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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 March 02, 2021.
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. 02 Mar 2021.
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 2021 Mar 02].
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 March 02, 2021.
https://repository.library.brown.edu/studio/item/bdr:386216/.
MLA Handbook (7th Edition):
Miller, Katherine M. “Temporal Thinking in Modern Lyric.” 2014. Web. 02 Mar 2021.
Vancouver:
Miller KM. Temporal Thinking in Modern Lyric. [Internet] [Doctoral dissertation]. Brown University; 2014. [cited 2021 Mar 02].
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 March 02, 2021.
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. 02 Mar 2021.
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 2021 Mar 02].
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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
Baker GE. "Half-read Wisdom": Classics, Modernism and the Celtic
Fringe. [Internet] [Doctoral dissertation]. Brown University; 2013. [cited 2021 Mar 02].
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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
Sikorski HJ. Critical Romance: Literary Modernism Rewriting Literary
History". [Internet] [Doctoral dissertation]. Brown University; 2012. [cited 2021 Mar 02].
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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
Solomon SL. New Writing: Modernism, Punctuation, and the Intermedial
Text. [Internet] [Doctoral dissertation]. Brown University; 2013. [cited 2021 Mar 02].
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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
Gentry JC. Sound Bodies: Biopolitics in German Musical Culture,
1850-1910. [Internet] [Doctoral dissertation]. Brown University; 2015. [cited 2021 Mar 02].
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 March 02, 2021.
; https://ro.uow.edu.au/theses/3912.
MLA Handbook (7th Edition):
Howell, Anne. “The oscillating subject in Don DeLillo’s White Noise.” 2013. Web. 02 Mar 2021.
Vancouver:
Howell A. The oscillating subject in Don DeLillo’s White Noise. [Internet] [Doctoral dissertation]. University of Wollongong; 2013. [cited 2021 Mar 02].
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
9.
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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
Ben-Merre DN. Time Travels: Metalepsis and Modernist Poetry. [Internet] [Doctoral dissertation]. Brown University; 2008. [cited 2021 Mar 02].
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 Manitoba
10.
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 (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 March 02, 2021.
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. 02 Mar 2021.
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 2021 Mar 02].
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
Princeton University
11.
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 ·
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MLA ·
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Export
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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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
Barton R. Novel Under the Influence: Modernism and Intoxication in Baudelaire, James, Proust, and Rhys
. [Internet] [Doctoral dissertation]. Princeton University; 2018. [cited 2021 Mar 02].
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
12.
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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Export
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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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
van Stralen JJM. Onbestemd verblijf: een onderzoek naar het semantische veld 'bewustzijn' in het modernisme. [Internet] [Doctoral dissertation]. Quine; 1990. [cited 2021 Mar 02].
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
Rutgers University
13.
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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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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
Solinger F. Sounding modernism: an aural history of the novel, 1899-1963. [Internet] [Doctoral dissertation]. Rutgers University; 2016. [cited 2021 Mar 02].
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/
Dalhousie University
14.
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 ·
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MLA ·
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Export
to Zotero / EndNote / Reference
Manager
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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
Alabdulrazzaq H. KUWAITI MODERNITY REVISITED: A CONTEMPORARY MIXED-USE
PROJECT IN OLD KUWAIT CITY. [Internet] [Masters thesis]. Dalhousie University; 2011. [cited 2021 Mar 02].
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
Vanderbilt University
15.
Barnett, Elizabeth Susan.
Aboriginal Issues: Indianism and the Modernist Literary Field.
Degree: PhD, English, 2013, Vanderbilt University
URL: http://hdl.handle.net/1803/13184
► This is a study of US American literary modernism during the 1910s, ‘20s, and ‘30s, a field of restricted production in which authors struggle for…
(more)
▼ This is a study of US American literary
modernism during the 1910s, ‘20s, and ‘30s, a field of restricted production in which authors struggle for symbolic capital in order to gain position. I identify “the Indian,” in all the ambiguity that term implies, as a potential source of such symbolic capital. My focus is on three poets—Alice Corbin, Lynn Riggs, and Wallace Stevens—and their efforts to claim or to problematize the claiming of that symbolic capital. I name this modernist relation to “the Indian” 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 (Committee Chair).
