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Item Open Access Against Compulsory Sexuality: Asexual Figures of Resistance(2022) McDowell, MaggieIn the aftermath of the #MeToo moment, we are called to revisit old conversations about human dignity, gendered power, and the conditions under which consent can be freely given. To date, the shape of this discourse in the mainstream has lacked sustained analysis through the frameworks of critical feminist and queer theory, particularly these fields’ insight that gender, sexuality, and behavior mutually inform each other. I argue that to understand and begin to repair the sexual politics of our present moment we must take seriously these fields’ contention that sex, like gender, is a historically and socially determined category and, therefore, that its definition is malleable. Only by understanding what we mean when we say “sex” can we begin to disentangle the role sex plays in shaping social conventions and power differentials.
My dissertation reads the narratives of 20th- and 21st-century American popular culture through the lens of the emerging field of asexuality studies. Asexuality studies constitutes a growing body of cultural as well as scientific inquiry. As Kristina Gupta (2015) suggests, asexuality can act as a useful critical foil to compulsory sexuality, that is, to the unspoken social imperative to desire and to engage in sexual activity with other people. We see evidence of compulsory sexuality not just in the omnipresence and presumption of the (heterosexual) couple in cultural and social institutions, but also in our own assumption, for instance, that a single individual must be in want of a partner.
Reading against the grain of compulsory sexuality, whose discursive dominance Ela Przybylo (2011) has termed sexusociety, in this dissertation I analyze three figures of asexuality that exists on the on the margins of sexual culture. The figures of the Spinster, the Child, and the Robot do not operate outside the limits of sexusociety but rather trouble it from within. More often than not the resistance they face is indicative of the hidden mechanisms of compulsory sexuality at work in sustaining the society they exist in. These figures of resistance, canonically asexual or not, serve as inflection points where the (il)logic of compulsory sexuality begins to fray. All three figural types are all slurs that have been levelled against asexuals, and are figures that, when they present in fiction, are presumed asexual until proven otherwise. I examine the way that they resist compulsory sexuality rather than claiming a straightforward asexual identity for them, because I am uninterested in the question of whether asexuality should be thought of as a distinct sexuality, or outside of sexuality altogether. Rather, embracing a relatively capacious definition of asexuality as my analytic expands the archive available to me and allows me to identify limit cases of compulsory sexuality where its operations fail to cohere.
Starting from existing groundwork laid in the intersections between asexuality studies and queer and feminist scholarship, as in Cerankowski and Milks’s Asexualities: Queer and Feminist Perspectives (2014) and Ela Przybylo’s Asexual Erotics (2019), I use these figures to illustrate how compulsory sexuality masks the ways we have been preconditioned to allow our own sexual objectification and to participate in the objectification of others. To read asexually is to make a vital intervention into a conversation about the ways compulsory sexuality constrains our quotidian interactions with each other and with the world. It is to begin to imagine a new, more just way of relating that does not transform the other into an object of desire, but rather, as radical feminist Roxanne Dunbar Ortiz puts it, comprises “a relationship of whole to whole.” I offer no definitive way out of sexusociety in these pages. I extend an invitation, though, to think of asexuality not as an absence or withdrawal, but as a potential to disturb patterns by offering new perspectives on old patterns of objectification, complicated consent, and self-denial in the service of adhering to unfulfilling narratives.
Item Open Access Akrasia and the Aesthetic: Human Agency and the Site of Literature, 1760-1820(2016) Manganaro, Thomas SalemThis study focuses on a series of foundational stylistic and formal innovations in eighteenth-century and Romantic literature, and argues that they can be cumulatively attributed to the distinct challenges authors faced in representing human action and the will. The study focuses in particular on cases of “acting against better judgment” or “failing to do what one knows one ought to do” – concepts originally theorized as “akrasia” and “weakness of the will” in ancient Greek and Scholastic thought. During the Enlightenment, philosophy increasingly conceives of human minds and bodies like systems and machines, and consequently fails to address such cases except as intractable or incoherent. Yet eighteenth-century and Romantic narratives and poetry consistently engage the paradoxes and ambiguities of action and volition in representations of akrasia. As a result, literature develops representational strategies that distinguish the epistemic capacities of literature as privileged over those of philosophy.
