is an outcome of the poet's sense that language is complicit in, and is the prime instrument of, collective acts of violence. I look at J.H. Prynne's "Refuse Collection," which was written in response to the torture in Abu Ghraib prison. I complement this stance towards complicity with a reading of Peter Riley's poetry, which questions the inevitability of complicity and difficulty. In the fifth and final chapter, I take up the possibility advanced by both British and American poets as well as twentieth-century philosophers that poetry is a privileged site of thinking, and that difficulty is an effect and instrument of such thought. I conclude that poetic difficulty might indeed point to a radically different mode of employing and responding to human creativity. Advisors/Committee Members: Gilbert, Roger Stephen (chair), Schwarz, Anette (committee member), Culler, Jonathan Dwight (committee member).

Subjects/Keywords: British poetry; J.H. Prynne; American poetry; John Ashbery; Peter Riley; Difficulty

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APA (6^th Edition):

Ramesh Sankar, N. (2012). Poetics Of Difficulty In Postmodern Poetry. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/31228

Chicago Manual of Style (16^th Edition):

Ramesh Sankar, Nandini. “Poetics Of Difficulty In Postmodern Poetry.” 2012. Doctoral Dissertation, Cornell University. Accessed January 15, 2021. http://hdl.handle.net/1813/31228.

MLA Handbook (7^th Edition):

Ramesh Sankar, Nandini. “Poetics Of Difficulty In Postmodern Poetry.” 2012. Web. 15 Jan 2021.

Vancouver:

Ramesh Sankar N. Poetics Of Difficulty In Postmodern Poetry. [Internet] [Doctoral dissertation]. Cornell University; 2012. [cited 2021 Jan 15]. Available from: http://hdl.handle.net/1813/31228.

Council of Science Editors:

Ramesh Sankar N. Poetics Of Difficulty In Postmodern Poetry. [Doctoral Dissertation]. Cornell University; 2012. Available from: http://hdl.handle.net/1813/31228

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