Subjects/Keywords: Indianism; poetry; modernism
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Export
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Manager
APA (6th Edition):
Barnett, E. S. (2013). Aboriginal Issues: Indianism and the Modernist Literary Field. (Doctoral Dissertation). Vanderbilt University. Retrieved from http://hdl.handle.net/1803/13184
Chicago Manual of Style (16th Edition):
Barnett, Elizabeth Susan. “Aboriginal Issues: Indianism and the Modernist Literary Field.” 2013. Doctoral Dissertation, Vanderbilt University. Accessed March 02, 2021.
http://hdl.handle.net/1803/13184.
MLA Handbook (7th Edition):
Barnett, Elizabeth Susan. “Aboriginal Issues: Indianism and the Modernist Literary Field.” 2013. Web. 02 Mar 2021.
Vancouver:
Barnett ES. Aboriginal Issues: Indianism and the Modernist Literary Field. [Internet] [Doctoral dissertation]. Vanderbilt University; 2013. [cited 2021 Mar 02].
Available from: http://hdl.handle.net/1803/13184.
Council of Science Editors:
Barnett ES. Aboriginal Issues: Indianism and the Modernist Literary Field. [Doctoral Dissertation]. Vanderbilt University; 2013. Available from: http://hdl.handle.net/1803/13184
University of Debrecen
16.
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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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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
Szekeresné Bereczki R. Sherlock Holmes as an Artist
. [Internet] [Thesis]. University of Debrecen; 2013. [cited 2021 Mar 02].
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 Oxford
17.
Johnson, Jennifer.
Georges Roualt's modernism and the question of materiality.
Degree: PhD, 2014, University of Oxford
URL: http://ora.ox.ac.uk/objects/uuid:5e1ac77a-ba70-41e8-a3cd-5189723f487f
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711807
► The central concern of my thesis is to bring into focus the problematic relation between Georges Rouault's (1871-1958) pictorial vocabulary and his subject matter: on…
(more)
▼ The central concern of my thesis is to bring into focus the problematic relation between Georges Rouault's (1871-1958) pictorial vocabulary and his subject matter: on the one hand, abstract mark-making and on the other, a refusal to cede to abstraction or formalism through an insistence that these marks remain yoked to representation. The result is an examination a way of painting that embraces its state of uncertainty, which interrogates its own construction, and strains against the very materiality it simultaneously celebrates. Chapter one traces the critical reaction to Rouault's painting in the early years of the twentieth century, which was at best mystification, and at worst, disgust. This chapter also analyses the thick painterly terms of these paintings and their resistance to conventional meaning, arguing that there are parallels between Rouault's project and contemporary experimental forms of art and literature within modernism. Chapter two continues this exploration, attending to the various relationships between surface and depth that are interrogated by Rouault's canvases. These relationships reveal the deep philosophical and theological questions at stake Rouault's painting. Chapter three explores a theological reading of Rouault's work beginning with the aesthetics of his associate, the French Catholic philosopher, Jacques Maritain - a reading that shows how painting can be true to its material conditions and strain towards a higher, albeit obscure, form of knowledge. Against this, the last chapter argues that the paintings also support the possibility of a bleaker world-view, aligned with Dostoyevsky's kenotic theology, in which matter potentially overwhelms the possibility of transcendental meaning. In conclusion, I argue that Rouault's painting interrogates the vocabulary of modernism and presents the 'fallen' or 'wounded' state of a painting that acknowledges its material conditions.
Subjects/Keywords: 111; Modernism (Aesthetics)
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APA (6th Edition):
Johnson, J. (2014). Georges Roualt's modernism and the question of materiality. (Doctoral Dissertation). University of Oxford. Retrieved from http://ora.ox.ac.uk/objects/uuid:5e1ac77a-ba70-41e8-a3cd-5189723f487f ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711807
Chicago Manual of Style (16th Edition):
Johnson, Jennifer. “Georges Roualt's modernism and the question of materiality.” 2014. Doctoral Dissertation, University of Oxford. Accessed March 02, 2021.
http://ora.ox.ac.uk/objects/uuid:5e1ac77a-ba70-41e8-a3cd-5189723f487f ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711807.
