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Dialectical metafiction and the self-conscious subject of American Modernism.

机译：辩证元小说和美国现代主义的自我意识主题。

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摘要

In the past twenty years, many scholars on the Left have attempted to explain a turn to conservatism and an accompanying melancholy within American Modernism during the canonization of its literary texts, or they have attempted to "recover" the once-thriving but now repressed political energies of Leftist literary texts. These projects raise questions about the validity of the conservative literary history we have received, but they also raise questions about the subjectivity and legitimacy of revisionist histories. Indeed, recent revisionist histories participate in a key assumption of cultural studies that textual interpretation and historiography are inescapably subjective activities, and they treat all texts and history-as-it-may-have-happened as "things in themselves" that can never be known. This dissertation challenges those philosophical assumptions of contemporary postmodern theory by locating them within the continuum of capitalist ideology. A shadowy metaphysics still lurks within the assumption of subjectivity even in the theoretical principles of the critics of the Left. What is needed to write a more objective literary history, to recover Leftist energies, and to explain the turn to conservative melancholy in American Modernism is an anti-humanist, dialectical methodology that can escape the subjective interpretive codes and practices of liberal humanism. A more effective recovery project would include a set of literary texts within Modernism that manifest not only self-consciousness (as did conservative modernism) but also a scientific knowledge of capitalist ideology and its self-conscious literary forms. The conservative Modernism of writers like T. S. Eliot and Ezra Pound and the progressive Modernism of writers like Carl Sandburg aimed at just such a scientific knowledge, but they did not understand the limits of their own formal aesthetics. As ideological products, their formal experiments pushed toward the limits of subjectivity without, ultimately, escaping capitalist ideology in its literary forms or grasping its production of meaning within economic and class contradiction. That same capitalist ideology prevented critics from recognizing that Sarah N. Cleghorn, Anna Louise Strong, and F. Scott Fitzgerald achieved political consciousness through their understanding of socialism and the dialectic. They wrote dialectical metafiction, a form that reproduces the ideological forms of consciousness while contextualizing them within determinate levels of material and ideological reproduction. These writers of the Teens and Twenties used dialectical thought and metafictional (or metapoetic) strategies to achieve a version of the "alienation effect" (also known as the distancing effect or Verfremdungseffekt) over a decade before its methodological development in the 1930s by Bertolt Brecht. Although dialectical metafiction is a rare form, it shows the way to recover Leftist energies and to rewrite the history of Modernism objectively in scholarly practice and in the classroom. It demonstrates a way to overcome the ideological consciousness that still lurks within the seductive, melancholy literary forms of conservative modernism, within postmodern theory in general, and within cultural studies in particular.
机译：在过去的二十年中，许多左派学者试图在对美国现代主义进行文学作品标准化的过程中解释转向保守主义和随之而来的忧郁情绪，或者他们试图“恢复”曾经繁荣但现在受到压制的政治左派文学文本的力量。这些项目提出了关于我们已经收到的保守文学史的有效性的问题，但是也提出了关于修正主义历史的主观性和合法性的问题。确实，最近的修正主义历史参与了文化研究的一个关键假设，即文本解释和历史学是不可避免的主观活动，并且他们将所有可能发生的文本和历史视为“自身的事物”，这是永远不可能的。众所周知。本文通过将它们置于资本主义意识形态的连续统一体中来挑战当代后现代理论的那些哲学假设。即使在左派批评家的理论原理中，一个笼罩着阴影的形而上学仍然潜伏在主观性的假设内。撰写更加客观的文学史，恢复左派力量，解释美国现代主义向保守忧郁的转变所需要的是一种反人道主义的，辩证的方法论，它可以摆脱主观的解释性准则和自由主义人本主义的实践。一个更有效的恢复计划将包括现代主义内部的一组文学文本，这些文本不仅表现出自我意识（就像保守的现代主义一样），而且表现出对资本主义意识形态及其自我意识的文学形式的科学知识。 T. S. Eliot和Ezra Pound等作家的保守现代主义以及Carl Sandburg等作家的进步现代主义只是针对这样的科学知识，但他们不了解自己形式美学的局限性。作为意识形态的产物，他们的形式实验将主观性推向极限，而最终没有逃避资本主义意识形态的文学形式或在经济和阶级矛盾中把握其意义的产生。相同的资本主义意识形态使批评家们无法意识到莎拉·克莱格霍恩（Sarah N. Cleghorn），安娜·路易斯·斯特朗（Anna Louise Strong）和F.斯科特·菲茨杰拉德（F.Scott Fitzgerald）通过对社会主义和辩证法的理解而获得了政治意识。他们写出了辩证的元小说，这种形式再现了意识形态的意识形态，同时又在确定的物质和意识形态再现层次上将它们情境化。这些十几岁和二十多岁的作家在1930年代由贝托特·布雷希特（Bertolt Brecht）在方法论发展之前的十年中，运用辩证思想和超构想（或隐喻）策略来实现“异化效应”（也称为距离效应或Verfremdungseffekt）的版本。 。尽管辩证性元小说是一种罕见的形式，但它显示了在学术实践和课堂上客观地恢复左派力量和客观重写现代主义历史的方式。它展示了一种克服意识形态意识的方法，这种意识形态潜伏在保守的现代主义的诱人，忧郁的文学形式中，一般是在后现代理论中，尤其是在文化研究中。

著录项

  • 作者

    Randell, Timothy M.;

  • 作者单位

    Loyola University Chicago.;

  • 授予单位 Loyola University Chicago.;
  • 学科 Literature Modern.;Literature American.
  • 学位 Ph.D.
  • 年度 2010
  • 页码 329 p.
  • 总页数 329
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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