The study begins by centering on narratives of distempered selves from the 1760s. Jean-Jacques Rousseau’s Confessions and Laurence Sterne’s A Sentimental Journey narrate cases of knowingly and weakly acting against better judgment, and in so doing, reveal the limitations of the “philosophy of the passions” that famously informed sentimental literature at the time. These texts find that the interpretive difficulties of action demand a non-systematic and hermeneutic approach to interpreting a self through the genre of narrative. Rousseau’s narrative in particular informs William Godwin’s realist novels of distempered subjects. Departing from his mechanistic philosophy of mind and action, Godwin develops the technique of free indirect discourse in his third novel Fleetwood (1805) as a means of evoking the ironies and self-deceptions in how we talk about willing.
Romantic poetry employs the literary trope of weakness of will primarily through the problem of regretted inaction – a problem which I argue motivates the major poetic innovations of William Wordsworth and John Keats. While Samuel Taylor Coleridge sought to characterize his weakness of will in philosophical writing, Wordsworth turns to poetry with The Prelude (1805), revealing poetry itself to be a self-deceiving and disappointing form of procrastination. More explicitly than Wordsworth, John Keats identifies indolence as the prime symbol and basis of what he calls “negative capability.” In his letters and poems such as “On Seeing the Elgin Marbles” (1817) and “Ode on Indolence” (1819), Keats reveals how the irreducibly contradictory qualities of human agency speak to the particular privilege of “disinterested aesthetics” – a genre fitted for the modern era for its ability to disclose contradictions without seeking to resolve or explain them in terms of component parts.
Item Open Access "Am not I your Rosalind?": Ovidian Identity and Transformation in Shakespeare's "As You Like It"(2008-12-01) Liu, Aileen"'Am not I your Rosalind?': Negotiating Ovidian Identity and Transformation in Shakespeare's As You Like It" argues that the theatrical self-masquerade, that rare and uniquely Shakespearean moment in which a character explicitly plays a version of him or herself onstage, is an ideal site to explore the intersection of language, identity, and transformation. The self-masquerade foregrounds the intimate relationship between language and subjectivity, by enabling characters to fruitfully exploit language in order to imagine, stage, and enact their own identity constitution and transformation. Although many Shakespearean characters participate in disguise-making, only Rosalind (As You Like It) and Prince Hal (1 Henry IV) have the linguistic and imaginative capabilities to perform a self-masquerade. While the disguise relies upon overtly donning a costume or otherwise changing one's appearance to conceal a "true" identity, the self-masquerade does not feed off of the ignorance of others to generate the power and persuasiveness of its fiction. Just as the audience must participate in the fiction-making that occurs whenever they enter the space of the theater, the self-masquerade draws other characters onstage into its imaginative circle as active participants. The self-masquerade is not initiated by a simple announcement, nor indicated by a mere change in clothes, but instead must be perpetually enacted through language. Engaging with Jacques Lacan, Lynn Enterline, Stephen Greenblatt, Stanley Cavell, Valeria Finucci, Stuart Hall, Garrett Sullivan, Jean-François Lyotard and others, I argue that As You Like It goes beyond Shakespeare's earlier work to suggest that everyone has the capacity, via the self-transformative and self-constitutive power of speech, to enact genuine agency over their self-constitution and self-transformation as they like it.Item Open Access American Experiments: Science, Aesthetics, and Politics in Clinical Practices of Twentieth-Century American Literature(2013) Andrews, Lindsey CatherineThis dissertation is concerned with the relationships between experiments in literature, science, and politics in twentieth-century United States culture. I argue that the three can be considered together by understanding "experimentation" as a set of processes rather than a method, and highlighting the centrality of writing and reading to experiments in all three arenas. Drawing on scientist Ludwik Fleck's concept of "valuable experiments," I read specific experiments in each field in conversation with the others, highlighting the ways in which science and politics require aesthetic structures, the ways in which science and literature reconfigure politics, and the ways in which politics and literature can intervene in and reconfigure scientific practices. Ultimately, I try to develop a reading practice that can make visible the shared transformative capacities of science, literature, and radical politics.