MLA Handbook (7th Edition):
Johnson, Jennifer. “Georges Roualt's modernism and the question of materiality.” 2014. Web. 02 Mar 2021.
Vancouver:
Johnson J. Georges Roualt's modernism and the question of materiality. [Internet] [Doctoral dissertation]. University of Oxford; 2014. [cited 2021 Mar 02].
Available from: http://ora.ox.ac.uk/objects/uuid:5e1ac77a-ba70-41e8-a3cd-5189723f487f ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711807.
Council of Science Editors:
Johnson J. Georges Roualt's modernism and the question of materiality. [Doctoral Dissertation]. University of Oxford; 2014. Available from: http://ora.ox.ac.uk/objects/uuid:5e1ac77a-ba70-41e8-a3cd-5189723f487f ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711807
University of Oregon
18.
Bash, Rachel.
Standing at the Precipice: Restrained Modernism in the Fiction of E.M. Forster, Nella Larsen, and Elizabeth Bowen.
Degree: PhD, Department of English, 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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MLA ·
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Export
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APA (6th Edition):
Bash, R. (2014). Standing at the Precipice: Restrained Modernism in the Fiction of E.M. Forster, Nella Larsen, and Elizabeth Bowen. (Doctoral Dissertation). University of Oregon. Retrieved from http://hdl.handle.net/1794/18523
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. Doctoral Dissertation, University of Oregon. Accessed March 02, 2021.
http://hdl.handle.net/1794/18523.
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. 02 Mar 2021.
Vancouver:
Bash R. Standing at the Precipice: Restrained Modernism in the Fiction of E.M. Forster, Nella Larsen, and Elizabeth Bowen. [Internet] [Doctoral dissertation]. University of Oregon; 2014. [cited 2021 Mar 02].
Available from: http://hdl.handle.net/1794/18523.
Council of Science Editors:
Bash R. Standing at the Precipice: Restrained Modernism in the Fiction of E.M. Forster, Nella Larsen, and Elizabeth Bowen. [Doctoral Dissertation]. University of Oregon; 2014. Available from: http://hdl.handle.net/1794/18523
Victoria University of Wellington
19.
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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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 March 02, 2021.
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. 02 Mar 2021.
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 2021 Mar 02].
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 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 ·
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MLA ·
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Export
to Zotero / EndNote / Reference
Manager
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 March 02, 2021.
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. 02 Mar 2021.
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 2021 Mar 02].
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
University of New Mexico
21.
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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APA ·
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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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
Spong S. "The Bellows / of Experience": The Modernist Love Poem and Its Legacy. [Internet] [Doctoral dissertation]. University of New Mexico; 2016. [cited 2021 Mar 02].
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 New South Wales
22.
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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MLA ·
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Export
to Zotero / EndNote / Reference
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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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
Gelder C. Mallarmé and Mathematics: On Nothing and the Infinite. [Internet] [Masters thesis]. University of New South Wales; 2016. [cited 2021 Mar 02].
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
23.
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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Export
to Zotero / EndNote / Reference
Manager
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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
De Witte, Ben 1. Queer visibility on the transatlantic modernist stage. [Internet] [Doctoral dissertation]. Rutgers University; 2016. [cited 2021 Mar 02].
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
24.
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 March 02, 2021.
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. 02 Mar 2021.
Vancouver:
Berndalen C. Populärmusik, konstmusik eller bara musik? : En undersökning av konstmusikaliska inslag i tre populärmusikaliska verk. [Internet] [Thesis]. Karlstad University; 2012. [cited 2021 Mar 02].
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
25.
Torres, Maria do Socorro [UNESP].
Magma: 80 anos de poesia.
