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1.
Groeneveld, Dominique D.
The Spoils of Shame: Queer Affect in the Works of Oscar
Wilde, James Joyce, Radclyffe Hall, and Virginia Woolf.
Degree: PhD, English, 2011, Brown University
URL: https://repository.library.brown.edu/studio/item/bdr:11210/ 
► This dissertation interrogates the complex operations of shame around homosexuality as they appear in early twentieth-century Anglophone writing. I argue that these operations do not…
(more)
▼ This dissertation interrogates the complex operations
of shame around homosexuality as they appear in early
twentieth-century Anglophone writing. I argue that these operations
do not register within Freud's drive-centered model of psychic
life, but also that Foucauldian critical practices, in their stress
on demystification, are not very amenable to the unstable dynamics
particular to shame. This project draws, instead, on a tradition of
thinking affect that connects Silvan Tomkins's ideas on affect – and
Eve Sedgwick's elaboration of them – to those of William James and
Henri Bergson. This "vitalist" tradition allows for a critical
distinction between the shaming interpellations of homosexual
subjects and the latter's own feelings of shame, since affects,
such as shame, have dynamic properties that make that they are
irreducible to their input. The works of Hall and Joyce explore
(and exploit) the unpredictable effect of such properties and thus
render visible the queerness of shame, i.e. the fact that the shame
felt (or not felt) by persons with a stigmatized identity is not
necessarily an articulation or enactment of that identity as
stigmatized. In Hall's The Well of Loneliness, then, the shame of
its "inverted" protagonist is actually that of not being inverted
enough. It is also this object freedom and its dynamic qualities
that inform Woolf's examination of affects, where she juxtaposes
the closed circularity of pride to shame's interruptive potential.
Woolf investigates affects in terms of their ability to foster
novel thoughts, relations, actions and thus focuses on affects as
vital, though not inherently politically efficacious, forces. In
Wilde's De Profundis, we encounter such vitality in his effort to
insert into the over-determined public disclosure of his
"unspeakable" vice a representation of same-sex love that evades
that disclosure. This "smuggling," as Sedgwick argues, engenders
dislocations capable of teaching others how to live more
"powerfully" with their own "stigmata."
Advisors/Committee Members: Herrnstein Smith, Barbara (Director), Rooney, Ellen (Reader), Katz, Tamar (Reader).
Subjects/Keywords: modernism
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APA (6th Edition):
Groeneveld, D. D. (2011). The Spoils of Shame: Queer Affect in the Works of Oscar
Wilde, James Joyce, Radclyffe Hall, and Virginia Woolf. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:11210/
Chicago Manual of Style (16th Edition):
Groeneveld, Dominique D. “The Spoils of Shame: Queer Affect in the Works of Oscar
Wilde, James Joyce, Radclyffe Hall, and Virginia Woolf.” 2011. Doctoral Dissertation, Brown University. Accessed February 25, 2020.
https://repository.library.brown.edu/studio/item/bdr:11210/.
MLA Handbook (7th Edition):
Groeneveld, Dominique D. “The Spoils of Shame: Queer Affect in the Works of Oscar
Wilde, James Joyce, Radclyffe Hall, and Virginia Woolf.” 2011. Web. 25 Feb 2020.
Vancouver:
Groeneveld DD. The Spoils of Shame: Queer Affect in the Works of Oscar
Wilde, James Joyce, Radclyffe Hall, and Virginia Woolf. [Internet] [Doctoral dissertation]. Brown University; 2011. [cited 2020 Feb 25].
Available from: https://repository.library.brown.edu/studio/item/bdr:11210/.
Council of Science Editors:
Groeneveld DD. The Spoils of Shame: Queer Affect in the Works of Oscar
Wilde, James Joyce, Radclyffe Hall, and Virginia Woolf. [Doctoral Dissertation]. Brown University; 2011. Available from: https://repository.library.brown.edu/studio/item/bdr:11210/
2.
Miller, Katherine M.
Temporal Thinking in Modern Lyric.
Degree: PhD, English, 2014, Brown University
URL: https://repository.library.brown.edu/studio/item/bdr:386216/
► My work examines the ways in which modernist lyric poems activate specific ways of thinking through their formal and thematic engagements with time. One particularly…
(more)
▼ My work examines the ways in which modernist lyric
poems activate specific ways of thinking through their formal and
thematic engagements with time. One particularly persistent line of
literary criticism has theorized the temporal mode of lyric as a
kind of perpetual present that resists the passage of time and
strives for access to the eternal. This line of thought has led to
a larger assumption about the closed nature of lyric time: that is,
that the “now” that lyric insists upon makes it fundamentally less
capable than other literary genres of incorporating other tenses,
of positing relations between temporal actions or events, or of
navigating between story and discourse. I argue that this
assumption will not withstand a sustained examination of how time
works in lyric and the thinking that it enables. Because the
temporality of a poem is part of its non-paraphrasable content, it
is difficult to use it to produce a “reading” of a text. I argue
that what the temporal qualities of lyric may reveal instead is how
a poem thinks, how we think when we read a poem, and what poetic
modes of thinking can offer—ethically as well as aesthetically—that
other cognitive modes cannot.
Advisors/Committee Members: Blasing, Mutlu (Director), Armstrong, Paul (Reader), Reichman, Ravit (Reader).
Subjects/Keywords: modernism
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APA (6th Edition):
Miller, K. M. (2014). Temporal Thinking in Modern Lyric. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:386216/
Chicago Manual of Style (16th Edition):
Miller, Katherine M. “Temporal Thinking in Modern Lyric.” 2014. Doctoral Dissertation, Brown University. Accessed February 25, 2020.
https://repository.library.brown.edu/studio/item/bdr:386216/.
MLA Handbook (7th Edition):
Miller, Katherine M. “Temporal Thinking in Modern Lyric.” 2014. Web. 25 Feb 2020.
Vancouver:
Miller KM. Temporal Thinking in Modern Lyric. [Internet] [Doctoral dissertation]. Brown University; 2014. [cited 2020 Feb 25].
Available from: https://repository.library.brown.edu/studio/item/bdr:386216/.
Council of Science Editors:
Miller KM. Temporal Thinking in Modern Lyric. [Doctoral Dissertation]. Brown University; 2014. Available from: https://repository.library.brown.edu/studio/item/bdr:386216/
3.
Blizard, Dawn E.
Authentic Modernism: Ekphrasis and Objecthood in British and
American Literature of the Early Twentieth Century.
Degree: PhD, English, 2009, Brown University
URL: https://repository.library.brown.edu/studio/item/bdr:146/
► This dissertation examines ekphrasis in literary modernism?the verbal representation of visual artworks. In modernist studies the relationship between literature and painting has long been conceived…
(more)
▼ This dissertation examines ekphrasis in literary
modernism?the verbal representation of visual artworks. In
modernist studies the relationship between literature and painting
has long been conceived as a "special," privileged, or important
one, but scholars have predominantly attempted to describe this
relationship from formalist perspectives?which imagine entities
like "literature" and "painting" to be historically and
epistemologically stable categories, operating the same way at all
times and in all places?or from biographical perspectives?searching
in writers' lives for evidence of contacts with paintings or
artists in order to establish a narrative of influence. My project
instead brings a cultural studies perspective to bear on this
problem, arguing that the various modernisms it considers?both
subjective and objective, British and American, avant-garde and
nostalgic?can be understood as interrelated efforts to come to
terms with contemporary changes in the production and reception of
art that allowed it to reach unprecedentedly large international
audiences, to be apprehended by geographically scattered and
economically diverse publics. As technological innovations like
photography and lithography made copies of paintings increasingly
available, a dramatic surge in the number of art museums in America
and the development of new venues for viewing art in European
capitals made their originals more accessible as well. For the
writers whose work I study?Henry James, Roger Fry, Virginia Woolf,
Wyndham Lewis, and Gertrude Stein?this dispersal of modern artworks
and their viewers was a paradoxical source of both anxiety and
utopian potential, reflected in their efforts to declare literature
incommensurate with painting.
Advisors/Committee Members: Scholes, Robert (director), Armstrong, Paul (reader), Bewes, Timothy (reader).
Subjects/Keywords: modernism
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APA (6th Edition):
Blizard, D. E. (2009). Authentic Modernism: Ekphrasis and Objecthood in British and
American Literature of the Early Twentieth Century. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:146/
Chicago Manual of Style (16th Edition):
Blizard, Dawn E. “Authentic Modernism: Ekphrasis and Objecthood in British and
American Literature of the Early Twentieth Century.” 2009. Doctoral Dissertation, Brown University. Accessed February 25, 2020.
https://repository.library.brown.edu/studio/item/bdr:146/.
MLA Handbook (7th Edition):
Blizard, Dawn E. “Authentic Modernism: Ekphrasis and Objecthood in British and
American Literature of the Early Twentieth Century.” 2009. Web. 25 Feb 2020.
Vancouver:
Blizard DE. Authentic Modernism: Ekphrasis and Objecthood in British and
American Literature of the Early Twentieth Century. [Internet] [Doctoral dissertation]. Brown University; 2009. [cited 2020 Feb 25].
Available from: https://repository.library.brown.edu/studio/item/bdr:146/.
Council of Science Editors:
Blizard DE. Authentic Modernism: Ekphrasis and Objecthood in British and
American Literature of the Early Twentieth Century. [Doctoral Dissertation]. Brown University; 2009. Available from: https://repository.library.brown.edu/studio/item/bdr:146/
4.
Baker, Gregory Edward.
"Half-read Wisdom": Classics, Modernism and the Celtic
Fringe.
Degree: PhD, Comparative Literature, 2013, Brown University
URL: https://repository.library.brown.edu/studio/item/bdr:320611/
► The "half-read" knowledge of classical and Celtic languages exerted a major ideological impact on the development of political and linguistic nationalisms in twentieth-century Ireland, Scotland…
(more)
▼ The "half-read" knowledge of classical and Celtic
languages exerted a major ideological impact on the development of
political and linguistic nationalisms in twentieth-century Ireland,
Scotland and Wales. This partial understanding of ancient language
also exercised a dominant influence on major forms of modernist
literary expression—forms which arose as part of a complex reaction
to the impulses that motivated 'nation-building' on the British
Isles. From the Irish Literary Revival of the 1890s onwards,
classical precedent was often cited and invoked in diverse attempts
to confront and attack English influence in the political, literary
and religious life of Ireland, Scotland and Wales. Conscripted into
the ideologies of cultural nationalism, Greek and Roman
civilization was set out as an authoritative model for emulation
and imitation—a model which sometimes legitimized the social and
linguistic purification of the emerging Celtic nations. With this
as a primary historical setting, this dissertation examines how the
multilingual impulse of
modernism in Ireland, Scotland and Wales
arose through a largely untutored and unschooled knowledge of both
classical languages and Celtic civilization. At the end of the
nineteenth century, the rise of English as a field of scholarly
interest and academic study brought with it the decline of liberal
education in the classics. But this "lack of direct access to
classics" was no impediment to literary innovation on the British
Isles. It was rather a central agitator of the stylistic
experiments which developed in the high
modernism of
twentieth-century Ireland and Britain. Although W. B. Yeats, James
Joyce, David Jones and Hugh MacDiarmid remained largely ignorant of
both classical and Celtic languages, the "half-read" understanding
of the ancient world which they did acquire acted as a powerful
motivating force on their work—their ignorance and partial
knowledge of antiquity provoking not imitation but a "positive
incitement to engage" the past in new ways, ways which redefined
contemporary notions of the foreign and the native, the universal
and the local, the ancient, the modern, the Celtic and the
classical.
Advisors/Committee Members: Haynes, Kenneth (Director), Blasing, Mutlu (Reader), Konstan, David (Reader).
Subjects/Keywords: Modernism
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APA ·
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APA (6th Edition):
Baker, G. E. (2013). "Half-read Wisdom": Classics, Modernism and the Celtic
Fringe. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:320611/
Chicago Manual of Style (16th Edition):
Baker, Gregory Edward. “"Half-read Wisdom": Classics, Modernism and the Celtic
Fringe.” 2013. Doctoral Dissertation, Brown University. Accessed February 25, 2020.
https://repository.library.brown.edu/studio/item/bdr:320611/.
MLA Handbook (7th Edition):
Baker, Gregory Edward. “"Half-read Wisdom": Classics, Modernism and the Celtic
Fringe.” 2013. Web. 25 Feb 2020.
Vancouver:
Baker GE. "Half-read Wisdom": Classics, Modernism and the Celtic
Fringe. [Internet] [Doctoral dissertation]. Brown University; 2013. [cited 2020 Feb 25].
Available from: https://repository.library.brown.edu/studio/item/bdr:320611/.
Council of Science Editors:
Baker GE. "Half-read Wisdom": Classics, Modernism and the Celtic
Fringe. [Doctoral Dissertation]. Brown University; 2013. Available from: https://repository.library.brown.edu/studio/item/bdr:320611/
5.