In the course of three chapters, I analyze the formal and conceptual innovations of writers such as William Burroughs, Ralph Ellison, and Carson McCullers, who were intimately affected by the uses of experimental science in corrective institutional practice. In doing so, I develop a concept of "experimental literature" that is distinct from avant-garde literature and can account for the investments that these writers share with scientists such as Albert Hofmann, Albert Einstein, and Margaret Mead. I argue that experimental writers denature literary genres that depend on coherent subjects, transparent reality, and developmental progress in order to disrupt similar assumptions that underpin positivist science. By understanding valuable experimental science and writing as continuous challenges to standardized scientific knowledge, I show how these writers contribute to ongoing radical social projects of queer and black radical traditions--such as those of George Jackson and the Combahee River Collective--which are grounded in knowledge as an aesthetic and political practice.
Item Open Access An Eden With No Snake in It: Pure Comedy and Chaste Camp in the English Novel(2019) Striker, JoshIn this dissertation I use an old and unfashionable form of literary criticism, close reading, to offer a new and unfashionable account of the literary subgenre called camp. Drawing on the work of, among many others, Susan Sontag, Rita Felski, and Peter Lamarque, I argue that P.G. Wodehouse, E.F. Benson, and Angela Thirkell wrote a type of pure comedy I call chaste camp. Chaste camp is a strange beast. On the one hand it is a sort of children’s literature written for and about adults; on the other hand it rises to a level of literary merit that children’s books, even the best of them, cannot hope to reach.
Since 1964, the year in which Sontag’s famous essay “Notes on ‘Camp’ ” was first published, literary camp has been defined as exclusively queer, and therefore unchaste and entirely grown-up, and in the process the purity of its comedy—and most of its comedy, as well—has been ignored. I trace these two unfortunate developments to the rise of critique, a method of literary criticism defined by its cynicism about literature’s relationship to the world outside of art. A novel, play, or poem that is not interrogating the status quo is, according to practitioners of critique, doomed to sustain it.
Reading Wodehouse, Benson, and Thirkell closely, rather than subjecting them to critique, shows that chaste camp offers a superior, artificial and therefore very durable alternative to the status quo—as most good literature does. To insist that literature adjust itself to the ever-changing aims of critique, and fit itself into the real world, is to demand that it be something unliterary. The wonderful paradox of pure comedy, of which chaste camp is perhaps the preeminent type, is that its artificiality makes it timeless. It is in the world, but emphatically not of the world.
These, then, are my conclusions—that Wodehouse, Benson, Thirkell, and Evelyn Waugh wrote camp; that camp is a type of comedy; that there is a kind of camp that has gone unnamed, whose name is chaste camp; that chaste camp is a kind of pure comedy; finally, that close reading in combination with the judicious use of literary scholarship reveals these and other truths that critique, in its slavish devotion to novelty and fashion, keeps hidden.
Item Restricted Automatic Modernism: Habit, Embodiment, and the Politics of Literary Form(2012) Wientzen, TimothyLiterary modernism followed a century during which philosophical speculations about the mechanistic basis of human life found experimental validation in the work of physiologists, who stressed the power of environment to shape and delimit thought and action. By the late 19th century, the hypothesis that humans were "automata," as Descartes had conjectured, began to seem much more than philosophical speculation, as statesmen and industrialists appropriated blueprints of the human machine originally mapped by the sciences. So dominant was the conjunction of politics and habit that, writing in 1890s, the American psychologist William James would call the automatic operations of body and mind the very engine of political life: "Habit," he declared, "is the enormous fly-wheel of society, its most precious conservative agent. It alone is what keeps us all within the bounds of ordinance, and saves the children of fortune from the envious uprisings of the poor." But James was only anticipating the wide range of thinkers who would associate physiological automatism with politics in the coming years. By century's end, the belief that habit determined social action and circumscribed individual volition was to find wide currency in a variety of cultural fields, including literary modernism.
