• 主题
高级搜索  >
历史搜索 清空历史
首页> 外文学位 >Songs of desire and the self: Opera in the work of Walt Whitman, Henry James, Willa Cather, and Gertrude Stein.
【24h】

Songs of desire and the self: Opera in the work of Walt Whitman, Henry James, Willa Cather, and Gertrude Stein.

机译：欲望和自我之歌：沃尔特·惠特曼，亨利·詹姆斯，威拉·凯瑟和格特鲁德·斯坦的作品中的歌剧。

获取原文
获取原文并翻译 | 示例
页面导航
  • 摘要
  • 著录项
  • 相似文献
  • 相关主题

摘要

During the years immediately preceding and following the turn of the nineteenth century, authors of literature began to explore opera and its relationship to formations of selfhood. Authors such as Walt Whitman, Henry James, Willa Cather, and Gertrude Stein, each of whom approached culture with an understanding of its underpinnings and what it means for identity constructions to clash with cultural norms, used opera and the public space of the opera house to explore encounters with "other" desires. Their own cultural situations inspired them to create characters who, because of operatic influences, come into contact with constructions of desire unhinged from its ascribed gender, classed, and sexual identities.; After the introductory chapter, Chapter Two examines Walt Whitman's obsession with opera and how it influenced his notions of democratic space and desire in America. Drawing on Whitman's journalistic texts, which include copious references to opera, and his major works of poetry, most of which include references to opera or exhibit operatic characteristics, the chapter employs theories of desire, identity, performativity, and opera to explore Whitman's notions of desire and identity in American culture.; Henry James uses opera less overtly than Whitman, and Chapter Three looks at how James uses operatic scenes and plots in his literature to expose upper-class social codes that inhibit and regulate desire and identity. Chapter Four looks at how Willa Cather focuses her attention on the opera diva, whom she depicts as the empowered woman that exposes rigid, arbitrary, masculinist conceptions of desire and identity. The Epilogue discusses how Gertrude Stein also saw opera as a means to reexamine rigid ascriptions of identity. She wrote Four Saints in Three Acts with Virgil Thomson in a conscious attempt to subvert language and to disrupt notions of normative desire and identity.; Each author in this project uses opera to her/his own ends, and in doing so each author signals her/his concerns regarding an American culture whose notions of desire and identity were becoming increasingly constrictive.
机译：在紧接十九世纪之交之前和之后的几年中，文学著作者开始探索歌剧及其与自我形成的关系。沃尔特·惠特曼（Walt Whitman），亨利·詹姆斯（Henry James），威拉·凯瑟（Willa Cather）和格特鲁德·斯坦（Gertrude Stein）等作家，他们每个人都以了解文化的基础以及与文化规范冲突的身份建构，使用歌剧和歌剧院公共空间的含义来接触文化。探索与“其他”欲望的相遇。他们自己的文化状况激发了他们创造人物的角色，这些人物由于受到歌剧的影响而与欲望的构造联系起来，而欲望的构造与性别，阶级和性身份无关。在介绍性章节之后，第二章探讨了沃尔特·惠特曼（Walt Whitman）对歌剧的痴迷，以及它如何影响他对美国民主空间和欲望的观念。本章借鉴惠特曼的新闻文本，其中包括对歌剧的大量引用，以及他的主要诗歌作品，其中大部分都包括对歌剧或表现出歌剧特色的引用，这一章运用了欲望，身份，表演性和歌剧理论来探讨惠特曼的诗歌观念。美国文化中的欲望和身份。亨利·詹姆斯（Henry James）使用戏剧的方式不比惠特曼（Whitman）公开得多，第三章介绍了詹姆斯如何利用文学中的戏剧性场景和情节来揭露抑制和调节欲望和身份的上层社会规范。第四章探讨了薇拉·凯瑟如何将注意力集中在歌剧女主角上，她将歌剧女主角描绘成有能力的女人，露出僵化，武断，阳刚之气的欲望和身份观念。结束语讨论了格特鲁德·斯坦（Gertrude Stein）如何将歌剧作为重新审视身份认同的手段。她与维吉尔·汤姆森（Virgil Thomson）撰写了《三幕四圣人》，有意识地试图颠覆语言并破坏规范性愿望和身份的观念。该项目中的每位作者都按照自己的喜好使用歌剧，因此，每位作者都表达了他/她对美国文化的关注，这种文化的欲望和身份观念变得越来越严格。

著录项

  • 作者

    Berglund, Michael Howard.;

  • 作者单位

    The University of Tulsa.;

  • 授予单位 The University of Tulsa.;
  • 学科 Literature American.
  • 学位 Ph.D.
  • 年度 2006
  • 页码 356 p.
  • 总页数 356
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 I712;
  • 关键词

相似文献

  • 外文文献
  • 中文文献
  • 专利
获取原文

客服邮箱：kefu@zhangqiaokeyan.com

京公网安备：11010802029741号 ICP备案号：京ICP备15016152号-6 六维联合信息科技 (北京) 有限公司©版权所有

  • 客服微信

  • 服务号