Degree: 2016, Universidade Estadual Paulista
URL: http://hdl.handle.net/11449/146691
► Magma, gênese poética do escritor João Guimarães Rosa, constitui-se a base sólida desta tese de doutoramento, em Teoria da Literatura. Tem-se como corpus os poemas…
(more)
▼ Magma, gênese poética do escritor João Guimarães Rosa, constitui-se a base sólida desta tese de doutoramento, em Teoria da Literatura. Tem-se como corpus os poemas da coletânea que apesar de premiada em, 1937, não obteve a recepção merecida, em virtude do autor não ter publicado a obra. O estudo aprofundado dos poemas mostra que o lirismo voltado para os rios, a água e as cores é aspecto crucial em sua composição. Não é novidade vincular a produção rosiana ao Modernismo, o que é novo é abordar uma obra inicial como Magma, tendo em vista os aspectos anteriores. Optamos por realizar uma abordagem que contempla (i) a análise da fortuna crítica; (ii) o contexto de produção, relacionando a gênese poética de João Guimarães Rosa às demais produções poéticas do Modernismo, sobretudo, do primeiro e do segundo momentos; (iii) a análise dos poemas. Para a construção da tese partimos do estudo da fortuna crítica de Magma, atendo-nos à recepção da mesma e às análises que da coletânea foram feitas. O suporte teórico e crítico para a realização desta tese ateve-se a estudos acerca do Modernismo brasileiro, entre eles Affonso Ávila (2013), José Guilherme Merquior (1965), aos estudos voltados para a compreensão do texto poético como Octavio Paz (1982). Além disso, buscamos contextualizar Magma no universo do Modernismo brasileiro, de modo a estabelecer pontos de aproximação e distanciamento entre o que faz João Guimarães Rosa e o que fazem os modernos. Em seguida, organizamos os poemas da obra em vertentes, apoiando-nos em parte nos trabalhos de Maria Célia Leonel. As fronteiras entre tais vertentes não são firmemente delimitadas, porém, acreditamos que há um ganho analítico na organização do livro segundo essa perspectiva, pois, são temas que percorrem toda a coletânea, também, toda a obra subsequente do autor. Por fim, coube investigar em que medida, tais temas, que se apresentam na obra com fronteiras pouco fluidas, se articulam, a partir de um discurso moderno que os aproxima. Ou seja, a partir dos instrumentos fornecidos pelas etapas anteriores procuramos responder à seguinte pergunta: em que medida aspectos do Modernismo articulam-se em Magma, para garantir o diálogo entre as vertentes apontadas e, para, além disso, garantir a originalidade e a riqueza da obra poética de João Guimarães Rosa?.
Magma, poetic genesis of the writer João Guimarães Rosa, constitutes the solid foundation of this doctoral thesis in Literary Theory. There have as corps poems that make up the collection, which despite awarded in 1937, did not get the deserved reception, and this, perhaps, hindered the development of researches on / from it, that situated within the context of Brazilian Modernism. Researches that show at the same time, the extent to which collection moves away from that same literary context, since the poems are linked by a discourse that tenses the very idea of Modernism, responsible for ensuring the originality of the work. The in-depth study of the poems shows that primitivism / nationalism, playful, philosophical, lyrical are…
Advisors/Committee Members: Martha, Diana Junkes [UNESP], Universidade Estadual Paulista (UNESP).
Subjects/Keywords: Guimarães Rosa; Magma; Modernismo; Modernism
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APA (6th Edition):
Torres, M. d. S. [. (2016). Magma: 80 anos de poesia. (Thesis). Universidade Estadual Paulista. Retrieved from http://hdl.handle.net/11449/146691
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):
Torres, Maria do Socorro [UNESP]. “Magma: 80 anos de poesia.” 2016. Thesis, Universidade Estadual Paulista. Accessed March 02, 2021.
http://hdl.handle.net/11449/146691.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Torres, Maria do Socorro [UNESP]. “Magma: 80 anos de poesia.” 2016. Web. 02 Mar 2021.
Vancouver:
Torres MdS[. Magma: 80 anos de poesia. [Internet] [Thesis]. Universidade Estadual Paulista; 2016. [cited 2021 Mar 02].
Available from: http://hdl.handle.net/11449/146691.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Torres MdS[. Magma: 80 anos de poesia. [Thesis]. Universidade Estadual Paulista; 2016. Available from: http://hdl.handle.net/11449/146691
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Cornell University
26.
Wilson, Daniel.
Fluid Bodies: Energetics, Psychoanalysis, And Modernist Form.