Situating literary modernism in relation to this emergent sense of political modernity, Automatic Modernism argues that modernists reconfigured the discourse of automatism for political and aesthetic ends. Wary of the new political environment in which government, political parties and industry exploited the science of conditioned reflex to ensure automatic responses from docile subjects, writers of this period turned to the resources of literature in order to both disrupt the clichés of thought and action enforced by environmental stimuli and to imagine forms of politics adapted to the physiologically automatic body. Looking in particular at the fiction and non-fiction work of D. H. Lawrence, Wyndham Lewis, Rebecca West, and Samuel Beckett, this dissertation attempts to understand the recurrent equation of automatic behavior and twentieth-century modernity. Even as modernists vigorously rejected habitual behavior as the very element of twentieth century life that imperiled authentic art and social belonging, they forged alternative notions of bodily being, investing in the potentialities of human automatism as the basis of aesthetic possibility and social coherence. The formal experiments of these modernists emerge, then, as efforts to foreground, manipulate, rupture, and mimic the political habits of readers.
Item Open Access Back in the World: Vietnam Veterans through Popular Culture(2009) McClancy, KathleenIn his Dispatches, Michael Herr quotes the gonzo photojournalist Tim Page: "Take the glamour out of war! I mean, how the bloody hell can you do that?[...] Ohhhh, war is good for you, you can't take the glamour out of that. It's like trying to take the glamour out of sex, trying to take the glamour out of the Rolling Stones." This dissertation is in essence an exploration of Page's question, examining how popular media during the American conflict in Indochina first removed and then restored the glamour of war. For most of its history, the United States has been defined by a certain level of militarism, a glamorizing of the process of regeneration through violence reflected in this quotation, but the late 1960s and early 1970s saw a challenging of this warrior ethos; this challenge was reversed by the 1980s, when American militarism was taken to a new, paramilitary, level. In this project, I propose that this oscillation in the association of masculinity and violence was directly linked to popular media's depiction of the Vietnam war and of the soldiers who fought it. American society is haunted by Vietnam, not just because it was the first war the US lost (as the cliché would have it), but because of the ways in which popular culture presented the war to Americans: in particular, because of the ways the American public received this war through the emerging technologies of their television screens. The rapid response of television news to the conflict created an image of mundane warfare not through any intention on the part of broadcasters but because of the nature of the medium itself; over the next twenty years this image was both mystified and moderated by the more delayed media of film and literature and eventually molded into the now-familiar Vietvet killing machine.
In five chapters, I chronicle the evolution of the iconic Vietvet through the twenty years following the war. Following the methods of Raymond Williams and the Birmingham School, I trace the history and development of images from Vietnam as well as the interaction of those images with popular narratives of war, violence, masculinity and heroism in America. I start with Susan Jeffords' work in The Remasculization of America, taking her emphasis on the cultural narratives that fostered the restoration of patriarchal ideologies; I then move through Marita Sturken's discussion of the creation of cultural memory from historical artifacts in Tangled Memories. To these foundational texts, I bring an emphasis on form and technology to shift the focus from the narratives to the mechanisms of transmission themselves. In my first chapter, I show how the relatively new medium of television, and the depiction on the nightly news of Vietnam as both mundane and corrupt, called into question the image of the heroic soldier, finally replacing that image with the demon of the uncontrollable violent vet, driven insane by an unjust war. My next two chapters look at how this image was rehabilitated through its recharacterization in the less immediate channels of novels and film, a recharacterization driven by national debates over the diagnosis of PTSD and the design of the Vietnam Veterans Memorial. And in my final two chapters, I show how the image of the overly-muscled Supervet killing machine from pulps and blockbusters replaced the broken, victimized effigy.
