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首页> 外文学位 >Towards conspiracy theory: Revolution, terrorism and paranoia from Victorian fiction to the modern novel.
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Towards conspiracy theory: Revolution, terrorism and paranoia from Victorian fiction to the modern novel.

机译：走向共谋理论：从维多利亚时代的小说到现代小说的革命，恐怖主义和偏执狂。

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摘要

My dissertation examines the literary development of "conspiracy" into the modern phenomenon of "conspiracy theory," and I argue that the latter is an offshoot of the former (so that in contemporary literature we find both conspiracy and conspiracy theory narratives). Although "conspiracy" can be defined in a number of ways, in using the term "conspiracy" I mean the ontologically-confirmed relationship between two or more people secretly united to commit an unlawful act. Conversely, a "conspiracy theory" narrative only "theorizes" that a conspiracy exists. For various reasons, final confirmation remains elusive and, in general, conspiracy theory narratives tend to emphasize the indeterminacy of their claims and the highly suspicious or clinically paranoid nature of their central conspiracy theorist.; How did literary conspiracy narratives develop into conspiracy theory? What historical events significantly contributed to this development? What is the role of paranoia---both in the clinical and modern "commodified" sense---in this development? And, what is the aesthetic value of conspiracy narratives in general---i.e., why should we as reflective readers bother to read them in the first place?; Taking the mid- to late-Victorian novel as my case study, these are the questions that my dissertations confronts. I situate my chosen Victorian conspiracy novels (especially The Moonstone, Great Expectations, The Woman in White, Villette and The Secret Agent) in relation to one another, and among a number of broad social, historical and political developments such as the European revolutions of 1848, urbanization, the rise of the police and detective forces, the growth of the press, the "disappearance of God," Fenian terrorism, and the birth of modern espionage. I also devote considerable space to twentieth-century conspiracy theory narratives, including those of Proust, Kafka, Foucault, Pynchon and DeLillo.; The critical approaches I use are four: historical, structuralist, psychiatric and "aesthetic." By the last term, however, I do not mean the Kantian aesthetic, that "universal" beauty that stands apart from any historical context. Rather, using the work of Eve Sedgwick on affect theory and Martha Nussbaum on "political objectivity" (objectivity based on democratic consensus), I develop a new conception of the aesthetic, one that inverts the "hermeneutics of suspicion" by stressing how a given text can advocate the need to respect human rights and liberty.
机译：我的论文考察了“阴谋”到现代“阴谋论”现象的文学发展，并认为后者是前者的分支（因此在当代文学中我们发现阴谋论和阴谋论都是叙事）。尽管可以以多种方式定义“阴谋”，但在使用“阴谋”一词时，我是指两个或两个以上秘密联合起来从事违法行为的人之间的本体论上的关系。相反，“阴谋论”叙述仅“理论化”阴谋存在。由于种种原因，最终的确认仍然难以捉摸，而且，总体而言，阴谋论的叙述倾向于强调其主张的不确定性以及其中心阴谋论者的高度可疑或临床偏执性质。文学共谋叙事如何发展为共谋理论？哪些历史事件对这一发展有重大贡献？在这种发展中，偏执狂-在临床和现代“商品化”意义上的作用是什么？而且，一般来说，阴谋叙事的美学价值是什么？也就是说，为什么我们作为反思型读者首先要打扰阅读它们？以维多利亚时代的中晚期小说作为我的个案研究，这就是我的论文面临的问题。我将自己选择的维多利亚时代的阴谋小说（尤其是《月光石》，《大期望》，《白衣女人》，《维莱特》和《特务》）与彼此之间的关系以及许多广泛的社会，历史和政治发展（例如欧洲革命）联系在一起。 1848年，城市化，警察和侦探部队的崛起，新闻界的增长，“上帝的消失”，芬尼恐怖主义和现代间谍活动的诞生。我还为20世纪的阴谋理论叙述投入了大量空间，包括Proust，Kafka，Fouucault，Pynchon和DeLillo。我使用的关键方法有四种：历史，结构主义，精神病学和“美学”。但是，在最后一个术语中，我并不是说康德式美学，即与任何历史背景区分开的那种“普遍”美。相反，我使用夏娃·塞奇威克（Eve Sedgwick）的情感理论和玛莎·努斯鲍姆（Martha Nussbaum）的“政治客观性”（基于民主共识的客观性）的工作，提出了一种美学的新概念，该概念通过强调给定的方式来颠倒“怀疑的诠释学”。案文可以提倡尊重人权和自由的必要性。

著录项

  • 作者

    Wisnicki, Adrian Stanislaw Feliks.;

  • 作者单位

    City University of New York.;

  • 授予单位 City University of New York.;
  • 学科 Literature Modern.; Literature English.; Literature Germanic.; Literature American.; Literature Romance.
  • 学位 Ph.D.
  • 年度 2003
  • 页码 435 p.
  • 总页数 435
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 世界文学;世界文学;
  • 关键词

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