Degree: PhD, English Language and Literature, 2012, Cornell University
URL: http://hdl.handle.net/1813/29274
► By the middle of the nineteenth century the science of thermodynamics had reached such a level of complexity and sophistication that it seemed all phenomena-from…
(more)
▼ By the middle of the nineteenth century the science of thermodynamics had reached such a level of complexity and sophistication that it seemed all phenomena-from the activity of physical bodies to the intricacies of human psychology to the fate of the cosmos-could be explained through its laws. While the law of conservation of energy, which proposes that energy can be transformed but neither created nor destroyed, seemed to indicate that nature was in a constant state of flux, the second law of thermodynamics revealed that these transformations will lead to the thermodynamic heat-death of the universe, where all potential energy has been actualized and all movement has ceased. Thermodynamic thought at once suggested that the cosmos is a vibrant and vital system, and threatened to reduce nature to a dead system in which all difference is replaced by equivalence. A tradition of philosophical and scientific thought, beginning with James Tyndall and Herbert Spencer, and continuing through Henri Bergson, Fredrick Nietzsche and Gilles Deleuze, draws from the terms of a debate between H.L. Mansel and J.S. Mill over the a priori structure of the mind in order to argue that while the forms imposed by the human intellect might condemn the universe to a heat-death, the true logic of nature, beyond knowledge and beyond the individual life of the human, is a perpetual movement of synthetic and creative forces. Following from the observation that the body and brain are composed of the same forces and elements that are found in the material world, these grand cosmological tendencies come to inform a technical description of the human psyche. Beginning with his Project for a Scientific Psychology, which works to describe psychology as the effect of the flow of energy through the brain, Freud not only appeals to thermodynamic science to give a picture of how the mind works, but relies on the idea that there are distinct tendencies that inhere in these flows of energy to theorize the broad developmental structure of human life. In his linguistic revision of Freud, Jacques Lacan takes aim at Freud's reliance on energetics, arguing that within Freud's discourse the scene of energetics functions as a fantasy that relates the
subject to a locus of natural meaning. Whether as an organic cause or as a privileged fantasy, the logic of energetics frames a central problematic of psychoanalytic thought. Within the literary tradition, the language of thermodynamics comes to situate discussions of psychology, ethics, and formal experimentation. Through readings of Walter Pater, Henry James, Oscar Wilde, Gertrude Stein, and Ludwig Wittgenstein, I argue that the impasses and expressive possibilities of thermodynamic thought become a model for the aesthetic and formal concerns of a literature that works to articulate the natural logic that situates the human.
Advisors/Committee Members: Hite, Molly Patricia (chair), Mao, Douglas (coChair), Adams, James Eli (committee member), McNulty, Tracy K. (committee member).
Subjects/Keywords: modernism; aestheticism; psychoanalysis; energetics
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APA (6th Edition):
Wilson, D. (2012). Fluid Bodies: Energetics, Psychoanalysis, And Modernist Form. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/29274
Chicago Manual of Style (16th Edition):
Wilson, Daniel. “Fluid Bodies: Energetics, Psychoanalysis, And Modernist Form.” 2012. Doctoral Dissertation, Cornell University. Accessed March 02, 2021.
http://hdl.handle.net/1813/29274.
MLA Handbook (7th Edition):
Wilson, Daniel. “Fluid Bodies: Energetics, Psychoanalysis, And Modernist Form.” 2012. Web. 02 Mar 2021.
Vancouver:
Wilson D. Fluid Bodies: Energetics, Psychoanalysis, And Modernist Form. [Internet] [Doctoral dissertation]. Cornell University; 2012. [cited 2021 Mar 02].
Available from: http://hdl.handle.net/1813/29274.
Council of Science Editors:
Wilson D. Fluid Bodies: Energetics, Psychoanalysis, And Modernist Form. [Doctoral Dissertation]. Cornell University; 2012. Available from: http://hdl.handle.net/1813/29274
Cornell University
27.
Slater, Avery.
Apparatus Poetica: The Question Of Technology In Mid-Twentieth-Century American Poetry.