I focus on the evolving history of veterans of the Vietnam War in particular because the strong interdependence of the history of that war and popular culture functions as a spotlight on the nature of the relation between media, history and cultural memory. Television coverage of the Vietnam War to a large extent worked not only to expose the inherent immorality of that particular conflict, but also of war more generally and of the image of the soldier hero. But in the two decades between the end of the Vietnam War and the first Gulf War, the standard history of the war had resolidified into one glorifying combat and violence. By looking at this changing social understanding of Vietnam, I hope to reveal the greater mechanisms by which the newly emerging media technologies of the 1960s through the 1980s drastically changed the nature of representation of warfare, violence, and masculinity: first routinizing, then rejecting, and finally enthroning the image of the explosively violent soldier yoked to the state.
Item Open Access Beautiful Infidels: Romance, Internationalism, and Mistranslation(2010) Lahiri, MadhumitaThis dissertation explores the particular significance of South Asia to international literary and political spheres, beginning with the formative moments of modernist internationalism. At the height of the Harlem Renaissance, W. E. B. Du Bois interrupted his work with the NAACP and the pan-African congresses to write Dark Princess: a Romance. Du Bois's turn to the romance and to India forms the point of departure for my dissertation, for India, both real and imagined, offered modernist intellectuals a space of creative possibility and representative impossibility. The fiction of Cornelia Sorabji, for instance, obfuscates and allegorizes practices of women's seclusion, both to refute imperial feminist solutions and to support her legal activism. From the imperial romance to the anti-racist one, the misrepresentation endemic to the romance genre enables the figuration of a discrepant globe. This modernist practice of transfiguring India, usually in the service of a global political vision, is undertaken both within India as well as outside of it. Rabindranath Tagore, for example, interrupted his leading role in the anti-colonial movement to write Gora, a novel of mistaken identity and inappropriate love, and to mistranslate his own poetry, particularly his Nobel-Prize-winning collection Gitanjali. If realism aims to translate cultural difference, to faithfully carry meaning across boundaries, the romances I consider in my dissertation work instead to mistranslate those differences, to produce a longed-for object beyond cultural specificity. In conversation with postcolonial theorists of Anglophone literary practice, as well as debates around translation in comparative literature, I suggest that we should think about intercultural texts in terms of transfiguration: not the carrying across of meaning from one sign system to another, but the reshaping of culturally specific materials, however instrumentally and inaccurately, in the service of internationalist goals.
Item Open Access Beyond Blood and Belonging: Alternarratives for a Global Citizenry(2011) Bardill, Jessica DawnIn my dissertation, I interrogate the ways blood influences identity construction and how it shifts into a paradigmatic story, known as a blood narrative, that further determines belonging. In five chapters, I argue that the use of a blood narrative undermines sovereignty as well as the creative evolution of nations. I move from an examination of a blood narrative throughout American literature (chapter 1), through a study of legislation and science (chapters 2 and 3). In these latter two chapters, I turn to the Cherokee Nation's expulsion of Freedmen and the Eastern Band of Cherokee Indians' new membership requirement of DNA testing, which demonstrate influences of a blood narrative upon policy and legislation, and how biotechnology maintains this narrative through DNA and genomics. Finally, I explore novels from Gerald Vizenor (White Earth Anishinaabe) and Thomas King (Cherokee) that offer alternatives to a blood narrative (chapters 4 and 5). I use the term alternarrative here instead of counternarrative to focus on original alternatives, particularly from the alter position of the Native, not on reactionary or countering stories. The alternatives to this blood narrative emerge in both the modern and traditional stories of Native American peoples, providing recourse to understanding identity in ways other than blood. This new sense of belonging is especially important in a world where so many identities are determined by national boundaries, and limited by blood. These alternative narratives provide a new way of moving forward by embracing a survivance for the future, not just reacting to the past.