Sikorski, Hannah Joran.
Critical Romance: Literary Modernism Rewriting Literary
History".
Degree: PhD, English, 2012, Brown University
URL: https://repository.library.brown.edu/studio/item/bdr:297645/
► In “A Critical Romance: Modernism Rewriting Literary History,” I examine the formative role of the romance in literary modernism’s work to think critically about itself…
(more)
▼ In “A Critical Romance:
Modernism Rewriting Literary
History,” I examine the formative role of the romance in literary
modernism’s work to think critically about itself and its own
history. Past readings of the relationship between the two forms
have emphasized their discreteness; although they may be involved
with each other, they are defined by competing desires. If critical
engagement with
modernism is underwritten by an assumption of
innovation, the romance’s orientation is seen in opposite terms.
Its interest in returns and retrievals of past and ideal states
has, in other words, been misread to signify the form’s primitive,
and always precedent, status. Discussions of
modernism and the
romance have invested in this logic, reading the romance as active
only in relationship to early stages of
modernism.
This dissertation is interested in thinking about the romance
as definitionally active in
modernism, as a group of
tropes—wandering, chance, the fantastic, adventure—that create a
vocabulary for modernism’s critical self-reflection. I argue that
the romance’s interest in a return, its desire to retrieve a past
state, gives
modernism a way of thinking about its own past and for
conceptualizing of history.
Modernism develops the romance into a
methodological drive geared toward re-conceptualizing of and
re-narrating literary history. Rather than thinking about the
romance as a single, stable form, I am interested in a grammatical
turn, in thinking about how the romance functions as a verb in the
modernist text. The forms of the medieval romance, gothic novel,
and the adventure tales of the late-nineteenth century are at work
in the modernist text, key to its development of a modernist
historiography.
Advisors/Committee Members: Katz, Tamar (Director), Reichman, Ravit (Reader), Burrows, Stuart (Reader).
Subjects/Keywords: modernism
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APA ·
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Manager
APA (6th Edition):
Sikorski, H. J. (2012). Critical Romance: Literary Modernism Rewriting Literary
History". (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:297645/
Chicago Manual of Style (16th Edition):
Sikorski, Hannah Joran. “Critical Romance: Literary Modernism Rewriting Literary
History".” 2012. Doctoral Dissertation, Brown University. Accessed February 25, 2020.
https://repository.library.brown.edu/studio/item/bdr:297645/.
MLA Handbook (7th Edition):
Sikorski, Hannah Joran. “Critical Romance: Literary Modernism Rewriting Literary
History".” 2012. Web. 25 Feb 2020.
Vancouver:
Sikorski HJ. Critical Romance: Literary Modernism Rewriting Literary
History". [Internet] [Doctoral dissertation]. Brown University; 2012. [cited 2020 Feb 25].
Available from: https://repository.library.brown.edu/studio/item/bdr:297645/.
Council of Science Editors:
Sikorski HJ. Critical Romance: Literary Modernism Rewriting Literary
History". [Doctoral Dissertation]. Brown University; 2012. Available from: https://repository.library.brown.edu/studio/item/bdr:297645/
6.
Solomon, Susan L.
New Writing: Modernism, Punctuation, and the Intermedial
Text.
Degree: PhD, Comparative Literature, 2013, Brown University
URL: https://repository.library.brown.edu/studio/item/bdr:320648/
► This dissertation studies how punctuation marks serve as instruments and symbols of modernism's historical self-awareness and produce seams and ruptures between and within literary writing,…
(more)
▼ This dissertation studies how punctuation marks serve
as instruments and symbols of
modernism's historical self-awareness
and produce seams and ruptures between and within literary writing,
music, and pictorial art. It concentrates on British, U.S., and
European literary
modernism and its theorization in prose by
Theodor Adorno, Gertrude Stein, Virginia Woolf, James Joyce, Andrei
Bely, and F. T. Marinetti. Punctuation, it argues, plays a central
but paradoxical role in the premise of "making it new" in the
avant-garde and in the very idea of "modern"ism during the early
twentieth century.
The initial chapter identifies the significance of
punctuation marks and print materiality for intermedial writing
experiments by Bely and writings on intermediality by Adorno. It
reveals how for Adorno the compositorial elements of text emerge on
equal footing with the traditional interartistic ideal of the
musical composition. Writing's accidental status as a
nonintentional, even dissonant language of its own ruptures the
classical privileging of unity and essence, a move performed by
modernist aesthetics more generally. The second chapter explores
the perspectives of Adorno, Stein, Marinetti, and Woolf on the
relationship between historical change and aesthetic revolt. It
focuses on punctuation, which as a segmenting, periodizing tool,
formally engages
modernism's engagement with the idea of historical
rupture.
Chapter three reads the foregrounding of textual accidentals
and the near absence of quotation marks in Joyce's "Ulysses"
against concepts of literary realism and linguistic experiment,
literature and journalism, speech and print, and repetition and
originality. In conjunction it examines the role of the
accident/essence binary in the recurring example of Joyce in Adorno
and Georg Lukács' debate over the modern novel, realism, and
reportage. The final chapter examines how parentheses and square
brackets in Woolf's "To the Lighthouse" register temporal change in
the space of its narrative and textual form. Through its
conventional association with editorial deletion and visual
continuity with the empty extended arms of Mr. Ramsay and Aeneas,
the bracket performs this shared scene of loss and represents the
novel's connection to the epic past as an absence that
connects.
Advisors/Committee Members: McLaughlin, Kevin (Director), Bernstein, Susan (Reader), Scholes, Robert (Reader), Reichman, Ravit (Reader).
Subjects/Keywords: modernism
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APA ·
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Manager
APA (6th Edition):
Solomon, S. L. (2013). New Writing: Modernism, Punctuation, and the Intermedial
Text. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:320648/
Chicago Manual of Style (16th Edition):
Solomon, Susan L. “New Writing: Modernism, Punctuation, and the Intermedial
Text.” 2013. Doctoral Dissertation, Brown University. Accessed February 25, 2020.
https://repository.library.brown.edu/studio/item/bdr:320648/.
MLA Handbook (7th Edition):
Solomon, Susan L. “New Writing: Modernism, Punctuation, and the Intermedial
Text.” 2013. Web. 25 Feb 2020.
Vancouver:
Solomon SL. New Writing: Modernism, Punctuation, and the Intermedial
Text. [Internet] [Doctoral dissertation]. Brown University; 2013. [cited 2020 Feb 25].
Available from: https://repository.library.brown.edu/studio/item/bdr:320648/.
Council of Science Editors:
Solomon SL. New Writing: Modernism, Punctuation, and the Intermedial
Text. [Doctoral Dissertation]. Brown University; 2013. Available from: https://repository.library.brown.edu/studio/item/bdr:320648/
7.
Gentry, Jonathan C.
Sound Bodies: Biopolitics in German Musical Culture,
1850-1910.
Degree: PhD, History, 2015, Brown University
URL: https://repository.library.brown.edu/studio/item/bdr:419402/
► Long before the degenerate art exhibition under the Nazis, German culture was concerned about the degeneration of music and the ill health effects of such…
(more)
▼ Long before the degenerate art exhibition under the
Nazis, German culture was concerned about the degeneration of music
and the ill health effects of such “abnormal” sounds. My project
analyses the role of music critics in promoting the idea that
compositional forms impacted the health of listeners, bringing
biopolitics into music. In the mid-19th Century critics began
writing about orchestral compositions as if they were life forms in
need of management due to their powerful effect on human biology.
As policing agents of aesthetic life, music critics actually
created the threatening phenomena of
modernism by first
establishing the boundaries of lawful, normal music and then
flagging works that violated those bounds. However, by the start of
the 20th Century, aesthetic authorities became less tolerant of
modernism and actively moved to quarantine it. As I demonstrate,
this drift towards conservatism reflected both the political
anxieties about democracy and the contagion fears of new public
health paradigms I argue that the broader significance of musical
modernism lies in its intersection with a biologization of mass
culture and politics. This included not merely new forms of ethnic
and political racism, such as anti-Semitism, but a broad public
investment in the improvement of the nation’s biological life.
Modernism was compared to other dangerous populations that emerged
with Central European mass politics: political parties, ethnic
groups, and diseased persons. Like these groups, “pathological”
music was
subject to biopolitical pressures and controls. While
less well-known than other compositional schools, my research
demonstrates that for at least a decade the “secessionist school”
was a coherent circle of musical innovators, whose works first
introduced the parameters of
modernism to musical culture. Although
the music of the secession was shaped by the unrelenting
disciplinary and biopolitical pressures of musical authorities, its
deviance also articulated its own vision of health. Within a
musical culture that routinely created parallels between music and
bodies, secessionists constructed sound bodies that affirmed – as a
musical metaphor – an anarchic and communal vitality not
subject to
the strictures of law, musical or political.
Advisors/Committee Members: Steinberg, Michael (Director), Gooley, Dana (Reader), Pollock, Ethan (Reader).
Subjects/Keywords: Modernism
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APA ·
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MLA ·
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CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Gentry, J. C. (2015). Sound Bodies: Biopolitics in German Musical Culture,
1850-1910. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:419402/
Chicago Manual of Style (16th Edition):
Gentry, Jonathan C. “Sound Bodies: Biopolitics in German Musical Culture,
1850-1910.” 2015. Doctoral Dissertation, Brown University. Accessed February 25, 2020.
https://repository.library.brown.edu/studio/item/bdr:419402/.
MLA Handbook (7th Edition):
Gentry, Jonathan C. “Sound Bodies: Biopolitics in German Musical Culture,
1850-1910.” 2015. Web. 25 Feb 2020.
Vancouver:
Gentry JC. Sound Bodies: Biopolitics in German Musical Culture,
1850-1910. [Internet] [Doctoral dissertation]. Brown University; 2015. [cited 2020 Feb 25].
Available from: https://repository.library.brown.edu/studio/item/bdr:419402/.
Council of Science Editors:
Gentry JC. Sound Bodies: Biopolitics in German Musical Culture,
1850-1910. [Doctoral Dissertation]. Brown University; 2015. Available from: https://repository.library.brown.edu/studio/item/bdr:419402/
University of Wollongong
8.
Howell, Anne.
The oscillating subject in Don DeLillo’s White Noise.
Degree: PhD, 2013, University of Wollongong
URL: ;
https://ro.uow.edu.au/theses/3912
► The dossier of work associated with my doctoral research comprises a creative component in the form of a novel, 1984 Did Not Take Place,…
(more)
▼ The dossier of work associated with my doctoral research comprises a creative component in the form of a novel, 1984 Did Not Take Place, and this thesis. Both projects address debates about the subject under the influence of postmodern theory, which arose during what Douglas Kellner calls the 1980s “theory wars” (1995, p 23). In this thesis I conduct an investigation into how the protagonist of Don DeLillo’s White Noise, Jack Gladney, is depicted as reacting to the pressures of these ‘wars’ and how his “maneuvering for advantage” leads to his oscillation between subject positions associated with cultural canonical modernism and postmodernism. In order to determine Gladney’s characterisation in relation to modernist and postmodernist notions of the subject, I draw on key properties established by a range of fictional authors and theorists who have written on what typifies artistic modernism and postmodernism. I argue that White Noise depicts 1980s theoretical preoccupation with mass conformist consciousness, Baudrillard’s “precession of simulacra” (1983a), the dominance of mainstream media, consumerism and the decline of the transcendent subject, and that these themes play out within Gladney’s characterisation in challenging the hegemony of modernist preoccupations with authenticity, originality and individual agency in relation to the subject. I coin the term epiphomerical to demonstrate that Gladney represents the subject caught in between these conflicting cultural paradigms.
This thesis compares Gladney’s characterisation with the modernist artist-hero Stephen Dedalus from James Joyce’s A Portrait of the Artist as a Young Man (1992) and with postmodern hedonist-pragmatist Bruno Clément in Michel Houellebecq’s Atomised (1998) to identify a continuum within the cannon of the literary subject in relation to the postmodern challenge to ideas of transcendence. This thesis shows that Gladney occupies a transitional place in this continuum, oscillating between canonical modernist and postmodernist positions. In a final study, I compare Gladney with Jack Blight, the protagonist in my novel 1984 Did Not Take Place, whose role as emerging postmodern artist is represented as a strategic game of survival played in collusion with his peers. Both White Noise and my novel draw thematically on the strong influence of Jean Baudrillard in the period and explore his concerns with the impact on the subject of an increasingly media-saturated consumer culture.
