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Cormac McCarthy, violence, and the American tradition.

机译:科马克·麦卡锡(Cormac McCarthy),暴力和美国传统。

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摘要

Violence is central to an understanding of Cormac McCarthy's novels. In each of his works: The Orchard Keeper, Outer Dark, Child of God, Suttree, Blood Meridian, All the Pretty Horses, The Crossing, Cities of the Plain, No Country for Old Men, and The Road, violence---its function, representation, and depiction---is a unifying thread. This study is an examination of reading violence in McCarthy's works as a means to explore the relationship between the individual and social reality where violence mediates, constructs, and is a constituent of a system that organizes perception, psychology, and American identity.;In addition, I explore the relationship between the traditional American account of landscape as a place of hope, tranquility, and utopian idealism against a rendering of McCarthy's landscape as both a field of violence and a space that reflects the violence of society. I explore landscape in both Immanuel Kant's and Edmund Burke's vision of the sublime as a place not only beautiful but terrifying. In their account, one's position in an overwhelming landscape creates a sense of individual diminishment. But more importantly, I look at their exploration of the sublime in terms of McCarthy's rendering of a 287 sublime aesthetic of violence. The sublime landscape of beauty and its significance as a place of progress and hope, masks the violent sublime of McCarthy's landscapes.;Furthermore, I explore how violence collapses difference between the "good guys" and the "bad guys." Through McCarthy, I reread traditional accounts of the American novel where each character within the text stands as a sign for any other figure. I develop my idea of the violence of the everyman and the violence of the everyday, a theory rooted in the early beginnings of American letters---Ralph Waldo Emerson's "Circle" to theories of Jean Baudrillard's postmodernism.;Finally, this analysis reads violence in McCarthy as a way to read the American novel. Through violence in McCarthy's novels, this project explores postmodern, modern, and nineteenth-century novels including the novels of the West. Novels read through McCarthy's works include Bret Eaton Ellis's American Psycho, Truman Capote's In Cold Blood, Toni Morrison's Beloved, James Dickey's Deliverance, William Faulkner's Light in August, James Fenimore Cooper's The Deerslayer, Last of the Mohicans, The Pioneers, The Pathfinder, The Prairie, Herman Melville's Moby Dick, Owen Wister's The Virginian, Frederick Douglass's Narrative, Williams Wells Brown's Clotelle, and Harriet Beecher Stowe's Uncle Tom's Cabin.
机译:暴力对于理解科马克·麦卡锡的小说至关重要。在他的每部作品中:果园守护者,外层黑暗,神之子,Suttree,血脉子午线,所有漂亮的马匹,十字路口,平原的城市,没有老人的乡村和道路,暴力功能,表示形式和描述是一个统一的线程。这项研究是对麦卡锡著作中阅读暴力的考察,是探索暴力在其中进行调解,建构的个人与社会现实之间关系的一种手段,并且是组织感知,心理学和美国身份的系统的组成部分。 ,我探索了传统的美国景观作为希望,安宁和乌托邦理想主义之间的关系,反对将麦卡锡的景观渲染为暴力领域和反映社会暴力的空间。我在伊曼纽尔·康德(Immanuel Kant)和埃德蒙·伯克(Edmund Burke)的崇高视野中,不仅是美丽而恐怖的景观,都在探索风景。以他们的说法,一个人在压倒一切的风景中的位置会产生一种个人贬值的感觉。但更重要的是,我根据麦卡锡(McCarthy)提出的287暴力崇高美学看待他们对崇高的探索。美丽的崇高美感及其作为进步和希望之地的重要性掩盖了麦卡锡风景中的暴力崇高。此外,我探索了暴力如何使“好人”与“坏人”之间的差异崩溃。通过麦卡锡,我重读了美国小说的传统记载,其中文本中的每个字符都代表其他任何人物。我发展了对每个人的暴力和日常暴力的观念,这一理论植根于美国书信的早期-拉尔夫·沃尔多·爱默生的“圈子”,即让·鲍德里亚的后现代主义理论。在麦卡锡(McCarthy)中阅读美国小说。通过麦卡锡小说中的暴力行为,该项目探索了包括西方小说在内的后现代,现代和19世纪小说。麦卡锡作品中读过的小说包括布雷特·伊顿·埃利斯的《美国精神》,杜鲁门·卡波特的《冷血》,托尼·莫里森的《心爱》,詹姆斯·迪基的拯救,威廉·福克纳的《八月之光》,詹姆斯·费尼莫尔·库珀的《灭鹿者》,《莫希干人的最后一部》,《先驱者》,《探路者》,草原,赫尔曼·梅尔维尔(Herman Melville)的白鲸(Moby Dick),欧文·维斯特(Owen Wister)的《弗吉尼亚人》,弗雷德里克·道格拉斯(Frederick Douglass)的叙事,威廉姆斯·威尔斯·布朗(Williams Wells Brown)的克洛特(Clotelle)和哈丽雅特·比彻·斯托(Harriet Beecher Stowe)的汤姆大叔的小屋。

著录项

  • 作者

    Weiss, Daniel.;

  • 作者单位

    Wayne State University.;

  • 授予单位 Wayne State University.;
  • 学科 Literature Comparative.;Literature Modern.;Literature American.
  • 学位 Ph.D.
  • 年度 2009
  • 页码 292 p.
  • 总页数 292
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 文学理论;世界文学;
  • 关键词

  • 入库时间 2022-08-17 11:38:29

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