Item Open Access Black Sacred Breath: Historicity, Performance and the Aesthetics of BlackPentecostalism(2013) Crawley, Ashon"Black Sacred Breath: Historicity, Performance and the Aesthetics of BlackPentecostalism" considers are the aesthetic practices found in BlackPentecostalism, a multiracial, multi-class, multi-national Christian sect that began in Los Angeles, California in 1906 to argue that the aesthetic practices are the condition of possibility for a performative assessment and antiphonal criticism of normative theology and philosophy. Indeed, the history of these performances is an atheological-aphilosophical project, produced against the grain of liberal logics of subjectivity. By showing that theology and philosophy were abstractions of thought that produced the conceptual body as the target of racialization, the atheological-aphilosophical couplet indexes modes of intellectual practice that engulf and exceed such reductivism. BlackPentecostalism is a social, musical, intellectual form of new life, predicated upon the necessity of ongoing new beginnings. The religious practices I analyze produce a range of common sensual experiences: of "shouting" as dance; "testimony" and "tarry service" as song and praise noise; "whooping" (ecstatic, eclipsed breath) that occurs in praying and preaching; as well as, finally, "speaking in tongues." I ultimately argue that these aesthetic practices and sensual experiences are not only important objects of study for those interested in alternative modes of social organization, but they also yield a general hermeneutics, a methodology for reading culture.
During the antebellum era, both clergy and scholars alike levied incessant injunctions against loud singing and frenzied dancing in religion and popular culture. Calling for the relinquishment of these sensual spiritual experiences, I argue that these framing injunctions led to a condition where BlackPentecostal aesthetics, even in the much later institutional Black Studies, were and are thought as excessive performances. "Black Sacred Breath" investigates how discourses that emerged within the cauldron of spatiotemporal triangular trades in coffee, tea, sugar and human flesh of Transatlantic slavery necessitated a theology and philosophy of race, and consequently, the racializing of aesthetic practices. Over and against this discursive theology-philosophy were the performance practices of BlackPentecostalism, an atheology-aphilosophy. These sensual experiences were not merely performed through duress but were the instantiation and sign of love, of life. As love and life, these performative dances, songs, noises and tongues illustrate how enjoyment, desire and joy are important for the historicity - the theory of history found in these practices - that antiphonally speaks back against aversion, embarrassment and abandonment, against the debasement and denigration of blackness. Fundamentally, "Black Sacred Breath" is about the possibility for Black Study (as opposed to and differentiated from university institutional Black Studies), about the capacity for aesthetic practices typically deemed excessive can be constitutive, can provide new models for collective intellectual practice.
Item Open Access Bodily Trespass: An Ecology of the Fantastic in Twentieth-Century African American Literature(2011) Belilgne, MaledaBodily Trespass situates the fantastic as a discourse of spatial production in twentieth-century black American literature. Eruptions of the fantastic in realist and surrealist narratives index and ameliorate the spatial constriction that informs black American subjectivity from the Middle Passage up through to the contemporary carceral state. The black fantastic is a narrative response to a spatial crisis that is corporeal and ontological. As a literary mode, in the Todorovian sense, the fantastic identifies the real as a production of the "unreal" and calls attention to ideological and institutional apparatuses that sustain the dominant order. Taking Pauline Hopkins' turn of the twentieth-century serial Of One Blood, Or, The Hidden Self as a point of departure, this project examines the fantastic as a discourse of Pan-Africanism during a period Farah Griffin describes as the "nadir" of post-emancipation black life. Hopkins reaches outside of U.S. borders suturing Ethiopia to America in order to fashion a new and "rival" black geography that challenges the eradication of black legal, civic, and social space.
In the postwar years, the production of imaginative space extends to the task of recording and refuting the racial discourse that articulates urbanity. Chester Himes' The Real Cool Killers, Ann Petry's The Street, and Gwendolyn Brooks' Maud Martha depict racially encoded urban geographies as corporeally informed psychosocial "interfaces." These novels identify cartographic locution as a strategy for spatial occupation and psychic rehabilitation. James Baldwin's "Sonny's Blues" and Ralph Ellison's "The King of the Bingo Game locate in the sonic a blueprint for refashioning the space of the modern metropolis according to a logic of interiority. Baldwin and Ellison identify the fantastic as a discourse of aurality that alters the texture of space by channeling what I call "scalar consciousness," a heightened awareness of the ways in which one might manipulate scale in the service of spatial production. Meditations on belonging, displays of corporeal violence, discourses of Africanity, and the identification of the aural as a pathway for liberation illustrate, in all these works, the black fantastic's rootedness in spatial production, subject formation, and resistance to a dehumanizing social order.