While there are significant similarities in the treatment of the themes explored in this thesis, it is demonstrated that the key differences between DeLillo’s work and my own are, firstly, that DeLillo does not treat these themes explicitly, and secondly that my own work was penned in what is arguably the aftermath of postmodernism, rather than contemporaneously with the height of the theory wars. Some implications of these differences for the representation of subjectivity are…
Subjects/Keywords: modernism; post modernism
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APA (6th Edition):
Howell, A. (2013). The oscillating subject in Don DeLillo’s White Noise. (Doctoral Dissertation). University of Wollongong. Retrieved from ; https://ro.uow.edu.au/theses/3912
Chicago Manual of Style (16th Edition):
Howell, Anne. “The oscillating subject in Don DeLillo’s White Noise.” 2013. Doctoral Dissertation, University of Wollongong. Accessed February 25, 2020.
; https://ro.uow.edu.au/theses/3912.
MLA Handbook (7th Edition):
Howell, Anne. “The oscillating subject in Don DeLillo’s White Noise.” 2013. Web. 25 Feb 2020.
Vancouver:
Howell A. The oscillating subject in Don DeLillo’s White Noise. [Internet] [Doctoral dissertation]. University of Wollongong; 2013. [cited 2020 Feb 25].
Available from: ; https://ro.uow.edu.au/theses/3912.
Council of Science Editors:
Howell A. The oscillating subject in Don DeLillo’s White Noise. [Doctoral Dissertation]. University of Wollongong; 2013. Available from: ; https://ro.uow.edu.au/theses/3912
University of Georgia
9.
Cottrell, Camille.
The mainstreaming of modern art in America.
Degree: PhD, Art, 2002, University of Georgia
URL: http://purl.galileo.usg.edu/uga_etd/cottrell_camille_200208_phd
► This interdisciplinary research project investigates the individual and collective efforts of a four-pronged advocacy coalition which promoted Modernism in America between 1930 and 1950. The…
(more)
▼ This interdisciplinary research project investigates the individual and collective efforts of a four-pronged advocacy coalition which promoted
Modernism in America between 1930 and 1950. The study documents the activities of the commercial art dealers, the patrons and collectors, the museums and the educators who mainstreamed modern art into the cultural psyche of the United States. Through their interactions and collective power, they were instrumental in the grafting of fledgling American art sensibilities to vanguard European practices, the establishment of valid educational mechanisms to promote an appreciation of
Modernism, the recognition of New York as the international capital of art and culture, and the formation of aesthetic theories which were uniquely representational of America. Through the analysis of unpublished archival material, journals, memoirs, artists’ statements, relevant critical writings and educational publications, the individual and concomitant activities of these advocacy groups are examined. The research documents the congruent exhibitions, theoretical discussions, and didactic programs devoted to
Modernism and draws correlations between the modern art movement and the catalytic shifts in educational practices. Findings from the research suggest the conscious formation of a cultural coalition which proselytized modern art, created a system of patronage for the art and disseminated its philosophical and iconographical principles throughout the United States. The research indicates that it was the unfaltering efforts of a powerful art collective which included the dealers, the patrons, the museums and the educational systems, who used their aegis to transform the aesthetic identity of the United States and poise America to become the new center of the artistic world. This collective promoted not only a body of work, but also a body of institutions and a matrix of practices which were dispersed into and absorbed by the American public. The result of their actions was an amalgamation of ideals concerning democracy, free will and individual creative expression which mark a meridian of the intellectual and artistic history of our society.
Advisors/Committee Members: William T. Squires.
Subjects/Keywords: Modernism
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APA (6th Edition):
Cottrell, C. (2002). The mainstreaming of modern art in America. (Doctoral Dissertation). University of Georgia. Retrieved from http://purl.galileo.usg.edu/uga_etd/cottrell_camille_200208_phd
Chicago Manual of Style (16th Edition):
Cottrell, Camille. “The mainstreaming of modern art in America.” 2002. Doctoral Dissertation, University of Georgia. Accessed February 25, 2020.
http://purl.galileo.usg.edu/uga_etd/cottrell_camille_200208_phd.
MLA Handbook (7th Edition):
Cottrell, Camille. “The mainstreaming of modern art in America.” 2002. Web. 25 Feb 2020.
Vancouver:
Cottrell C. The mainstreaming of modern art in America. [Internet] [Doctoral dissertation]. University of Georgia; 2002. [cited 2020 Feb 25].
Available from: http://purl.galileo.usg.edu/uga_etd/cottrell_camille_200208_phd.
Council of Science Editors:
Cottrell C. The mainstreaming of modern art in America. [Doctoral Dissertation]. University of Georgia; 2002. Available from: http://purl.galileo.usg.edu/uga_etd/cottrell_camille_200208_phd
10.
Ben-Merre, David N.
Time Travels: Metalepsis and Modernist Poetry.
Degree: PhD, English, 2008, Brown University
URL: https://repository.library.brown.edu/studio/item/bdr:1/
► In Time Travels: Metalepsis and Modernist Poetry, I examine how modern notions of time play out rhetorically in the work of Wallace Stevens, W. B.…
(more)
▼ In Time Travels: Metalepsis and Modernist Poetry, I
examine how modern notions of time play out rhetorically in the
work of Wallace Stevens, W. B. Yeats, James Merrill, and T. S.
Eliot. I focus not so much on the relationships of literature to
cosmological or subjective time but, instead, focus on how literary
forms alter how we've come to understand cultures of temporality,
such as what we mean by revision, by a literary memory, or by a
lyric
subject. The central trope I focus on is metalepsis. Unlike
most other tropes, which are generally confined to a kind of
conceptual space, metaleptic narratives rework presumptions of
causality, illogically take what comes later or after and
substitute them for what comes before. There is both a positing and
a negating aspect to this trope. On the one hand, metaleptic
narratives assume that history is meaningful?that it is part of
some larger picture. But, on the other hand, because of its
anachronistic nature, it always seems to insist that we question
the very same meaningful history that it posits. I turn to this
trope, because it helps figure an important paradoxical
relationship between the ways we talk about history and the ways we
talk about forms, as well as because it helps figure a central
paradox of
modernism: the historical condition of being outside the
historical.
Advisors/Committee Members: Blasing, Mutlu (director), Katz, Tamar (reader), Keach, William (reader), Smith, Barbara (reader).
Subjects/Keywords: modernism
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APA (6th Edition):
Ben-Merre, D. N. (2008). Time Travels: Metalepsis and Modernist Poetry. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:1/
Chicago Manual of Style (16th Edition):
Ben-Merre, David N. “Time Travels: Metalepsis and Modernist Poetry.” 2008. Doctoral Dissertation, Brown University. Accessed February 25, 2020.
https://repository.library.brown.edu/studio/item/bdr:1/.
MLA Handbook (7th Edition):
Ben-Merre, David N. “Time Travels: Metalepsis and Modernist Poetry.” 2008. Web. 25 Feb 2020.
Vancouver:
Ben-Merre DN. Time Travels: Metalepsis and Modernist Poetry. [Internet] [Doctoral dissertation]. Brown University; 2008. [cited 2020 Feb 25].
Available from: https://repository.library.brown.edu/studio/item/bdr:1/.
Council of Science Editors:
Ben-Merre DN. Time Travels: Metalepsis and Modernist Poetry. [Doctoral Dissertation]. Brown University; 2008. Available from: https://repository.library.brown.edu/studio/item/bdr:1/
University of Notre Dame
11.
Christopher David Chapman.
Taboo: The Real Modernist Aesthetic Made
Real</h1>.
Degree: PhD, English, 2011, University of Notre Dame
URL: https://curate.nd.edu/show/f1881j94m9w
► This study traces an important part of a major theoretical development (if not the theoretical development) in contemporary Critical Theory by offering a brief…
(more)
▼ This study traces an important part of a
major theoretical development (if not the theoretical development)
in contemporary Critical Theory by offering a brief discussion of
those theorists and one exemplary poet who have inaugurated our
ongoing curiosity about modernist allegory. Critics such as Robert
Hullot-Kentor, Susan Buck-Morss, and Jerome McGann have already
demonstrated at length the impact of modernist concepts of allegory
on our reception of contemporary Theory and Poetics. My purpose
here is not to repeat their arguments about the meaning of Walter
Benjamin and T.W. Adorno’s definitions of allegory, nor to make the
case that Ezra Pound knowingly developed his own poetic according
to their program. Rather, I wish to offer a discussion and
presentation of the theory of allegory which demonstrates its
origins in the profound interest in natural history that held
modernism in its nascent grip. Meanwhile, even here, the
relationship between allegory and
modernism cannot be exhausted
through discovering its origins in this formative philosophical
climate. This is due to the fact that natural history was an
absorptive and expansive term that allowed for refinement without
reduction as it came to signal entire processes of cultural,
linguistic, and aesthetic practice. At their centre, though, are a
set of concerns that obsessively interested Benjamin, Pound and
Adorno – the relationships that obtain between names, titles, fate,
and taboo. Allegory is Benjamin’s name for the sum of the processes
that produce natural history. When fate allegorically critiques
titles it demonstrates that history is not a linear triumphal
process, but the realization that nature, too, expresses itself as
history. Likewise, when names allegorically critique taboo, they
demonstrate that history is constructed by nature. Adorno retains
these concerns and offers a different understanding of natural
history, leaving allegory’s dialectical process intact, but pointed
towards a new construal of the relationships that obtain between
its terms. Allegory, hence, became the open-ended theory through
which modernist art works are still being construed. This is to say
that Benjamin, Adorno, and Pound are symptoms of those pervasive
anxieties that were produced from the loss of what once were
teleological understandings about the demarcation between nature
and history. Hidden here is the loss of transcendental concepts
that once made thinking about nature and history moot, secure in
their teleological separation. Transcendental explanations had the
capacity, through taboo, allegory, and language, to make their
distinction explicable and manifest. Modernity asks us to lose that
which teleological explanations have always been willing to lose,
as if it were obviousness itself, the guaranteed distinction
between nature and history.
Advisors/Committee Members: Stephen Fredman, Committee Chair.
Subjects/Keywords: modernism; taboo
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APA (6th Edition):
Chapman, C. D. (2011). Taboo: The Real Modernist Aesthetic Made
Real</h1>. (Doctoral Dissertation). University of Notre Dame. Retrieved from https://curate.nd.edu/show/f1881j94m9w
Chicago Manual of Style (16th Edition):
Chapman, Christopher David. “Taboo: The Real Modernist Aesthetic Made
Real</h1>.” 2011. Doctoral Dissertation, University of Notre Dame. Accessed February 25, 2020.
https://curate.nd.edu/show/f1881j94m9w.
MLA Handbook (7th Edition):
Chapman, Christopher David. “Taboo: The Real Modernist Aesthetic Made
Real</h1>.” 2011. Web. 25 Feb 2020.
Vancouver:
Chapman CD. Taboo: The Real Modernist Aesthetic Made
Real</h1>. [Internet] [Doctoral dissertation]. University of Notre Dame; 2011. [cited 2020 Feb 25].
Available from: https://curate.nd.edu/show/f1881j94m9w.
Council of Science Editors:
Chapman CD. Taboo: The Real Modernist Aesthetic Made
Real</h1>. [Doctoral Dissertation]. University of Notre Dame; 2011. Available from: https://curate.nd.edu/show/f1881j94m9w
12.
Camastra, Nicole Josephine.
Nostalgic sensibilities: Romantic music in selected works of Willa Cather, Ernest Hemingway, and F. Scott Fitzgerald.
Degree: PhD, English, 2012, University of Georgia
URL: http://purl.galileo.usg.edu/uga_etd/camastra_nicole_j_201205_phd
► Although the Modernists lauded progressive attitudes toward the arts, Ezra Pound’s injunction to “make it new” did not necessarily proscribe the old, familiarity with which…
(more)
▼ Although the Modernists lauded progressive attitudes toward the arts, Ezra Pound’s injunction to “make it new” did not necessarily proscribe the old, familiarity with which provided the best way to achieve his example. A strong interest in the nostalgic past characterized American literature of the era, especially the fiction of Willa Cather, Ernest Hemingway, and F. Scott Fitzgerald. Memorializing experience meant idealizing it to a degree, and Romantic music in particular helped express impressions of the individual and collective past with which the period and these writers were so preoccupied. Stemming from the Impressionism that precipitated the early twentieth-century aesthetic, a focus on sensory experience defined the capstones of the new literary era to which Cather, Hemingway, and Fitzgerald belonged. The trademark styles of all three authors therefore urge the suggestion to listen to their writing in addition to reading it. Doing so means reevaluating the tendency to align Modern authors and their fiction with twentieth-century music, especially jazz. Ubiquitous as it was, it could not offer an adequate paradigm for certain structural and thematic concerns.
