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首页> 外文学位 >Imagined Democracy: Material Publishing, War, and the Emergence of Democratic Thinking in Walt Whitman's 'Leaves of Grass', 1855--1867.
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Imagined Democracy: Material Publishing, War, and the Emergence of Democratic Thinking in Walt Whitman's 'Leaves of Grass', 1855--1867.

机译：想象中的民主：沃尔特·惠特曼（Walt Whitman）的《草叶》，1855--1867年，内容出版，战争和民主思想的出现。

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摘要

This dissertation traces the evolution of Whitman's democratic thinking across the first four editions of Leaves of Grass, covering the auspicious years 1855, 1856, 1860 and 1867. While democracy is the master political term within Whitman's later editions, it was nearly devoid from the original one, in which republican political concepts were still regnant. The argument put forth is that in the space of twelve years, Whitman's relationship to democracy went through a strikingly classic dialectic trajectory: emergence, consolidation and fissure. The immediate engine driving this progression was the Civil War, but behind this immediate cause was the slower, broader motor of modernization, particularly modernization's expansion of markets, for in the market's circulation and interconnection of people and commodities Whitman saw a model for an expansive and integrative democratic collectivity. The first chapter explores the importance to Whitman of the physical print room as a uniquely hybrid site in the course of modernization, for while it was one of the first to exploit the expanding industrial market, it also maintained pre-industrial forms of artisanal labor late into that progression. The print room thus became a site where the industrial market's reach and pre-industrial labor's affective relationship to the product and its consumers could be combined, and the print room therefore plays a central role, in ways both subtle and profound, in Whitman's poetry, in his understanding of the emerging democratic nation, and in his own literary productive practice. The second chapter turns from an investigation of democratic social space to an investigation of democratic time, noting how a nearly forgotten event, a loan between Whitman and James Parton, ended the "afflatus" under which the early editions were produced and prompted Whitman to revamp Leaves' relationship to history. Whitman's experience of personal debt failure led him to reconsider the ways in which his political project was susceptible to similar collapse, for the circuits of affective connection upon which his democratic project was based depended not only on their reach through space but on their forward projection through time, particularly the continual recycling of death into life, what Whitman called the "perpetual payment of the perpetual loan." Whitman sought to reduce this contingency by abstracting the political project of the work from his immediate social world (America) to a political philosophy (democracy) which stood above and outside of time. The 1860 edition thus marked the emergence of democracy as the book's central political philosophy. Yet this strategy proved insufficient when Whitman confronted the one barrier to affective exchange that his verse could not bridge: the dead bodies of the Union soldiers. This unbridgeable difference reverberated outward through the circuits of Whitman's poetry, dismantling the political and affective structures he had been building up to 1860. A text which previously declared the absence of both the past and death -- "the greatest poet ... places himself where the future becomes present," "the smallest sprout shows there is really no death" -- now becomes doubly haunted by ghosts, once by the dead bodies of Union soldiers which, as much as Whitman declares he "will henceforth forget," he cannot, and again by the strange emergence of new "Phantoms, gigantic, superb." These phantoms represent for Whitman the inversion of democracy's promise, democracy become nightmarish and zombie-like, and his fundamental triangle is haunted by its inverse: a melancholic Whitman; the overmastering re-emergence of the "bards of the past" and explicitly antiquated poetic forms; and a threatening, sovereign federal power autonomous from the people. The revisions Whitman introduced to the post-war edition of 1867 tell the story of a crisis in democratic confidence on behalf of democracy's former champion. Taken all together, the first four editions of Leaves form a chronicle of the archetypal democratic poet's struggle with democracy during U.S. democracy's most critical decade.
机译：这篇论文追溯了惠特曼民主思想在前四个版本的《草叶》中的演变，涵盖了吉祥的1855年，1856年，1860年和1867年。尽管民主是惠特曼后来版本中的主要政治术语，但它几乎与最初的版本有所不同。一是共和党的政治观念仍在统治。提出的论点是，在十二年的时间里，惠特曼与民主的关系经历了一个惊人的经典辩证轨迹：出现，巩固和裂变。推动这一进步的直接引擎是南北战争，但其直接原因是现代化的缓慢，广泛的推动力，尤其是现代化的市场扩张，因为在人与大宗商品的市场流通和相互联系中，惠特曼看到了扩张和扩张的模型。一体化民主集体。第一章探讨了实物印刷室作为现代化过程中独特的混合场所对惠特曼的重要性，因为它虽然是最早利用不断扩大的工业市场的工厂之一，但在后期仍保持了工业化前的手工劳动形式。进入那个进步。因此，印刷室成为一个场所，可以将工业市场的影响力和前工业劳动者对产品及其消费者的情感关系结合起来，因此印刷室在惠特曼的诗歌中以微妙而深刻的方式起着核心作用，他对新兴民主国家的了解以及他自己的文学生产实践。第二章从对民主社会空间的调查转变为对民主时间的调查，指出了几乎被遗忘的事件，惠特曼和詹姆斯·帕顿之间的借贷，如何结束了制作早期版本并促使惠特曼进行改造的“ afflatus”叶与历史的关系。惠特曼（Whitman）个人债务失败的经历使他重新考虑了他的政治计划容易遭受类似崩溃的方式，因为他的民主计划所基于的情感联系回路不仅取决于他们通过太空的可及范围，还取决于他们通过惠特曼称之为“永久偿还永久贷款”的时代，特别是不断地将死亡转化为生命。惠特曼试图通过将作品的政治项目从他的直接社会世界（美国）抽象到超越时空的政治哲学（民主）来减少这种偶然性。因此，1860年版标志着民主作为本书的中心政治哲学的出现。然而，当惠特曼面对他的经文无法克服的情感交流障碍：联邦士兵的尸体时，这种策略就证明是不够的。这种不可逾越的差异在惠特曼的诗歌循环中向外回荡，摧毁了他在1860年之前建立的政治和情感结构。以前曾宣告既没有过去也没有死亡的文本-“最伟大的诗人...哪里有未来，”“最小的豆芽表明没有死” –现在变成了鬼魂的双重困扰，一次是联盟士兵的尸体，惠特曼宣称他“此后会忘记”，不可能，并且一次又一次地出现新的“幻影，巨大而精湛”。这些幻影代表了惠特曼对民主诺言的颠倒，民主变成了噩梦般的僵尸，而他的基本三角形却被其反面所困扰。 “过去的吟游诗人”和明显过时的诗歌形式的重新掌握；以及来自人民的自治主权威胁性联邦权力。惠特曼在1867年战后版中进行的修订讲述了民主的危机，代表民主的前拥护者发生了危机。综上所述，《叶》的前四个版本构成了原型民主诗人在美国民主最关键的十年中与民主斗争的纪事。

著录项

  • 作者

    Haile, Adam.;

  • 作者单位

    Duke University.;

  • 授予单位 Duke University.;
  • 学科 Literature American.;American Studies.
  • 学位 Ph.D.
  • 年度 2010
  • 页码 185 p.
  • 总页数 185
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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