Item Open Access Ceramics After Sundown: My Family’s Jewish Diaspora Grief and Resilience(2023-04) Levin, LilyItem Open Access Chaucer and the Disconsolations of Philosophy: Boethius, Agency, and Literary Form in Late Medieval Literature(2016) Bell, Jack HardingThis study argues that Chaucer's poetry belongs to a far-reaching conversation about the forms of consolation (philosophical, theological, and poetic) that are available to human persons. Chaucer's entry point to this conversation was Boethius's Consolation of Philosophy, a sixth-century dialogue that tried to show how the Stoic ideals of autonomy and self-possession are not simply normative for human beings but remain within the grasp of every individual. Drawing on biblical commentary, consolation literature, and political theory, this study contends that Chaucer's interrogation of the moral and intellectual ideals of the Consolation took the form of philosophical disconsolations: scenes of profound poetic rupture in which a character, sometimes even Chaucer himself, turns to philosophy for solace and yet fails to be consoled. Indeed, philosophy itself becomes a source of despair. In staging these disconsolations, I contend that Chaucer asks his readers to consider the moral dimensions of the aspirations internal to ancient philosophy and the assumptions about the self that must be true if its insights are to console and instruct. For Chaucer, the self must be seen as a gift that flowers through reciprocity (both human and divine) and not as an object to be disciplined and regulated.
Chapter one focuses on the Consolation of Philosophy. I argue that recent attempts to characterize Chaucer's relationship to this text as skeptical fail to engage the Consolation on its own terms. The allegory of Lady Philosophy's revelation to a disconsolate Boethius enables philosophy to become both an agent and an object of inquiry. I argue that Boethius's initial skepticism about the pretentions of philosophy is in part what Philosophy's therapies are meant to respond to. The pressures that Chaucer's poetry exerts on the ideals of autonomy and self-possession sharpen one of the major absences of the Consolation: viz., the unanswered question of whether Philosophy's therapies have actually consoled Boethius. Chapter two considers one of the Consolation's fascinating and paradoxical afterlives: Robert Holcot's Postilla super librum sapientiae (1340-43). I argue that Holcot's Stoic conception of wisdom, a conception he explicitly links with Boethius's Consolation, relies on a model of agency that is strikingly similar to the powers of self-knowledge that Philosophy argues Boethius to posses. Chapter three examines Chaucer's fullest exploration of the Boethian model of selfhood and his ultimate rejection of it in Troilus and Criseyde. The poem, which Chaucer called his "tragedy," belonged to a genre of classical writing he knew of only from Philosophy's brief mention of it in the Consolation. Chaucer appropriates the genre to explore and recover mourning as a meaningful act. In Chapter four, I turn to Dante and the House of Fame to consider Chaucer's self-reflections about his ambitions as a poet and the demands of truth-telling.
Item Embargo Computable Worlds: The Novel in the Age of Surveillance Capitalism(2024) Draney, James“Computable Worlds: The Novel in the Age of Surveillance Capitalism” examines the rise of the data economy from a literary perspective. Coined by Shoshana Zuboff in 2019, the term surveillance capitalism names the large-scale collection and analysis of personal data to predict and control consumer behavior. This dissertation argues that the rise of consumer surveillance has brought about significant transformations in twenty-first century fiction. I show how contemporary novels by J.M. Coetzee, Tom McCarthy, Tao Lin, Caroline Kepnes, Lauren Oyler, Dennis Cooper, Ruth Ozeki, Chimamanda Ngozi Adichie, and Natasha Stagg anatomize hidden assumptions about the boundaries of privacy, the yearning for recognition, and the fear of exposure in computationally surveilled environments, or what I call “computable worlds.” Along the way, I revisit canonical theories of the novel to argue for an affinity between novelistic discourse and the culture-wide exposure endemic to surveillance capitalism.