Romantic music did, and as an older aesthetic, it also provided an idiom commensurate with the nostalgic tone of particular works of fiction. Antonín Dvořák’s Symphony No. 9, From the New World, inspired the theme of My Ántonia (1918). The variations genre, especially Johannes Brahms’s Variations on a Theme by Haydn, and the castrati tradition relate to the form and content in two of Hemingway’s short stories from Winner Take Nothing (1933), “Homage to Switzerland” and “God Rest You Merry, Gentlemen.” Finally, Franz Schubert’s Heine Lieder seem to have galvanized Fitzgerald’s development of Dick Diver, the protagonist in Tender is the Night (1934). Using a musical hermeneutic for these works depends on reading them as inherently nostalgic for an artistic impulse that was subsumed by a more progressive, avant-garde one. Ultimately, inspiration rests in suggestion, not duplication, and the way in which an author crafts musical influence becomes its own kind of performance.
Advisors/Committee Members: James Nagel.
Subjects/Keywords: Modernism
…one.1
The term Modernism applies to a transnational movement and
commonly refers to the… …Modernism follows Realism and
Naturalism. Trying to create an objective picture of the world
and… …emotionalism
5
and idealism of Romanticism by presenting a grittier view of the
world. Modernism… …extended this riposte but focused far more
heavily on the aesthetics of prose.
Modernism… …objective in Symbolism, Impressionism, and, later, Modernism
of presenting an image rather than…
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APA (6th Edition):
Camastra, N. J. (2012). Nostalgic sensibilities: Romantic music in selected works of Willa Cather, Ernest Hemingway, and F. Scott Fitzgerald. (Doctoral Dissertation). University of Georgia. Retrieved from http://purl.galileo.usg.edu/uga_etd/camastra_nicole_j_201205_phd
Chicago Manual of Style (16th Edition):
Camastra, Nicole Josephine. “Nostalgic sensibilities: Romantic music in selected works of Willa Cather, Ernest Hemingway, and F. Scott Fitzgerald.” 2012. Doctoral Dissertation, University of Georgia. Accessed February 25, 2020.
http://purl.galileo.usg.edu/uga_etd/camastra_nicole_j_201205_phd.
MLA Handbook (7th Edition):
Camastra, Nicole Josephine. “Nostalgic sensibilities: Romantic music in selected works of Willa Cather, Ernest Hemingway, and F. Scott Fitzgerald.” 2012. Web. 25 Feb 2020.
Vancouver:
Camastra NJ. Nostalgic sensibilities: Romantic music in selected works of Willa Cather, Ernest Hemingway, and F. Scott Fitzgerald. [Internet] [Doctoral dissertation]. University of Georgia; 2012. [cited 2020 Feb 25].
Available from: http://purl.galileo.usg.edu/uga_etd/camastra_nicole_j_201205_phd.
Council of Science Editors:
Camastra NJ. Nostalgic sensibilities: Romantic music in selected works of Willa Cather, Ernest Hemingway, and F. Scott Fitzgerald. [Doctoral Dissertation]. University of Georgia; 2012. Available from: http://purl.galileo.usg.edu/uga_etd/camastra_nicole_j_201205_phd
13.
van Stralen, J.J.M.
Onbestemd verblijf: een onderzoek naar het semantische veld 'bewustzijn' in het modernisme.
Degree: 1990, Quine
URL: https://research.vu.nl/en/publications/85d11207-ef2f-49c2-bed7-5e056097e80d
;
urn:nbn:nl:ui:31-85d11207-ef2f-49c2-bed7-5e056097e80d
;
85d11207-ef2f-49c2-bed7-5e056097e80d
;
1871.1/85d11207-ef2f-49c2-bed7-5e056097e80d
;
urn:nbn:nl:ui:31-85d11207-ef2f-49c2-bed7-5e056097e80d
;
https://research.vu.nl/en/publications/85d11207-ef2f-49c2-bed7-5e056097e80d
Subjects/Keywords: Modernism
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MLA ·
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Export
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Manager
APA (6th Edition):
van Stralen, J. J. M. (1990). Onbestemd verblijf: een onderzoek naar het semantische veld 'bewustzijn' in het modernisme. (Doctoral Dissertation). Quine. Retrieved from https://research.vu.nl/en/publications/85d11207-ef2f-49c2-bed7-5e056097e80d ; urn:nbn:nl:ui:31-85d11207-ef2f-49c2-bed7-5e056097e80d ; 85d11207-ef2f-49c2-bed7-5e056097e80d ; 1871.1/85d11207-ef2f-49c2-bed7-5e056097e80d ; urn:nbn:nl:ui:31-85d11207-ef2f-49c2-bed7-5e056097e80d ; https://research.vu.nl/en/publications/85d11207-ef2f-49c2-bed7-5e056097e80d
Chicago Manual of Style (16th Edition):
van Stralen, J J M. “Onbestemd verblijf: een onderzoek naar het semantische veld 'bewustzijn' in het modernisme.” 1990. Doctoral Dissertation, Quine. Accessed February 25, 2020.
https://research.vu.nl/en/publications/85d11207-ef2f-49c2-bed7-5e056097e80d ; urn:nbn:nl:ui:31-85d11207-ef2f-49c2-bed7-5e056097e80d ; 85d11207-ef2f-49c2-bed7-5e056097e80d ; 1871.1/85d11207-ef2f-49c2-bed7-5e056097e80d ; urn:nbn:nl:ui:31-85d11207-ef2f-49c2-bed7-5e056097e80d ; https://research.vu.nl/en/publications/85d11207-ef2f-49c2-bed7-5e056097e80d.
MLA Handbook (7th Edition):
van Stralen, J J M. “Onbestemd verblijf: een onderzoek naar het semantische veld 'bewustzijn' in het modernisme.” 1990. Web. 25 Feb 2020.
Vancouver:
van Stralen JJM. Onbestemd verblijf: een onderzoek naar het semantische veld 'bewustzijn' in het modernisme. [Internet] [Doctoral dissertation]. Quine; 1990. [cited 2020 Feb 25].
Available from: https://research.vu.nl/en/publications/85d11207-ef2f-49c2-bed7-5e056097e80d ; urn:nbn:nl:ui:31-85d11207-ef2f-49c2-bed7-5e056097e80d ; 85d11207-ef2f-49c2-bed7-5e056097e80d ; 1871.1/85d11207-ef2f-49c2-bed7-5e056097e80d ; urn:nbn:nl:ui:31-85d11207-ef2f-49c2-bed7-5e056097e80d ; https://research.vu.nl/en/publications/85d11207-ef2f-49c2-bed7-5e056097e80d.
Council of Science Editors:
van Stralen JJM. Onbestemd verblijf: een onderzoek naar het semantische veld 'bewustzijn' in het modernisme. [Doctoral Dissertation]. Quine; 1990. Available from: https://research.vu.nl/en/publications/85d11207-ef2f-49c2-bed7-5e056097e80d ; urn:nbn:nl:ui:31-85d11207-ef2f-49c2-bed7-5e056097e80d ; 85d11207-ef2f-49c2-bed7-5e056097e80d ; 1871.1/85d11207-ef2f-49c2-bed7-5e056097e80d ; urn:nbn:nl:ui:31-85d11207-ef2f-49c2-bed7-5e056097e80d ; https://research.vu.nl/en/publications/85d11207-ef2f-49c2-bed7-5e056097e80d
University of Manitoba
14.
Brickey, Alyson.
"The little twist of sound could have the whole of her:" silence, repetition, and musicality in Virginia Woolf's "Between the Acts" and Gertrude Stein's "The Mother of Us All".
Degree: English, Film, and Theatre, 2010, University of Manitoba
URL: http://hdl.handle.net/1993/4100
► This thesis tracks an alternative trajectory for thinking about the way in which modernist texts incorporate silence as an aesthetic and a theme, one that…
(more)
▼ This thesis tracks an alternative trajectory for thinking about the way in which modernist texts incorporate silence as an aesthetic and a theme, one that departs from those currently favoured by contemporary modernist criticism. Particularly, I wish to move away from the prevailing approach to Virginia Woolf's texts that borders on biographical criticism, an approach that theorizes silence as indicative of the author's trauma, pointing to that which is 'unsayable' as evidence of some psychically unassimilable event. Instead, I argue that by experimenting with an aesthetics of silence, repetition, and musicality, Woolf is participating in a wider cultural debate. With Between the Acts, I believe she seeks to incorporate sound to such a degree that the novel becomes a listenable art piece, requiring a reconceptualization of reading as not only a visual act, but an aural one as well.
Advisors/Committee Members: Libin, Mark (English, Film and Theatre) (supervisor), Medoro, Dana (English, Film and Theatre) McCance, Dawne (Religion) (examiningcommittee).
Subjects/Keywords: literature; modernism
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APA ·
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MLA ·
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APA (6th Edition):
Brickey, A. (2010). "The little twist of sound could have the whole of her:" silence, repetition, and musicality in Virginia Woolf's "Between the Acts" and Gertrude Stein's "The Mother of Us All". (Masters Thesis). University of Manitoba. Retrieved from http://hdl.handle.net/1993/4100
Chicago Manual of Style (16th Edition):
Brickey, Alyson. “"The little twist of sound could have the whole of her:" silence, repetition, and musicality in Virginia Woolf's "Between the Acts" and Gertrude Stein's "The Mother of Us All".” 2010. Masters Thesis, University of Manitoba. Accessed February 25, 2020.
http://hdl.handle.net/1993/4100.
MLA Handbook (7th Edition):
Brickey, Alyson. “"The little twist of sound could have the whole of her:" silence, repetition, and musicality in Virginia Woolf's "Between the Acts" and Gertrude Stein's "The Mother of Us All".” 2010. Web. 25 Feb 2020.
Vancouver:
Brickey A. "The little twist of sound could have the whole of her:" silence, repetition, and musicality in Virginia Woolf's "Between the Acts" and Gertrude Stein's "The Mother of Us All". [Internet] [Masters thesis]. University of Manitoba; 2010. [cited 2020 Feb 25].
Available from: http://hdl.handle.net/1993/4100.
Council of Science Editors:
Brickey A. "The little twist of sound could have the whole of her:" silence, repetition, and musicality in Virginia Woolf's "Between the Acts" and Gertrude Stein's "The Mother of Us All". [Masters Thesis]. University of Manitoba; 2010. Available from: http://hdl.handle.net/1993/4100
Rutgers University
15.
Solinger, Frederick.
Sounding modernism: an aural history of the novel, 1899-1963.
Degree: PhD, Literatures in English, 2016, Rutgers University
URL: https://rucore.libraries.rutgers.edu/rutgers-lib/51471/
► This dissertation registers the attempts of modern novelists to make the printed word resound, to make the delight and din of the age leap off…
(more)
▼ This dissertation registers the attempts of modern novelists to make the printed word resound, to make the delight and din of the age leap off the page. Beginning with the historical moment in which the voice first took on a life of its own outside the body, Sounding
Modernism is a record of the formal struggles experienced by authors who wished to write the voice, attempts that often led to their finding their own narrative voices. The twentieth century brought unprecedented breakthroughs in the recording and circulation of sound. Yet, within modernist studies, the auditory is often overlooked in favor of the visual, a critical absence this project seeks to correct. Sounding
Modernism argues that early twentieth century breakthroughs in sound technology were crucial to the development of modernist fiction. Sound technologies not only captured and disseminated the spoken voice but also transformed and expanded the writer's voice. This is apparent in the way a multiplicity of voices comes to dislodge an authoritative narrative perspective, in the depictions of previously unrepresented experiences, and in the attention paid to silence and inarticulate sound. Although a device like the phonograph originally gave primacy to the voice, the recordings it produced captured a wide array of sounds, whether those generated by the recording process itself or acoustics and ambience. A similar dynamic can be tracked in the texts that I study in this project, as authorial interest in the recorded voice ultimately leads to an assimilation into the novel's form of the greater soundscape. Novels unsettled by the existence of the transmissible voice and the workings of these new machines gave way to those that sought to utilize the metaphors engendered by the new media and to represent vocality textually. At the same time, novels that incorporated the conventions of older literary genres like verse and drama to call attention to the rhythm, pulse, and vibration generated by physical space led to meditations on the psychological, existential, and linguistic implications of inhabiting the loud twentieth century. With this counter-history, I am not looking to enthrone the audible at the expense of the visual. Instead, I am sounding out the novel, documenting both what happens to the literary as it encounters and assimilates new technologies of sound and when and where in post-war literature we might yet still hear
modernism's originary echoes. Modern novelists heard a new world and heard the world anew. Through this, they created literary forms that could index the collapsing distinctions between foreground and background, music and noise. This was not simply a matter of reproducing the sonorous in the novel, but of rendering the novel itself sonorous. The modern literary engagement with sound created new models for the organization and structuring of experience and for the elevation of a plurality of narrative voices in lieu of a single controlling figure. Accounting for the auditory dimension of
modernism allows us to observe new…
Advisors/Committee Members: Walkowitz, Rebecca (chair), Mathes, Carter (internal member), Dienst, Richard (internal member), Cohen, Debra Rae (outside member).