Degree: PhD, English Language and Literature, 2014, Cornell University
URL: http://hdl.handle.net/1813/38746
► "Apparatus Poetica" considers how four poets in the late modernist tradition reconceive the potentials of poetic language in order to address the question of advanced…
(more)
▼ "Apparatus Poetica" considers how four poets in the late modernist tradition reconceive the potentials of poetic language in order to address the question of advanced technology. Outlining challenges posed to language by communications industries, information theory, computation, and the threat of nuclear war, I show how four poets-James Merrill, Muriel Rukeyser, H.D., and Jack Spicer-explore affinities and crucial distinctions between poetry and technology. Through their experiments in what I call "apparatus poetics," these poets denaturalize culturally embedded assumptions surrounding technology's "neutrality" and poetry's expressive "purity." They do so through procedural innovations in the genre of the poetic epic, that form not coincidentally deemed by modernist anthropologists as the earliest human memory-technology. I begin with a discussion of how the montage apparatus of testimonial poetry in Rukeyser's The Book of the Dead works to indict industrial capital's technological tactics of historical effacement. I next discuss how Jack Spicer, working as a structural linguist in the age of IBM, uses a late modernist method, the "serial lyric," to set up a confrontation between poetic consciousness and language. Spicer casts the old predicament of thought's alienation from language in a new light defined by contemporary forms of technological emergence (especially computational intelligence). In the historical moment where databases begin to supplant cultural archives, H.D.'s Helen in Egypt meditates on translation and disintegration at the virtual horizon of memory and myth. I attend to how H.D.'s late-career epic revives an earlier, modernist moment of inquiry into the "machine mind" and "mnemic technology" through her collaboration with Sigmund Freud. I conclude with an exploration of how James Merrill's The Changing Light at Sandover engages language's aleatory powers to situate inspiration's accidents amid uncertain historical and technological horizons. This dissertation explores how these late modernists use language's technē to rethink mid-century historical forces catalyzed by technology. Insisting on language's poetic ability to exceed instrumentalized capture, these poets share an interest in theorizing new ethical relations for reconnecting "
subject" and "process" in an age when forms of collectivity are undergoing rapid technological redefinition.
Advisors/Committee Members: Culler, Jonathan Dwight (chair), Jacobus, Mary Longstaff (committee member), Caruth, Cathy (committee member).
Subjects/Keywords: late modernism; American poetry; technology
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APA (6th Edition):
Slater, A. (2014). Apparatus Poetica: The Question Of Technology In Mid-Twentieth-Century American Poetry. (Doctoral Dissertation). Cornell University. Retrieved from http://hdl.handle.net/1813/38746
Chicago Manual of Style (16th Edition):
Slater, Avery. “Apparatus Poetica: The Question Of Technology In Mid-Twentieth-Century American Poetry.” 2014. Doctoral Dissertation, Cornell University. Accessed March 02, 2021.
http://hdl.handle.net/1813/38746.
MLA Handbook (7th Edition):
Slater, Avery. “Apparatus Poetica: The Question Of Technology In Mid-Twentieth-Century American Poetry.” 2014. Web. 02 Mar 2021.
Vancouver:
Slater A. Apparatus Poetica: The Question Of Technology In Mid-Twentieth-Century American Poetry. [Internet] [Doctoral dissertation]. Cornell University; 2014. [cited 2021 Mar 02].
Available from: http://hdl.handle.net/1813/38746.
Council of Science Editors:
Slater A. Apparatus Poetica: The Question Of Technology In Mid-Twentieth-Century American Poetry. [Doctoral Dissertation]. Cornell University; 2014. Available from: http://hdl.handle.net/1813/38746
Vanderbilt University
28.
Phelan, James Blackwell.
The Literature of Information Overload: Modernism and the Encyclopedia.
