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首页> 外文学位 >Afterimages of the feminine: The emergence of modernist mass culture (James Weldon Johnson, Djuna Barnes, Gertrude Stein).
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Afterimages of the feminine: The emergence of modernist mass culture (James Weldon Johnson, Djuna Barnes, Gertrude Stein).

机译：女性的余像：现代大众文化的出现（詹姆斯·韦尔登·约翰逊，德朱纳·巴恩斯，格特鲁德·斯坦因）。

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摘要

My dissertation, “Afterimages of the Feminine: The Emergence of Modernist Mass Culture,” traces a connection between the language of gender and the cultural impact of mass communication in texts by James Weldon Johnson, Djuna Barnes and Gertrude Stein. Chapters focus on the automaton-like ragtime talent of Johnson's dandified narrator in The Autobiography of an Ex-Colored Man, the violent women of Barnes's sensational journalism, and Stein's filmic image and personality before an American public. I argue that these very different authors share an interest in the way an attraction to mass communication—one historically seen, as archival materials reveal, to be both dangerous and feminine—can collapse the distinctions between public and private and erode the very foundations of the literary. The female and often racialized figures in their work exemplify or induce in others an involvement of the body in the viewing experience, an attraction to spectacles of public violence, a fascination with the epistemological indeterminacy of racial passing and racialized entertainment, and an inability to distinguish viewing and reading. I argue, therefore, that these figures stand for an impossible literary consumption, or a modernist mass culture, for their authors and for the textual objects in which they are embedded. Why “afterimages”? In the context of film, the afterimage is an impression left on the retina that tricks the spectator into experiencing a perceptual continuity between disparate images. I use it here as a metaphor for the way each of these authors negotiates the potentials and perils of early mass media. They turn to a thematics of troublesome femininity to bridge the gap between a feminized culture of mass-reproduced sounds, printed words and talking-images, and the traditionally masculine concern with belatedness, repetition, and attention to language that characterizes early twentieth-century literary experiments with narrative form. In turn, my dissertation bridges a frequent gap in modernist studies between textual and historical analyses of constructions of femininity by highlighting the mutual interdependence of two kinds of material signifier—of literary experiment and of mass cultural encroachment—in shaping the meaning of gender and gender difference in early twentieth-century literary history.
机译：我的论文“女性的余像：现代大众文化的出现”在詹姆斯·韦尔登·约翰逊，德朱纳·巴恩斯和格特鲁德·斯坦的著作中追溯了性别语言和大众传播的文化影响之间的联系。章节的重点是约翰逊（Johnson）坦率的叙述者在《斜体》（The Ex-Colored Man）自传中的类似拉格泰姆的才能，巴恩斯（Barnes）轰动性新闻业中的暴力女性以及斯坦在美国公众面前的电影形象和个性。我认为，这些截然不同的作者都对大众传播的吸引力感兴趣，因为从历史上看，从档案材料上可以看出，这种传播既危险又女性化，它可能会破坏公共和私人之间的区别，并侵蚀大众社会的根基。文学。女性和经常种族化的人物在工作中表现或诱使身体参与观看体验，对公共暴力眼镜的吸引力，对种族通过和种族化娱乐的认识论不确定性的迷恋以及无法区分查看和阅读。因此，我认为，这些人物代表着他们的作者及其所嵌入的文字对象，是一种不可能的文学消费或现代主义的大众文化。为什么是“残像”？在电影的背景下，残像是在视网膜上留下的印象，它会诱使观众体验不同图像之间的感知连续性。在这里，我将其用作比喻这些作者探讨早期大众媒体的潜力和危险的方式。他们转向麻烦的女性气质的主题，以弥合女性化的大众复制声音，印刷文字和谈话图像文化与传统的男性对迟来，重复和对二十世纪初文学特色语言的关注之间的鸿沟叙述形式的实验。反过来，我的论文则通过强调两种物质象征物（文学实验和大众文化侵占）在塑造性别和性别的意义上的相互依存关系，在现代主义研究中在女性主义建构的文本分析和历史分析之间弥合了一个经常性的鸿沟。二十世纪初的文学史差异。

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  • 作者

    Biers, Katherine Laura.;

  • 作者单位

    Cornell University.;

  • 授予单位 Cornell University.;
  • 学科 Literature Modern.; Literature American.
  • 学位 Ph.D.
  • 年度 2002
  • 页码 192 p.
  • 总页数 192
  • 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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