Subjects/Keywords: Modernism (Literature)
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APA ·
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MLA ·
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Manager
APA (6th Edition):
Solinger, F. (2016). Sounding modernism: an aural history of the novel, 1899-1963. (Doctoral Dissertation). Rutgers University. Retrieved from https://rucore.libraries.rutgers.edu/rutgers-lib/51471/
Chicago Manual of Style (16th Edition):
Solinger, Frederick. “Sounding modernism: an aural history of the novel, 1899-1963.” 2016. Doctoral Dissertation, Rutgers University. Accessed February 25, 2020.
https://rucore.libraries.rutgers.edu/rutgers-lib/51471/.
MLA Handbook (7th Edition):
Solinger, Frederick. “Sounding modernism: an aural history of the novel, 1899-1963.” 2016. Web. 25 Feb 2020.
Vancouver:
Solinger F. Sounding modernism: an aural history of the novel, 1899-1963. [Internet] [Doctoral dissertation]. Rutgers University; 2016. [cited 2020 Feb 25].
Available from: https://rucore.libraries.rutgers.edu/rutgers-lib/51471/.
Council of Science Editors:
Solinger F. Sounding modernism: an aural history of the novel, 1899-1963. [Doctoral Dissertation]. Rutgers University; 2016. Available from: https://rucore.libraries.rutgers.edu/rutgers-lib/51471/
Princeton University
16.
Barton, Robert.
Novel Under the Influence: Modernism and Intoxication in Baudelaire, James, Proust, and Rhys
.
Degree: PhD, 2018, Princeton University
URL: http://arks.princeton.edu/ark:/88435/dsp01tm70mx86c
► This dissertation examines intoxication as a recurring thematic and conceptual touchstone in the work of several late nineteenth and early twentieth century writers from France,…
(more)
▼ This dissertation examines intoxication as a recurring thematic and conceptual touchstone in the work of several late nineteenth and early twentieth century writers from France, America, and the Caribbean. It addresses these writers’ contributions to broad contemporary debates about the nature and function of aesthetics through a particular analysis of their varied reformulations of Classical and Romantic tropes in which intoxication and artistic creation or inspiration are closely associated. Descriptions of intoxication come to put pressure on any strictly conceived binary opposition of the external and the internal, and thus provide space for a reevaluation of the kind of aesthetic autonomy formulated by some Romantics as an artist’s reliance on nothing outside him- or herself in creating work. Elsewhere, these writers compare the specifically perceptual effects of intoxicating substances to poetic ways of seeing, or to the alterations of perception instigated by encounters with art, under a theory of defamiliarization widespread among modernists in Western literature. The project begins with Baudelaire’s treatment of wine, opium, and hashish throughout his work: whereas many of Baudelaire’s contemporaries conceived of intoxication and literary writing as sharing a fundamentally solipsistic hallucinatory quality, Baudelaire insists on drunkenness as an essentially poetic perceptual means of representing a shared external urban modernity. The second chapter examines intoxication in two of Henry James’s novels as well as his literary criticism, revealing a through-line of thought in which intoxication comes to represent a kind of simplistic psychology and clichéd plotline at odds with James’s commitment to rigorous examination of the most complex aspects of his characters’ subjectivity and motivations. The next chapter tracks the term “ivresse” in Proust’s A la recherche du temps perdu, focusing especially on the stylistic shifts in the novel’s prose that accompany instances where the narrator himself becomes drunk, and suggesting the ways in which these episodes contribute to and contrast with the well-known explicit theories of art in the novel’s final volume. Finally, the fourth chapter is a reading of addiction and psychosis in Jean Rhys’s Good Morning, Midnight, in which psychosis and alcoholism are treated not as diagnoses of Rhys or of her heroine but as a structuring characteristic of the novel’s language and plot.
Advisors/Committee Members: DiBattista, Maria (advisor).
Subjects/Keywords: Intoxicaton;
Modernism
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APA (6th Edition):
Barton, R. (2018). Novel Under the Influence: Modernism and Intoxication in Baudelaire, James, Proust, and Rhys
. (Doctoral Dissertation). Princeton University. Retrieved from http://arks.princeton.edu/ark:/88435/dsp01tm70mx86c
Chicago Manual of Style (16th Edition):
Barton, Robert. “Novel Under the Influence: Modernism and Intoxication in Baudelaire, James, Proust, and Rhys
.” 2018. Doctoral Dissertation, Princeton University. Accessed February 25, 2020.
http://arks.princeton.edu/ark:/88435/dsp01tm70mx86c.
MLA Handbook (7th Edition):
Barton, Robert. “Novel Under the Influence: Modernism and Intoxication in Baudelaire, James, Proust, and Rhys
.” 2018. Web. 25 Feb 2020.
Vancouver:
Barton R. Novel Under the Influence: Modernism and Intoxication in Baudelaire, James, Proust, and Rhys
. [Internet] [Doctoral dissertation]. Princeton University; 2018. [cited 2020 Feb 25].
Available from: http://arks.princeton.edu/ark:/88435/dsp01tm70mx86c.
Council of Science Editors:
Barton R. Novel Under the Influence: Modernism and Intoxication in Baudelaire, James, Proust, and Rhys
. [Doctoral Dissertation]. Princeton University; 2018. Available from: http://arks.princeton.edu/ark:/88435/dsp01tm70mx86c
Dalhousie University
17.
Alabdulrazzaq, Husain.
KUWAITI MODERNITY REVISITED: A CONTEMPORARY MIXED-USE
PROJECT IN OLD KUWAIT CITY.
Degree: M. Arch., Faculty of Architecture, 2011, Dalhousie University
URL: http://hdl.handle.net/10222/13984
► Caught between a cultural scene nostalgic to historic architecture and economic growth manifesting its volume in tall skyscrapers, the overlooked modern heritage of Kuwait City…
(more)
▼ Caught between a cultural scene nostalgic to historic
architecture and economic growth manifesting its volume in tall
skyscrapers, the overlooked modern heritage of Kuwait City is
increasingly vanishing. This thesis tests to what extent modern
heritage can inform a contemporary mixed-use development in Old
Kuwait City. Not perceived as a source for fixed prototypes, modern
architecture is studied both as a major component of the
contemporary cityscape, giving the city its urban nature, and as a
product of critical thinking that explores different possibilities
in mediating the modern with the particularities of the Middle
Eastern context. The work of elite architects inspired an
investigatory reading of the contemporary City, with focus on
lasting implications both modern planning and design had on the
city. Modern heritage of Kuwait City is studied at various scales
for strategies, in an attempt to arrive at a design that breaks
away from prototypical forms while being continuous with the
past.
Advisors/Committee Members: Peter Sassenroth (external-examiner), Steve Parcell (graduate-coordinator), Steve Parcell (thesis-reader), Steven Mannell (thesis-supervisor), Not Applicable (ethics-approval), Not Applicable (manuscripts), Not Applicable (copyright-release).
Subjects/Keywords: modernism urbanism architecture
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APA (6th Edition):
Alabdulrazzaq, H. (2011). KUWAITI MODERNITY REVISITED: A CONTEMPORARY MIXED-USE
PROJECT IN OLD KUWAIT CITY. (Masters Thesis). Dalhousie University. Retrieved from http://hdl.handle.net/10222/13984
Chicago Manual of Style (16th Edition):
Alabdulrazzaq, Husain. “KUWAITI MODERNITY REVISITED: A CONTEMPORARY MIXED-USE
PROJECT IN OLD KUWAIT CITY.” 2011. Masters Thesis, Dalhousie University. Accessed February 25, 2020.
http://hdl.handle.net/10222/13984.
MLA Handbook (7th Edition):
Alabdulrazzaq, Husain. “KUWAITI MODERNITY REVISITED: A CONTEMPORARY MIXED-USE
PROJECT IN OLD KUWAIT CITY.” 2011. Web. 25 Feb 2020.
Vancouver:
Alabdulrazzaq H. KUWAITI MODERNITY REVISITED: A CONTEMPORARY MIXED-USE
PROJECT IN OLD KUWAIT CITY. [Internet] [Masters thesis]. Dalhousie University; 2011. [cited 2020 Feb 25].
Available from: http://hdl.handle.net/10222/13984.
Council of Science Editors:
Alabdulrazzaq H. KUWAITI MODERNITY REVISITED: A CONTEMPORARY MIXED-USE
PROJECT IN OLD KUWAIT CITY. [Masters Thesis]. Dalhousie University; 2011. Available from: http://hdl.handle.net/10222/13984
Victoria University of Wellington
18.
Chimirri, Cara Cordelia.
"Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot.
Degree: 2014, Victoria University of Wellington
URL: http://hdl.handle.net/10063/3571
► T. S Eliot remains a literary giant close to fifty years after his death while David Jones, in contrast, is undeniably a marginal figure in…
(more)
▼ T. S Eliot remains a literary giant close to fifty years after his death while David Jones, in contrast, is undeniably a marginal figure in the world of poetry but one who is slowly gaining a larger profile. Jones has from the very beginning been aligned with Eliot by virtue of Eliot’s own comments and by a succession of critics who cast him as Eliot’s disciple. The time has come, however, for the side notes to Eliot, which have become almost a convention of Jonesian criticism, to be expanded into a detailed comparative study between his and Eliot’s work. Eliot scholars appear to show no interest in pursuing comparisons to Jones, as he is hardly mentioned, even in passing, in discussions of Eliot’s work. This too, is something that deserves to be reassessed. Undertaking a new approach to Jones-Eliot comparisons develops Jones criticism and opens up a new branch of Eliot studies.
This thesis repositions Jones and Eliot from the way they have, thus far, been critically related to one another by focusing on liminal space in both poets’ major texts: The Anathemata, In Parenthesis, The Waste Land, and Four Quartets. This threshold space can be found in their landscapes and in the way they adapt poetic techniques, such as imagery and juxtapositions of irreconcilable opposites. The between-space of transition manifested in their texts reflects the wider environment of flux and transition Jones and Eliot experienced in the first half of the twentieth century.
Using the work of a range of literary critics, historians, philosophers, and geographers, including Arnold van Gennep, Victor Turner, Michel Foucault, Edward W. Soja, Michel de Certeau, Andrew Thacker, Thomas Dilworth, David Harvey, and Stephen Kern, establishes a spatially focused model of liminality which facilitates a close reading of these spaces in Jones’s and Eliot’s work.
Advisors/Committee Members: Ricketts, Harry.
Subjects/Keywords: Liminal; Spatiality; Modernism
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MLA ·
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CSE |
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APA (6th Edition):
Chimirri, C. C. (2014). "Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/3571
Chicago Manual of Style (16th Edition):
Chimirri, Cara Cordelia. “"Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot.” 2014. Masters Thesis, Victoria University of Wellington. Accessed February 25, 2020.
http://hdl.handle.net/10063/3571.
MLA Handbook (7th Edition):
Chimirri, Cara Cordelia. “"Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot.” 2014. Web. 25 Feb 2020.
Vancouver:
Chimirri CC. "Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot. [Internet] [Masters thesis]. Victoria University of Wellington; 2014. [cited 2020 Feb 25].
Available from: http://hdl.handle.net/10063/3571.
Council of Science Editors:
Chimirri CC. "Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot. [Masters Thesis]. Victoria University of Wellington; 2014. Available from: http://hdl.handle.net/10063/3571
University of New Mexico
19.
Spong, Stephanie.
"The Bellows / of Experience": The Modernist Love Poem and Its Legacy.
Degree: English, 2016, University of New Mexico
URL: http://hdl.handle.net/1928/33052
► The vein of experimental love poetry examined in this project takes advantage of the friction generated by charging both form and content with innovation. The…
(more)
▼ The vein of experimental love poetry examined in this project takes advantage of the friction generated by charging both form and content with innovation. The troubled relationship between sex and power is knit directly into the long and dynamic history of love poetry, but there has yet to be a published monograph on the modernist love poem and its implications for literary history. This dissertation fills a major gap in scholarship and speaks to the broader social concerns addressed by public discourse on sex, sexuality, and eros. The body of modernist love poetry includes allusions to traditional love poetry—a tradition in lyric extending from the earliest written poems and culminating in nineteenth-century sentimentality—as well as explicit erotic content, satire, polemic, violence, and anxiety. It is not neatly bounded by nation, gender, race, or aesthetic approach, but nonetheless, this project examines the consistent presence and achievement of experimental Anglophone poets working with the genre. My dissertation begins with a series of case studies examining the work of Gertrude Stein, William Carlos Williams, Ezra Pound, Mina Loy, the Baroness Elsa von Freytag-Loringhoven, and Langston Hughes to elucidate love poetry in its modernist form. The project establishes the place innovative modernist love poetry holds in literary history, and casts forward with two chapters, one on Anne Sexton and Robert Creeley, and another on Harryette Mullen and Bruce Andrews, to illustrate how mid-century and contemporary poets have continued to find new ways of re-imagining the genre.