Degree: PhD, English, 2018, Vanderbilt University
URL: http://hdl.handle.net/1803/15472
► The Literature of Information Overload considers modernist literature’s complicated involvement in the history of the encyclopedia—that is, in the history of formal solutions to the…
(more)
▼ The Literature of Information Overload considers modernist literature’s complicated involvement in the history of the encyclopedia—that is, in the history of formal solutions to the problem of information overload that runs, roughly, from Pliny to Wikipedia. Over four chapters, it develops two lines of argument. The first and second chapters, which center on James Joyce’s Ulysses and Walter Benjamin’s Arcades Project, respectively, argue that modernist writers rework the encyclopedic tradition’s formal innovations in order to construct expansive, variously traversable networks of text, intertext, and paratext capable of comprehending a world that literature otherwise can no longer represent as a totality. Modernist renovations of the encyclopedia encourage reading practices that both parallel the tactics needed to navigate the modern metropolis and anticipate the ways that we read, think, and distribute attention in today’s hypersaturated information culture. The dissertation’s third and fourth chapters, centered on William Carlos Williams’s Paterson and on Marianne Moore’s “Marriage,” argue that other modernist writers respond critically to encyclopedic
modernism by making subversive use of its formal repertoire. For these writers, encyclopedism monumentalizes dubious tendencies in
modernism and modernity: excessive investment in the authority of the archive, overconfidence in the efficacy of language, a turn from the material to the purely textual, and dependence on cultural resources and institutions that reinforce hegemony. Some break encyclopedic form, others repurpose it to devise alternatives. At issue both for modernism’s encyclopedists and those modernists who engage with encyclopedic tradition while diverging from it is a question that has only become more urgent in the years since Joyce, Benjamin, Williams, and Moore were writing: how best to manage immense quantities and overwhelming flows of information when they seem to threaten the coping strategies of literary form?
Advisors/Committee Members: Scott Juengel (committee member), Rachel Teukolsky (committee member), Paul K. Saint-Amour (committee member), Mark Wollaeger (Committee Chair).
Subjects/Keywords: information overload; encyclopedism; encyclopedia; modernism
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APA (6th Edition):
Phelan, J. B. (2018). The Literature of Information Overload: Modernism and the Encyclopedia. (Doctoral Dissertation). Vanderbilt University. Retrieved from http://hdl.handle.net/1803/15472
Chicago Manual of Style (16th Edition):
Phelan, James Blackwell. “The Literature of Information Overload: Modernism and the Encyclopedia.” 2018. Doctoral Dissertation, Vanderbilt University. Accessed March 02, 2021.
http://hdl.handle.net/1803/15472.
MLA Handbook (7th Edition):
Phelan, James Blackwell. “The Literature of Information Overload: Modernism and the Encyclopedia.” 2018. Web. 02 Mar 2021.
Vancouver:
Phelan JB. The Literature of Information Overload: Modernism and the Encyclopedia. [Internet] [Doctoral dissertation]. Vanderbilt University; 2018. [cited 2021 Mar 02].
Available from: http://hdl.handle.net/1803/15472.
Council of Science Editors:
Phelan JB. The Literature of Information Overload: Modernism and the Encyclopedia. [Doctoral Dissertation]. Vanderbilt University; 2018. Available from: http://hdl.handle.net/1803/15472
Royal Holloway, University of London
29.
Gardner, Nina-Marie.
Collaborating with ghosts to inhabit the body : adapting women's literary modernism to the stage.
Degree: PhD, 2017, Royal Holloway, University of London
URL: https://pure.royalholloway.ac.uk/portal/en/publications/collaborating-with-ghosts-to-inhabit-the-body-adapting-womens-literary-modernism-to-the-stage(f9edf529-878c-4f8f-bc87-afed43334a21).html
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792735
► The novels and short stories of the modernist women writers of the late 1920s and early 1930s were considered radical in their time, not just…
(more)
▼ The novels and short stories of the modernist women writers of the late 1920s and early 1930s were considered radical in their time, not just for the ways they experimented with language and narrative style, but also for their content. My thesis explores the challenges of adapting these novels to the stage, drawing upon my own adaptation of American modernist Margery Latimer's novel This Is My Body (1930). My primary methodology is traditional scholarly research that has provided a framework for writing the play; my analysis of the play is the final focus. I argue that given the manner in which many of these narratives perform - specifically, modernist women's autobiographical novels - adaptation is already built-in, such that adapting them to the stage becomes a process of highlighting and foregrounding what is already in place. Chapter One considers the intersection of modernism and feminism, and traces the thread of feminism through the modernist movement, with a focus on the relationship between the women's rights activists and the modernist women writers. Chapter Two looks at the intersection of feminism and adaptation, with a focus on authorship, issues of fidelity and feminist adaptation strategies. Chapter Three examines the intersection between modernism and adaptation from both a historical and ideological standpoint, with a focus on the contentious relationship between modernism and theatre, and the generative impact of this tension. Chapter Four looks at the intersection of modernism, feminism and adaptation; specifically, how modernist women's autobiographical narratives perform, which in turn lends them to the stage. In order to examine my arguments in practice, I have included Portage Fancy, my own stage adaptation of Margery Latimer's novel This Is My Body (1930), which is followed by an analysis.
