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The literary picturesque: Gender, the body, and visual culture in the African -American Renaissance.

机译：如诗如画的文学：非裔美国人文艺复兴时期的性别，身体和视觉文化。

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This dissertation interrogates African American images in early twentieth-century American literary and visual culture. To fashion a "New Negro," scholars attempted to disrupt the perceived dependence of the black artist on the body. James Weldon Johnson's frequently overlooked essays instruct writers to create a less "picturesque," a less embodied perception of blackness to establish "intellectual parity" with other Americans. I use Johnson's critique of dialect as an introductory paradigm for understanding the negotiations writers make of the body, language, and the visual.;Beginning with Nella Larsen's Passing, I argue that Larsen's referencing of "the Rhinelander case," a trial in which a woman disrobed to prove her race, illustrates the violence of the ontological gaze. George Schuyler's satire, Black No More, offers a different "passing" tale in which black bodies cease to exist. Foreshadowing Ellison's Invisible Man, the novel erases the black woman's body to free the male hero to re-invent himself as a political figure.;The first section of the dissertation examines fictional representations of African Americans which confound the visual logic of the corporeal. The second turns from literary to literal performances and explicitly calls attention to black bodies and visual narratives inscribed on them. I contrast Josephine Baker's performances in France to her American appearance in the Ziegfeld Follies. Baker's Follies costume distorts the infamous banana skirt by replacing bananas with anomalous tusks, resulting in a failure to conform to American standards. Baker's commodified body explains her subsequent association with Harlem, in contrast to her rival, Ethel Waters. Baker's reinventions enable her to be "onstage" continually, much like the period known as the "Harlem Renaissance." The final chapter discusses a connoisseur of black bodies, Carl Van Vechten, and the bodies collected in Nigger Heaven and "Photographs of Blacks." Though the desire to promote black arts informs his literary and visual collections, it is his visual collection that succeeds because, paradoxically, the photos resist the reduction to the body that underwrites Nigger Heaven. I conclude by examining a controversial Metropolitan Museum of Art exhibition and the nexus of blackness, the body, and Harlem in the figure of President Clinton.

机译：本文研究了二十世纪初美国文学和视觉文化中的非裔美国人形象。为了塑造“新黑人”，学者试图破坏黑人艺术家对身体的依赖。詹姆士·韦尔顿·约翰逊（James Weldon Johnson）经常被忽略的文章指示作家创造一种不太“风景如画”的东西，一种不太体现黑度的感知，以与其他美国人建立“智力平等”。我以约翰逊的方言批评作为入门范式，以了解作者在肢体，语言和视觉方面所做的谈判。从内拉·拉尔森（Nella Larsen）的《通过》开始，我认为拉尔森对“莱茵兰德案”的引用是指女人不愿证明自己的种族，说明了本体凝视的暴力。乔治·舒勒（George Schuyler）的讽刺小说《黑无》（Black No More）提供了一个不同的“过去”故事，其中黑体不复存在。小说预示着埃里森的《无形的男人》，这部小说抹去了黑人妇女的身体，释放了男性英雄，以重塑自己作为一个政治人物。论文的第一部分研究了虚构的非洲裔美国人形象，这些人物混淆了肉体的视觉逻辑。第二个阶段从文学表演转向文学表演，并明确呼吁人们注意黑体和刻在黑体上的视觉叙事。我将约瑟芬·贝克（Josephine Baker）在法国的演出与她在齐格菲·愚人节（Ziegfeld Follies）的美国演出相比。贝克的愚蠢服装通过用异常的with牙代替香蕉来扭曲臭名昭著的香蕉裙，导致不符合美国标准。与竞争对手埃塞尔·沃特斯（Ethel Waters）形成鲜明对比的是，贝克的商品化的身体解释了她后来与哈林的关系。贝克的革新使她能够不断地“登上舞台”，就像被称为“哈林复兴”的时期一样。最后一章讨论了黑色尸体的鉴赏家Carl Van Vechten，以及在《黑鬼天堂》和《黑人照片》中收集的尸体。尽管对黑人艺术的渴望促进了他的文学和视觉收藏，但成功的是他的视觉收藏，因为自相矛盾的是，照片抵制了构成黑格尔天堂的身体的还原。最后，我通过考察一个有争议的大都会艺术博物馆展览以及克林顿总统形象中的黑色，身体和哈林之间的联系。

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作者
Thaggert, Miriam.;
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作者单位

University of California, Berkeley.;

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授予单位 University of California, Berkeley.;
学科 American literature.;American studies.;Black studies.
学位 Ph.D.
年度 2003
页码 230 p.
总页数 230
原文格式 PDF
正文语种 eng
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The literary picturesque: Gender, the body, and visual culture in the African -American Renaissance.

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