Advisors/Committee Members: Hofer, Matthew, Higgins, Scarlett, Harrison, Gary, Golding, Alan.
Subjects/Keywords: poetry; modernism; love
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Manager
APA (6th Edition):
Spong, S. (2016). "The Bellows / of Experience": The Modernist Love Poem and Its Legacy. (Doctoral Dissertation). University of New Mexico. Retrieved from http://hdl.handle.net/1928/33052
Chicago Manual of Style (16th Edition):
Spong, Stephanie. “"The Bellows / of Experience": The Modernist Love Poem and Its Legacy.” 2016. Doctoral Dissertation, University of New Mexico. Accessed February 25, 2020.
http://hdl.handle.net/1928/33052.
MLA Handbook (7th Edition):
Spong, Stephanie. “"The Bellows / of Experience": The Modernist Love Poem and Its Legacy.” 2016. Web. 25 Feb 2020.
Vancouver:
Spong S. "The Bellows / of Experience": The Modernist Love Poem and Its Legacy. [Internet] [Doctoral dissertation]. University of New Mexico; 2016. [cited 2020 Feb 25].
Available from: http://hdl.handle.net/1928/33052.
Council of Science Editors:
Spong S. "The Bellows / of Experience": The Modernist Love Poem and Its Legacy. [Doctoral Dissertation]. University of New Mexico; 2016. Available from: http://hdl.handle.net/1928/33052
University of Illinois – Urbana-Champaign
20.
Barber Stetson, Claire Elizabeth.
Aesthetics, poetics, and cognition: a new minor literature by autists and modernists.
Degree: PhD, English, 2015, University of Illinois – Urbana-Champaign
URL: http://hdl.handle.net/2142/89168
► This dissertation begins by recognizing that many texts written at the end of the twentieth century by individuals with autism spectrum disorders share distinctive aesthetic…
(more)
▼ This dissertation begins by recognizing that many texts written at the end of the twentieth century by individuals with autism spectrum disorders share distinctive aesthetic and poetic characteristics with experimental modernist texts. Despite the literary significance ascribed to
modernism, texts in both genres are still characterized in terms of lack—when literature by autists is analyzed at all. They are often treated as incoherent collections of juxtaposed fragments, which depict isolated protagonists struggling to unify their experience. This perspective is reminiscent of Uta Frith’s theory of weak central coherence, which pathologizes autists for the way that they process information. Frith’s theory and the critical maxim that modernist texts are “fragmented” are both revealed as ideologies that flatten the texts and people that they are used to analyze. They restrict the spatial relationships possible among these texts, the elements of which they are composed, and their environments.
To reorient such discussions, this dissertation takes a methodological approach grounded in post-structuralism and disability studies. These theoretical areas equip readers to abandon claims of “incoherence” and instead chart multidimensional textual maps, which reveal ever more lines of flight. Specifically, Gilles Deleuze and Félix Guattari’s concept of a minor literature provides a framework that facilitates the analysis of contact among texts by authors from T.S. Eliot to Tito Mukhopadhyay. Less restricted by temporal boundaries than most, this literary category also depends less on a writer’s identity than a minority literature. Alternatively, a minor literature attends to the way writers subordinate a major language’s communicative function to experiments with the materials of which it is composed. It is from this perspective that authors in a minor literature become “strangers” to language. These authors interrupt cognitive processing through literary style, which is a means of joining disparate elements. Rather than juxtaposing texts by modernists and autists, this dissertation considers them adjacently as both contiguous and continuous: “always in contact…but also always repelled.” An adjacent reading gives readers access to new spatial relationships that reveal new possibilities in environments that otherwise appear arid.
Overall, this project performs the kind of textual reorganization that Eliot lauds in “The Function of Criticism” (1923) by “review[ing] the past of our literature, and set[ting] the poets and the poems in a new order” to accommodate “new and strange objects in the foreground.” It reassesses the relationship between foreground and background to accommodate texts that give their characters and readers access to spaces in which alternative relationships are possible.
Advisors/Committee Members: Valente, Joseph (advisor), Valente, Joseph (Committee Chair), Mahaffey, Vicki (committee member), Frost, Samantha (committee member), Gaedtke, Andrew (committee member).
Subjects/Keywords: literary modernism; autism
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APA (6th Edition):
Barber Stetson, C. E. (2015). Aesthetics, poetics, and cognition: a new minor literature by autists and modernists. (Doctoral Dissertation). University of Illinois – Urbana-Champaign. Retrieved from http://hdl.handle.net/2142/89168
Chicago Manual of Style (16th Edition):
Barber Stetson, Claire Elizabeth. “Aesthetics, poetics, and cognition: a new minor literature by autists and modernists.” 2015. Doctoral Dissertation, University of Illinois – Urbana-Champaign. Accessed February 25, 2020.
http://hdl.handle.net/2142/89168.
MLA Handbook (7th Edition):
Barber Stetson, Claire Elizabeth. “Aesthetics, poetics, and cognition: a new minor literature by autists and modernists.” 2015. Web. 25 Feb 2020.
Vancouver:
Barber Stetson CE. Aesthetics, poetics, and cognition: a new minor literature by autists and modernists. [Internet] [Doctoral dissertation]. University of Illinois – Urbana-Champaign; 2015. [cited 2020 Feb 25].
Available from: http://hdl.handle.net/2142/89168.
Council of Science Editors:
Barber Stetson CE. Aesthetics, poetics, and cognition: a new minor literature by autists and modernists. [Doctoral Dissertation]. University of Illinois – Urbana-Champaign; 2015. Available from: http://hdl.handle.net/2142/89168
Penn State University
21.
Clukey, Amy.
Plantation Modernism: Irish, Caribbean, and U.S. Fiction
1890-1950.
Degree: PhD, English, 2009, Penn State University
URL: https://etda.libraries.psu.edu/catalog/10347
► Although the plantation is most often associated with the antebellum U.S. south, the modern plantation complex was first introduced as a system of economic and…
(more)
▼ Although the plantation is most often associated with
the antebellum U.S. south, the modern plantation complex was first
introduced as a system of economic and cultural domination in
sixteenth-century Ireland. This model of settler colonialism was
soon exported to the New World and spawned a range of social
institutions and cultural artifacts, including a genre of
literature. While plantation fiction seemed to reach the height of
its popularity in the United States after emancipation, the genre
was revived in the twentieth century by Irish, Caribbean, and
American writers. Indeed, the genre was revised with surprising
frequency by modernists from a wide variety of national and
cultural backgrounds, including Elizabeth Bowen, Liam O’Flaherty,
Jean Rhys, Claude McKay, Eric Walrond, Arna Bontemps, and of
course, William Faulkner. Serving as an important device of
cultural linkage, plantation fiction offers a way of understanding
the reverberations of empire in transatlantic modernity. While
writers of nineteenth-century plantation romance sought its origins
in feudalism, the plantation in fact emerged out of the
capitalist-imperial ventures of the maritime bourgeoisie of early
modern Europe. Plantation ideology derived not from steadfast
traditions, but rather from the demands of the market and the
defense of property, often human. My project concentrates on
Anglophone plantation culture from roughly 1890 through 1950. I
track the vast changes in the plantation complex that took place
during the modern period, including the transformations that
occurred after emancipation, the shift from traditional
colonial-settler (family owned) plantations to corporate ventures
and state owned plantations, and the simultaneous rise of British
decolonization and American imperial expansion. The modernist era
marks a shift in global production patterns, as the plantation
complex adumbrates transnational agribusiness, and the literature
of this period attempts to grapple with the clash between these
residual and emergent capitalist agricultural forms. Although the
plantation complex is an institution of empire, it would be wrong
to expect that all plantation fiction simply serves the ideological
imperatives of empire (as it might when the archive is limited to
nineteenth-century American writers). Broadening the definition of
“plantation fiction” beyond the narrow confines of plantation
romance reveals more ideologically diverse and critical
representations of the plantation’s role in producing and
sustaining empire. Modernist plantation fiction underscores the
plantation’s global socio-economic reach by tracing the flow of
capital and people to the metropole from plantation cultures. I
argue that plantation modernism uses modernist techniques to focus
narrative through perspectives from postlapsarian plantation
cultures: octoroon mistresses, exploited field hands, disaffected
and dishonored planters’ daughters, and other characters burdened
by the legacies of the plantation past. Works like Elizabeth
Bowen’s The Last September, Jean…
Subjects/Keywords: plantation fiction; modernism
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APA ·
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MLA ·
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CSE |
Export
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Manager
APA (6th Edition):
Clukey, A. (2009). Plantation Modernism: Irish, Caribbean, and U.S. Fiction
1890-1950. (Doctoral Dissertation). Penn State University. Retrieved from https://etda.libraries.psu.edu/catalog/10347
Chicago Manual of Style (16th Edition):
Clukey, Amy. “Plantation Modernism: Irish, Caribbean, and U.S. Fiction
1890-1950.” 2009. Doctoral Dissertation, Penn State University. Accessed February 25, 2020.
https://etda.libraries.psu.edu/catalog/10347.
MLA Handbook (7th Edition):
Clukey, Amy. “Plantation Modernism: Irish, Caribbean, and U.S. Fiction
1890-1950.” 2009. Web. 25 Feb 2020.
Vancouver:
Clukey A. Plantation Modernism: Irish, Caribbean, and U.S. Fiction
1890-1950. [Internet] [Doctoral dissertation]. Penn State University; 2009. [cited 2020 Feb 25].
Available from: https://etda.libraries.psu.edu/catalog/10347.
Council of Science Editors:
Clukey A. Plantation Modernism: Irish, Caribbean, and U.S. Fiction
1890-1950. [Doctoral Dissertation]. Penn State University; 2009. Available from: https://etda.libraries.psu.edu/catalog/10347
University of Debrecen
22.
Szekeresné Bereczki, Rita.
Sherlock Holmes as an Artist
.
Degree: DE – TEK – Bölcsészettudományi Kar, 2013, University of Debrecen
URL: http://hdl.handle.net/2437/174288
► In this dissertation, I intend to prove that Doyle’s secret could be that he created a unique literary figure who is able to dazzle his…
(more)
▼ In this dissertation, I intend to prove that Doyle’s secret could
be that he created a unique literary figure who is able to dazzle his readers with his mental
abilities and specialities but, on the other hand, he is able to survive the exaggerations of his own
contemporaries.
Advisors/Committee Members: Bényei, Tamás (advisor).
Subjects/Keywords: modernism;
British fiction
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Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Szekeresné Bereczki, R. (2013). Sherlock Holmes as an Artist
. (Thesis). University of Debrecen. Retrieved from http://hdl.handle.net/2437/174288
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Szekeresné Bereczki, Rita. “Sherlock Holmes as an Artist
.” 2013. Thesis, University of Debrecen. Accessed February 25, 2020.
http://hdl.handle.net/2437/174288.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Szekeresné Bereczki, Rita. “Sherlock Holmes as an Artist
.” 2013. Web. 25 Feb 2020.
Vancouver:
Szekeresné Bereczki R. Sherlock Holmes as an Artist
. [Internet] [Thesis]. University of Debrecen; 2013. [cited 2020 Feb 25].
Available from: http://hdl.handle.net/2437/174288.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Szekeresné Bereczki R. Sherlock Holmes as an Artist
. [Thesis]. University of Debrecen; 2013. Available from: http://hdl.handle.net/2437/174288
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Oregon
23.
Bash, Rachel.
Standing at the Precipice: Restrained Modernism in the Fiction of E.M. Forster, Nella Larsen, and Elizabeth Bowen.
Degree: 2014, University of Oregon
URL: http://hdl.handle.net/1794/18523
► In the field of literary modernism, value has been assigned most often to texts that display a certain kind of innovation: aggressive, destructive, and difficult.…
(more)
▼ In the field of literary
modernism, value has been assigned most often to texts that display a certain kind of innovation: aggressive, destructive, and difficult. Other, quieter texts have been relegated to the periphery of the modernist canon. This dissertation, contributing to the work of the New Modernist Studies, argues for an expansion of how critics define innovation and, by extension,
modernism. Through close reading and thorough analysis of critical reception, I explore a <“>restrained<”>
modernism in the stories and novels of E.M. Forster, Nella Larsen, and Elizabeth Bowen, demonstrating how their innovation proceeds from and depends on their performance of clarity and their deconstruction of traditional forms from within. These three authors strategically deploy familiar traditions like the female bildungsroman, social satire, and the tragic mulatta tale in order to explore the queer agency of restrained subjectivities trapped inside. Forster, Larsen, and Bowen defy critical accusations of timidity, conservativism, and failure, critiquing the totalizing identity categories of nation, race, sexuality, and gender and suggesting the quiet yet radical power of a literary – and modernist – restraint.
Advisors/Committee Members: Peppis, Paul (advisor).
