by Thom'/> Playing a terrible game of pretend: Masculine performance and gender humor in the World War II novels of Heller, Vonnegut, Pynchon, and Weaver (Joseph Heller, Kurt Vonnegut, Thomas Pynchon, Gordon Weaver).
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首页> 外文学位 >Playing a terrible game of pretend: Masculine performance and gender humor in the World War II novels of Heller, Vonnegut, Pynchon, and Weaver (Joseph Heller, Kurt Vonnegut, Thomas Pynchon, Gordon Weaver).
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Playing a terrible game of pretend: Masculine performance and gender humor in the World War II novels of Heller, Vonnegut, Pynchon, and Weaver (Joseph Heller, Kurt Vonnegut, Thomas Pynchon, Gordon Weaver).

机译：扮演一个可怕的假装：海勒，冯内古特，皮钦和韦弗（约瑟夫·海勒，库尔特·冯内古特，托马斯·平昌，戈登·韦弗）的二战小说中的男性表现和性别幽默。

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摘要

This study of four novels set during World War II—Catch-22 by Joseph Heller, Slaughterhouse-Five by Kurt Vonnegut, Gravity's Rainbow by Thomas Pynchon, and Eight Corners of the World by Gordon Weaver—analyzes the role of masculine performances and humor in the texts' gender dynamics. The aim is to approach these novels in light of Judith Butler's view of gender as performance. Bob Hope's jokes demarcate wartime's rapid changes, gender turbulence, and major shifts in military thinking that allowed soldiers to feel fear in combat but encouraged them to tough it out by “playing a terrible game of pretend.”; In Heller, gender catches underwrite military masculinity, and ridiculous antics of officers are juxtaposed to successful resistance by soldiers who reject demands to reaffirm their manhood and enact comic or “feminine” roles. In Pynchon, humor arises when characters and readers pretend that the sadomasochistic atmosphere in the novel does not vex their aspirations and ideals. Vonnegut's textual strategy distances the male narrator from scenes of emasculation during wartime. His partial self-effacement, which bears witness to losses caused by the bombing of Dresden, creates an ambivalent voice of a pacifist who describes senseless slaughter as predetermined. Weaver's Japanese narrator debunks the claims that masculinity is a timeless set of demands when situations force him to choose between being disloyal to friends and not living up to cultural ideals. Pointing to gaps between gender scripts and historical situations reveals the presence of male farce behind masculine image-making during the Reagan administration. These works juxtapose masculine ideals to improvisational performances in order to juxtapose cultural demands to gendered practices. Comic gender representation responds to cultural politics of the Cold War and nostalgia for the “good war” during the Vietnam War and Reagan years.
机译：这项研究涉及第二次世界大战期间创作的四本小说-约瑟夫·海勒的 Catch-22 ，库尔特·冯内古特的 Slaughterhouse-Five ，托马斯的 Gravity's Rainbow 皮钦（Pynchon）和戈登·韦弗（Gordon Weaver）撰写的《世界的八个角落》（斜体）分析了男性表演和幽默在文本性别动态中的作用。目的是根据朱迪思·巴特勒（Judith Butler）的性别即表演视角来探讨这些小说。鲍勃·霍普（Bob Hope）的笑话划定了战时的快速变化，性别动荡和军事思想的重大转变，这些变化使士兵在战斗中感到恐惧，但鼓励他们通过“打一场可怕的假装”来克服恐惧。在海勒（Heller），性别捕获抓住了军事上的男子气概，而军官们的荒唐可笑与士兵们的成功抗争并存，他们拒绝了重申其男子气概并扮演漫画或“女性”角色的要求。在品钦（Pynchon），当人物和读者假装小说中的施虐受虐狂的气氛并不能掩饰他们的理想和理想时，就会产生幽默。冯纳古特的文字策略使男性叙述者远离战时去雄场景。他的部分自欺欺人见证了德累斯顿轰炸所造成的损失，他在和平主义者的声音中产生了矛盾的声音，和平主义者描述了毫无预见的屠杀。韦弗（Weaver）的一位日本叙述者否认了男性气质是永恒的要求的说法，当情况迫使他在不忠于朋友和不履行文化理想之间做出选择时。指出性别手稿和历史情况之间的差距，可以发现里根执政期间男性戏法背后存在男性闹剧。这些作品将男性理想与即兴表演并列，以将文化要求与性别习俗并列。漫画中的性别代表性反映了冷战的文化政治和对越南战争和里根时期“好战争”的怀旧之情。

著录项

  • 作者

    Pollard, Tomas Glover.;

  • 作者单位

    Texas A&M University.;

  • 授予单位 Texas A&M University.;
  • 学科 Literature American.; Literature Modern.
  • 学位 Ph.D.
  • 年度 2002
  • 页码 265 p.
  • 总页数 265
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 世界文学;
  • 关键词

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