Subjects/Keywords: modernism; feminism; adaptation; theatre
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APA ·
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MLA ·
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CSE |
Export
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Manager
APA (6th Edition):
Gardner, N. (2017). Collaborating with ghosts to inhabit the body : adapting women's literary modernism to the stage. (Doctoral Dissertation). Royal Holloway, University of London. Retrieved from https://pure.royalholloway.ac.uk/portal/en/publications/collaborating-with-ghosts-to-inhabit-the-body-adapting-womens-literary-modernism-to-the-stage(f9edf529-878c-4f8f-bc87-afed43334a21).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792735
Chicago Manual of Style (16th Edition):
Gardner, Nina-Marie. “Collaborating with ghosts to inhabit the body : adapting women's literary modernism to the stage.” 2017. Doctoral Dissertation, Royal Holloway, University of London. Accessed March 02, 2021.
https://pure.royalholloway.ac.uk/portal/en/publications/collaborating-with-ghosts-to-inhabit-the-body-adapting-womens-literary-modernism-to-the-stage(f9edf529-878c-4f8f-bc87-afed43334a21).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792735.
MLA Handbook (7th Edition):
Gardner, Nina-Marie. “Collaborating with ghosts to inhabit the body : adapting women's literary modernism to the stage.” 2017. Web. 02 Mar 2021.
Vancouver:
Gardner N. Collaborating with ghosts to inhabit the body : adapting women's literary modernism to the stage. [Internet] [Doctoral dissertation]. Royal Holloway, University of London; 2017. [cited 2021 Mar 02].
Available from: https://pure.royalholloway.ac.uk/portal/en/publications/collaborating-with-ghosts-to-inhabit-the-body-adapting-womens-literary-modernism-to-the-stage(f9edf529-878c-4f8f-bc87-afed43334a21).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792735.
Council of Science Editors:
Gardner N. Collaborating with ghosts to inhabit the body : adapting women's literary modernism to the stage. [Doctoral Dissertation]. Royal Holloway, University of London; 2017. Available from: https://pure.royalholloway.ac.uk/portal/en/publications/collaborating-with-ghosts-to-inhabit-the-body-adapting-womens-literary-modernism-to-the-stage(f9edf529-878c-4f8f-bc87-afed43334a21).html ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792735
Texas A&M University
30.
Hollis, Erin Michelle.
Textual collisions: the writing process and the Modernist experiment.
Degree: PhD, English, 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…
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▼ 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. (Doctoral Dissertation). Texas A&M University. Retrieved from http://hdl.handle.net/1969.1/2434
Chicago Manual of Style (16th Edition):
Hollis, Erin Michelle. “Textual collisions: the writing process and the Modernist experiment.” 2005. Doctoral Dissertation, Texas A&M University. Accessed March 02, 2021.
http://hdl.handle.net/1969.1/2434.
MLA Handbook (7th Edition):
Hollis, Erin Michelle. “Textual collisions: the writing process and the Modernist experiment.” 2005. Web. 02 Mar 2021.
Vancouver:
Hollis EM. Textual collisions: the writing process and the Modernist experiment. [Internet] [Doctoral dissertation]. Texas A&M University; 2005. [cited 2021 Mar 02].
Available from: http://hdl.handle.net/1969.1/2434.
Council of Science Editors:
Hollis EM. Textual collisions: the writing process and the Modernist experiment. [Doctoral Dissertation]. Texas A&M University; 2005. Available from: http://hdl.handle.net/1969.1/2434
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