Subjects/Keywords: Modernism; Reception; Restraint
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Manager
APA (6th Edition):
Bash, R. (2014). Standing at the Precipice: Restrained Modernism in the Fiction of E.M. Forster, Nella Larsen, and Elizabeth Bowen. (Thesis). University of Oregon. Retrieved from http://hdl.handle.net/1794/18523
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Bash, Rachel. “Standing at the Precipice: Restrained Modernism in the Fiction of E.M. Forster, Nella Larsen, and Elizabeth Bowen.” 2014. Thesis, University of Oregon. Accessed February 25, 2020.
http://hdl.handle.net/1794/18523.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Bash, Rachel. “Standing at the Precipice: Restrained Modernism in the Fiction of E.M. Forster, Nella Larsen, and Elizabeth Bowen.” 2014. Web. 25 Feb 2020.
Vancouver:
Bash R. Standing at the Precipice: Restrained Modernism in the Fiction of E.M. Forster, Nella Larsen, and Elizabeth Bowen. [Internet] [Thesis]. University of Oregon; 2014. [cited 2020 Feb 25].
Available from: http://hdl.handle.net/1794/18523.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Bash R. Standing at the Precipice: Restrained Modernism in the Fiction of E.M. Forster, Nella Larsen, and Elizabeth Bowen. [Thesis]. University of Oregon; 2014. Available from: http://hdl.handle.net/1794/18523
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Vanderbilt University
24.
Barnett, Elizabeth Susan.
Aboriginal Issues: Indianism and the Modernist Literary Field.
Degree: PhD, English, 2013, Vanderbilt University
URL: http://etd.library.vanderbilt.edu//available/etd-07182013-090730/
;
► This is a study of US American literary modernism during the 1910s, â20s, and â30s, a field of restricted production in which authors struggle for…
(more)
▼ This is a study of US American literary
modernism during the 1910s, â20s, and â30s, a field of restricted production in which authors struggle for symbolic capital in order to gain position. I identify âthe Indian,â in all the ambiguity that term implies, as a potential source of such symbolic capital. My focus is on three poetsâAlice Corbin, Lynn Riggs, and Wallace Stevensâand their efforts to claim or to problematize the claiming of that symbolic capital. I name this modernist relation to âthe Indianâ Indianism and argue that it provides a different lens through which to view US American literary
modernism. Indianism encompassed white appropriative practices, the entry of traditional Native texts into the literary field, and Native writers navigating that field. As I show, current approaches to modernist primitivism obscure all three of these important components of literary history.
Advisors/Committee Members: Professor Vera Kutzinski (chair).
Subjects/Keywords: Indianism; poetry; modernism
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APA (6th Edition):
Barnett, E. S. (2013). Aboriginal Issues: Indianism and the Modernist Literary Field. (Doctoral Dissertation). Vanderbilt University. Retrieved from http://etd.library.vanderbilt.edu//available/etd-07182013-090730/ ;
Chicago Manual of Style (16th Edition):
Barnett, Elizabeth Susan. “Aboriginal Issues: Indianism and the Modernist Literary Field.” 2013. Doctoral Dissertation, Vanderbilt University. Accessed February 25, 2020.
http://etd.library.vanderbilt.edu//available/etd-07182013-090730/ ;.
MLA Handbook (7th Edition):
Barnett, Elizabeth Susan. “Aboriginal Issues: Indianism and the Modernist Literary Field.” 2013. Web. 25 Feb 2020.
Vancouver:
Barnett ES. Aboriginal Issues: Indianism and the Modernist Literary Field. [Internet] [Doctoral dissertation]. Vanderbilt University; 2013. [cited 2020 Feb 25].
Available from: http://etd.library.vanderbilt.edu//available/etd-07182013-090730/ ;.
Council of Science Editors:
Barnett ES. Aboriginal Issues: Indianism and the Modernist Literary Field. [Doctoral Dissertation]. Vanderbilt University; 2013. Available from: http://etd.library.vanderbilt.edu//available/etd-07182013-090730/ ;
University of New South Wales
25.
Gelder, Christian.
Mallarmé and Mathematics: On Nothing and the Infinite.
Degree: Arts and Media, 2016, University of New South Wales
URL: http://handle.unsw.edu.au/1959.4/56978
;
https://unsworks.unsw.edu.au/fapi/datastream/unsworks:42218/SOURCE02?view=true
► This thesis examines the poetry of Stéphane Mallarmé in relation to mathematics. I argue that this relationship has been a key feature of Mallarmé’s philosophical…
(more)
▼ This thesis examines the poetry of Stéphane Mallarmé in relation to mathematics. I argue that this relationship has been a key feature of Mallarmé’s philosophical reception throughout the twentieth century. I show how Julia Kristeva, Jacques Derrida, Alain Badiou, Quentin Meillassoux and other figures position Mallarmé’s poetics against a single conception of mathematics: namely, the paradigm-shifting work of the nineteenth-century mathematician Georg Cantor. For these philosophers, I claim, Mallarmé is “Cantor’s unconscious contemporary”. The rest of the thesis explores this relationship by reading Mallarmé’s and Cantor’s projects alongside one another. By looking at two fundamental concepts at work within both the poetry and the mathematics – the nothing and the infinite – I argue that Mallarmé’s poetry cannot solely be understood in terms of Cantor’s work. Instead, it recalls past and future conceptions of mathematics, making it a contemporary of various periods before and after his own time. I conclude by reflecting on the nature of contemporaneity, using this concept as a way of broadly understanding the points of similarity and dissimilarity that exist between poetry and mathematics.
Advisors/Committee Members: Jottkandt, Sigi, Arts and Media, Faculty of Arts & Social Sciences, UNSW, Pryor, Sean, Arts and Media, Faculty of Arts & Social Sciences, UNSW.
Subjects/Keywords: Modernism; Poetry; Mathematics
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APA (6th Edition):
Gelder, C. (2016). Mallarmé and Mathematics: On Nothing and the Infinite. (Masters Thesis). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/56978 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:42218/SOURCE02?view=true
Chicago Manual of Style (16th Edition):
Gelder, Christian. “Mallarmé and Mathematics: On Nothing and the Infinite.” 2016. Masters Thesis, University of New South Wales. Accessed February 25, 2020.
http://handle.unsw.edu.au/1959.4/56978 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:42218/SOURCE02?view=true.
MLA Handbook (7th Edition):
Gelder, Christian. “Mallarmé and Mathematics: On Nothing and the Infinite.” 2016. Web. 25 Feb 2020.
Vancouver:
Gelder C. Mallarmé and Mathematics: On Nothing and the Infinite. [Internet] [Masters thesis]. University of New South Wales; 2016. [cited 2020 Feb 25].
Available from: http://handle.unsw.edu.au/1959.4/56978 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:42218/SOURCE02?view=true.
Council of Science Editors:
Gelder C. Mallarmé and Mathematics: On Nothing and the Infinite. [Masters Thesis]. University of New South Wales; 2016. Available from: http://handle.unsw.edu.au/1959.4/56978 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:42218/SOURCE02?view=true
Rutgers University
26.
De Witte, Ben, 1982-.
Queer visibility on the transatlantic modernist stage.
Degree: PhD, Comparative Literature, 2016, Rutgers University
URL: https://rucore.libraries.rutgers.edu/rutgers-lib/51262/
► My dissertation analyzes a selection of Argentinean, Spanish and U.S. modernist plays that dramatize the double movement of what I call “queer visibility.” That is,…
(more)
▼ My dissertation analyzes a selection of Argentinean, Spanish and U.S. modernist plays that dramatize the double movement of what I call “queer visibility.” That is, they make queer themes “visible” but also render the visible “queer” by extending our notions of modernist experimentation. Such experimentation, I argue, is intelligible only within a transatlantic history of, in Edward Said’s sense, “traveling” influences that have informed queer drama in the twentieth century. Each of the dissertation’s chapters offers a comparative angle on a playwright and their staging of queer materials, establishing surprising connections between various geographies and theatrical cultures. Chapter one analyzes the Argentinean José González Castillo’s naturalist play Los invertidos (1914), the first in its kind to plot the medical category “sexual inversion” as material for modern drama. González Castillo joins in the Argentinian vogue for realismo with its disjunctive relation to queer visibility, the latter a symptom of morbid degeneracy. Chapter two discusses the thoroughly anti-realist practices of queer staging in El público (1930), an unfinished, posthumously published play by Spanish poet-playwright Federico García Lorca, which imagines a paradoxical shape for queer visibility: “a theater beneath the sand” that draws on international vanguardist desires to offend rather than entertain audiences. The chapters on Los invertidos and El público present international models of queer visibility that cast new light on my two North American writers. Chapter three compares two works by the prominent U.S. playwright Tennessee Williams, the iconic Suddenly Last Summer (1957) and the little-known Kirche, Küche, Kinder (1979), that expose the mechanics of queer visibility as both perplexing and violent. Then I consider two understudied dramas of expatriate writer Djuna Barnes, the early one-act The Dove (1924) and the arcane verse drama The Antiphon (1957), which deploy a convoluted allegorical vision that projects an anti-modern strain in queer dramatic modernism. Combining formal analysis and historical research in each chapter, my comparative project aims, first, to theorize queer visibility as a recurrent theatrical problem grounded in material practices and, second, to contribute to a more nuanced and inclusive history of modern drama in conversation with transnational figurations of queer sexuality.
Advisors/Committee Members: Diamond, Ein (chair), Parker, Andrew (internal member), Sifuentes-Jáuregui, Ben (internal member).
Subjects/Keywords: Modernism (Literature); Homosexuality
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APA (6th Edition):
De Witte, Ben, 1. (2016). Queer visibility on the transatlantic modernist stage. (Doctoral Dissertation). Rutgers University. Retrieved from https://rucore.libraries.rutgers.edu/rutgers-lib/51262/
Chicago Manual of Style (16th Edition):
De Witte, Ben, 1982-. “Queer visibility on the transatlantic modernist stage.” 2016. Doctoral Dissertation, Rutgers University. Accessed February 25, 2020.
https://rucore.libraries.rutgers.edu/rutgers-lib/51262/.
MLA Handbook (7th Edition):
De Witte, Ben, 1982-. “Queer visibility on the transatlantic modernist stage.” 2016. Web. 25 Feb 2020.
Vancouver:
De Witte, Ben 1. Queer visibility on the transatlantic modernist stage. [Internet] [Doctoral dissertation]. Rutgers University; 2016. [cited 2020 Feb 25].
Available from: https://rucore.libraries.rutgers.edu/rutgers-lib/51262/.
Council of Science Editors:
De Witte, Ben 1. Queer visibility on the transatlantic modernist stage. [Doctoral Dissertation]. Rutgers University; 2016. Available from: https://rucore.libraries.rutgers.edu/rutgers-lib/51262/
Karlstad University
27.
Berndalen, Christian.
Populärmusik, konstmusik eller bara musik? : En undersökning av konstmusikaliska inslag i tre populärmusikaliska verk.
Degree: Ingesund Acedemy of Music, 2012, Karlstad University
URL: http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13443
► Det är inte ovanligt att viss rock- och annan populärmusik tillskrivs konstnärliga ambitioner, eller förses med epitet som "konstnärlig" och "konstmusikalisk". Sällan utvecklas emellertid…
(more)
▼ Det är inte ovanligt att viss rock- och annan populärmusik tillskrivs konstnärliga ambitioner, eller förses med epitet som "konstnärlig" och "konstmusikalisk". Sällan utvecklas emellertid på vilket sätt detta konstnärliga tar sig uttryck. Uppsatsens syfte är att musikanalytiskt undersöka vad som kan motivera formuleringarna och om de kan anses adekvata. Materialet för undersökningen är tre verk/låtar ur rockgenren, som beskrivits med ovanstående begrepp: Close to the Edge med gruppen Yes från 1972, Sense of Doubt med David Bowie från 1977 och Sleep med gruppen Godspeed You! Black Emperor från 2000. Metoden är den auditiva musikanalysen, vilket innebär att analysen utgår från ett aktivt lyssnande på musikens förlopp. Två fokus finns: ett på själva musiken; ett på de intentioner i och med verket/låten som kan föreligga. Analysen utgår från en definition av begreppen konst- och populärmusik som görs i början av uppsatsen. Denna grundar sig i sin tur på en genomgång av begreppsdefinitioner i framförallt lexikon och ordböcker, men också i musikvetenskaplig litteratur och den kan därmed göra anspråk på en viss allmängiltighet. Resultatet av analysen visar att samtliga musikexempel går utanför ramarna för definitionen av populärmusik, samtidigt som de uppvisar flera egenskaper som faller inom konstmusikdefinitionen. Beskrivningarna av låtarna som konstmusikaliska och konstnärliga kan alltså anses adekvata. Analysen och den föregående begreppsdiskussionen medvetandegör emellertid också den problematik som ryms i distinktionen konst- respektive populärmusik. Detta utvecklas i uppsatsens slutdiskussion, där begreppen relateras till ett idéhistoriskt sammanhang. Distinktionen visar sig ha rötter i 1800-talets kulturdebatt och under 1900-talet har den närts av en modernistisk kultur- och samhällssyn. De senaste decenniernas postmodernistiska strömningar, med ökad värderelativism och uppluckrade musikaliska genregränser, har dock bidragit till att begreppen i allt större utsträckning spelat ut sin roll.
It is not uncommon that certain rock and other popular music is attributed with artistic ambitions or is befitted with epithets such as "artistic" or "art music-like". However, it is rarely elaborated in which way these artistic qualities are conveyed. The purpose of this paper is to investigate from an analytical standpoint what can incentivize these wordings and if they can be viewed as adequate. The material for the investigation is three pieces/songs from the rock genre which have been described with the above terms: Close to the Edge by the group Yes from 1972, Sense of Doubt by David Bowie from 1977 and Sleep by the group Godspeed You! Black Emperor from 2000. The method is auditive music analysis which means that the analysis is based upon actively listening to the music. There are two areas of focus: one is on the music itself; one is on the intentions that may lie in and with the piece/song. The analysis is based upon a definition of the…
Subjects/Keywords: Popular music; art music; rock; definitions; modernism; post-modernism; Populärmusik; konstmusik; rock; definitioner; modernism; postmodernism
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APA (6th Edition):
Berndalen, C. (2012). Populärmusik, konstmusik eller bara musik? : En undersökning av konstmusikaliska inslag i tre populärmusikaliska verk. (Thesis). Karlstad University. Retrieved from http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13443
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Berndalen, Christian. “Populärmusik, konstmusik eller bara musik? : En undersökning av konstmusikaliska inslag i tre populärmusikaliska verk.” 2012. Thesis, Karlstad University. Accessed February 25, 2020.
http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13443.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Berndalen, Christian. “Populärmusik, konstmusik eller bara musik? : En undersökning av konstmusikaliska inslag i tre populärmusikaliska verk.” 2012. Web. 25 Feb 2020.
Vancouver:
Berndalen C. Populärmusik, konstmusik eller bara musik? : En undersökning av konstmusikaliska inslag i tre populärmusikaliska verk. [Internet] [Thesis]. Karlstad University; 2012. [cited 2020 Feb 25].
Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13443.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Berndalen C. Populärmusik, konstmusik eller bara musik? : En undersökning av konstmusikaliska inslag i tre populärmusikaliska verk. [Thesis]. Karlstad University; 2012. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13443
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Edinburgh
28.
Humayun, Sarah.
Different from himself : reading Philip Larkin after modernism.
Degree: PhD, 2013, University of Edinburgh
URL: http://hdl.handle.net/1842/7806
► This thesis addresses the work of Philip Larkin in the light of critical positions, stemming from mainly modernist perspectives, which characterize it as the opposite…
(more)
▼ This thesis addresses the work of Philip Larkin in the light of critical positions, stemming from mainly modernist perspectives, which characterize it as the opposite of what counts as innovatory, experimental and progressive in twentieth-century poetry. It aims to critique this assumption without, however, trying to prove that Larkin’s work is modernist or experimental. Rather, understanding ‘form’ in modernism as an entity that resists subjectivity and ostensibly includes otherness within its self-reflexive boundaries, it aims to offer readings of Larkin’s work that do not begin from these parameters but from an understanding of otherness as relational. Additionally, it gives extended consideration to Larkin’s prose with the aim of initiating a reconsideration of Larkin’s contribution to literature in English from a perspective that includes the essays and the novels. My introduction sets out the reasons and precedents for thinking about otherness in Larkin’s work in a different way from that found in modernism-inclined literary criticism. I show that such criticism diagnoses an aesthetic regression in Larkin’s poems on the basis that they rely on the projection of personality rather than the foregrounding of form. I argue that recent critical work on modernism privileges form because of its ostensible ability to present otherness in art, but that this critical heuristic is inadequate for dealing with Larkin’s work. I then outline an alternative more suited to Larkin’s work: a way of conceptualising otherness that locates it in the relation of the work to subjectivities external to it (such as readers’), which, I argue, is not susceptible of capture through what is designated as ‘form’. The first chapter attends closely to the theme of failure to relate to otherness in Larkin’s two novels; I argue that it is this failure that Larkin’s fictions meditate on by creating fantasized love-objects that their protagonists desire and yet seek to arrest in non-response and self-identity. Building on this, the second chapter examines Larkin’s polemical deployment of the idea of ‘pleasure’ as what the reader coming from a position of otherness to the art is entitled to seek in it. Comparing Larkin’s position with Adorno’s in Aesthetic Theory, a major twentieth-century work on aesthetics in the capitalist age, I try to locate Larkin’s difference from Adorno and develop the perspective he offers in his essays and poems to show that it allows readers to approach literary writing without being constrained by formal prescriptions. The last three chapters are studies of three themes that have been the focus of special attention in Larkin criticism: subjective voice, place and death. In the third chapter, I argue that Larkin’s poetry makes use of (what I identify as) a ‘Romantic’ register that is undercut by a ‘personal’ one. I do this by examining how a Romantic voice – one that constructs the self and projects it into the world in symbolic and lyrical forms – is at odds with a personal voice which sees these forms as prisons. The…
Subjects/Keywords: 821.914; Larkin; Philip; modernism
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APA (6th Edition):
Humayun, S. (2013). Different from himself : reading Philip Larkin after modernism. (Doctoral Dissertation). University of Edinburgh. Retrieved from http://hdl.handle.net/1842/7806
Chicago Manual of Style (16th Edition):
Humayun, Sarah. “Different from himself : reading Philip Larkin after modernism.” 2013. Doctoral Dissertation, University of Edinburgh. Accessed February 25, 2020.
http://hdl.handle.net/1842/7806.
MLA Handbook (7th Edition):
Humayun, Sarah. “Different from himself : reading Philip Larkin after modernism.” 2013. Web. 25 Feb 2020.
Vancouver:
Humayun S. Different from himself : reading Philip Larkin after modernism. [Internet] [Doctoral dissertation]. University of Edinburgh; 2013. [cited 2020 Feb 25].
Available from: http://hdl.handle.net/1842/7806.
Council of Science Editors:
Humayun S. Different from himself : reading Philip Larkin after modernism. [Doctoral Dissertation]. University of Edinburgh; 2013. Available from: http://hdl.handle.net/1842/7806
Texas A&M University
29.
Hollis, Erin Michelle.
Textual collisions: the writing process and the Modernist experiment.
Degree: 2005, Texas A&M University
URL: http://hdl.handle.net/1969.1/2434
► This dissertation explores textual junctures such as this in the compositional processes of James Joyce, Djuna Barnes, Mina Loy and Ezra Pound that illuminate how…
(more)
▼ This dissertation explores textual junctures such as this in the compositional processes of James Joyce, Djuna Barnes, Mina Loy and Ezra Pound that illuminate how these modernists negotiated the fraught position of being an author in the early twentieth century. This approach marks a departure from conventional textual criticism as I look at the intersections between textual criticism and literary theory, demonstrating the effects different theories can have on our understanding of textual criticism. Recent innovations in textual scholarship influenced by poststructuralist theorists allow me to uncover and describe the extent to which each of these four authors construct a self-conscious version of authorship in relation to their larger Modernist aims. This examination reveals how Joyce, Barnes, Loy, and Pound were
subject to numerous outside influences, personal insecurities and preoccupations throughout the writing process, indicating their desires to both manipulate and participate in the modernist project of innovation and experimentation. The first chapter addresses the evolution of Joyce??s pre-writing, drafting and revising processes as a form of textual gossip. Joyce excised material from much of his early writing, controlling his work as a gossiper controls rumors. As he becameincreasingly more inclusive in his writing process, he also reflected a more positive regard for gossip as a similarly inclusive process. The second chapter examines the revision and editing of Ryder, Nightwood, and The Antiphon. Barnes increasingly sought legitimacy for her work by subjecting it to the conventionalizing editing of T.S. Eliot and Emily Holmes Coleman. In the third chapter, I interrogate Pound??s poetic practices and his status as an expatriate in order to reveal how Pound felt as an exile to his own writing. The fourth chapter analyzes Loy??s marginal status in the modernist canon, arguing that she created a persona through her public presentation of herself in her poems that is responsible for her constant and perpetual rediscovery.
Advisors/Committee Members: Eide, Marian (advisor), Boenig, Robert (committee member), Harner, James L. (committee member), Kelly, Kate (committee member), McDermott, John J. (committee member).
Subjects/Keywords: modernism; text
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APA (6th Edition):
Hollis, E. M. (2005). Textual collisions: the writing process and the Modernist experiment. (Thesis). Texas A&M University. Retrieved from http://hdl.handle.net/1969.1/2434
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Hollis, Erin Michelle. “Textual collisions: the writing process and the Modernist experiment.” 2005. Thesis, Texas A&M University. Accessed February 25, 2020.
http://hdl.handle.net/1969.1/2434.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Hollis, Erin Michelle. “Textual collisions: the writing process and the Modernist experiment.” 2005. Web. 25 Feb 2020.
Vancouver:
Hollis EM. Textual collisions: the writing process and the Modernist experiment. [Internet] [Thesis]. Texas A&M University; 2005. [cited 2020 Feb 25].
Available from: http://hdl.handle.net/1969.1/2434.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Hollis EM. Textual collisions: the writing process and the Modernist experiment. [Thesis]. Texas A&M University; 2005. Available from: http://hdl.handle.net/1969.1/2434
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Victoria University of Wellington
30.
Hughes, Eustacia Lynn Jocea.
The Choreomusical Page-to-Stage Approach: Visual Representations of Musical Modernism Through the Works of Igor Stravinsky and George Balanchine.
Degree: 2017, Victoria University of Wellington
URL: http://hdl.handle.net/10063/6579
► The musical developments of the Modernist period provided a new understanding and approach to composition. These developments are also seen in ballet, branching into several…
(more)
▼ The musical developments of the Modernist period provided a new understanding and approach to composition. These developments are also seen in ballet, branching into several styles, with many choreographers providing their unique take to staging musical works. In this study, the modernist choreomusical relationship is examined with respect to the possibility of a page-to-stage approach in dance. This thesis examines how this approach is manifested in the complex relationships between the composer, and the choreographer. Drawing on nine examples of modernist era ballets categorised in to three styles (classical, neoclassical, and contemporary ballets), discussion of historical context, analysis of the musical and choreographic relationship, and other ideas surrounding adapting music for a visual medium are explored.
This thesis also examines changing attitudes to music/dance relationships. Two lines of enquiry are followed, the first assesses, through the example of Stravinsky, Balanchine, and several other contemporaries, whether a page-to-stage approach exists for ballet. A supplementary enquiry explores how such an approach is manifested within different methods of choreography. This study finds that there are difficulties in applying the choreomusical page-to-stage approach to analysing changing attitudes to music/dance relationships. At another level, this study points to the benefit of incorporating the concept of diegesis in analysing the changing attitudes to music/dance relationships.
Advisors/Committee Members: Robb, Hamish.
Subjects/Keywords: Modernism; Choreography; Page-to-stage
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APA (6th Edition):
Hughes, E. L. J. (2017). The Choreomusical Page-to-Stage Approach: Visual Representations of Musical Modernism Through the Works of Igor Stravinsky and George Balanchine. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/6579
Chicago Manual of Style (16th Edition):
Hughes, Eustacia Lynn Jocea. “The Choreomusical Page-to-Stage Approach: Visual Representations of Musical Modernism Through the Works of Igor Stravinsky and George Balanchine.” 2017. Masters Thesis, Victoria University of Wellington. Accessed February 25, 2020.
http://hdl.handle.net/10063/6579.
MLA Handbook (7th Edition):
Hughes, Eustacia Lynn Jocea. “The Choreomusical Page-to-Stage Approach: Visual Representations of Musical Modernism Through the Works of Igor Stravinsky and George Balanchine.” 2017. Web. 25 Feb 2020.
Vancouver:
Hughes ELJ. The Choreomusical Page-to-Stage Approach: Visual Representations of Musical Modernism Through the Works of Igor Stravinsky and George Balanchine. [Internet] [Masters thesis]. Victoria University of Wellington; 2017. [cited 2020 Feb 25].
Available from: http://hdl.handle.net/10063/6579.
Council of Science Editors:
Hughes ELJ. The Choreomusical Page-to-Stage Approach: Visual Representations of Musical Modernism Through the Works of Igor Stravinsky and George Balanchine. [Masters Thesis]. Victoria University of Wellington; 2017. Available from: http://hdl.handle.net/10063/6579
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Open Access Theses and Dissertations