Although discussions of computation abound in literary criticism, literary scholars have yet to examine how the business of consumer surveillance has shaped cultural production. “Computable Worlds” addresses this intellectual gap by showing how the internet’s current organization as a surveillance system molds social sensibilities and shapes aesthetic production and reception. By increasing what people can know about one another at any given moment, and by producing subjects trained to maximize their visibility, surveillance capitalism has led to a rapid shift in social relations without ready norms to guide subjects. Combining close readings of novels, examinations of data companies’ managerial literature, and reflections on the structure of the literary field, “Computable Worlds” maps the affective atmospheres of the surveillance economy that shapes social life and culture today. To do so, I identify four key aspects of computable worlds: prediction, creepiness, lurking, and ratability.
Item Open Access Coons, Queers, and "Human Curiosities": White Fantasies of Black Masculinity, 1840-1915(2010) Schneider, SuzanneForwarding a narrative that, in many ways, runs contrary to `official'/sanctioned accounts which designate the body of the black woman as the principal star of nineteenth-century racial science's empirical investigations and sexual exploitations, I propose instead a vision of our nation's 1800s that marks this era as the moment in American history in which Hottentot Venus turned Hot-to-trot-Penis. Remaining indebted to the works of Sander Gilman and his contemporaries, and paying special attention to the ways in which both the erotic vicissitudes and imperialist vagaries of the European empire effected a fairly fluid cross-Atlantic exchange during this time period, I locate the late 1840s and early 1850s as the seminal moment in which, through a collaboration of scientific, social, and popular texts the black male body specifically first becomes installed in this country, on the mainstages of both our early spectacular culture and the American psychic theater, as a `pornographic body': an indigenous site of sexual taboo upon and through which the dark fantasies of the Whites who had imported these bodies might be projected. Recognizing, in this mid-nineteenth century moment, what should be seen as a distinctive, while as yet unremarked, shift in both the discourse and displays offered by America's peculiar brand of ethnography as well as within our national arena--one which turns to and turns on the conception of the black male as sexual subject--my dissertation hopes to offer a better understanding of the compelling forces, both social and salacious, that might be said to account for this distinctly American, and distinctively perverse, representational refocusing.
Item Open Access Cosmopolitan and Vernacular Modernism: State, Self and Style in Four Authors(2011) Weberg, Kris AmarThis study examines Irish modernist literature in order to complicate established critical modes which read modernist movements as reflective of distinctly vernacular or cosmopolitan aesthetic and political commitments. I argue that neither recent models of vernacular modernism nor older models of cosmopolitan modernism entirely account for the stylistic innovations and formal experiments of modernist literature. Instead, modernist writers negotiate a field of tension between the poles of cosmopolitan and vernacular, and demonstrate that their works represent forms of identity that accommodate elements of both national belonging and cosmopolitan individualism.
Examining works by four authors - William Butler Yeats, Elizabeth Bowen, Samuel Beckett, and Raymond Queneau - this project argues that modernist literature represents a set of idiosyncratic, dynamic efforts to negotiate the tensions between the limits of the nation-state system and a variety of emerging transnational modes of cultural exchange in the late nineteenth and early twentieth centuries. The nature of modernist writers' efforts to negotiate a period of passage between national and global systems of exchange is, I think, especially visible in the case of Irish modernism. Ireland's transition from a part of the United Kingdom to an independent nation-state in the interwar period makes that nation's literature an exemplary case for my argument, as does the critical importance of Irish writing in the modernist canon.
By examining these and other critical and historical perspectives alongside a sampling of plays, novels, short stories, and memoirs, this study makes the case that modernist literary aesthetics spring from writers' efforts to make sense of competing desires for national belonging and cosmopolitan autonomy. Focusing on works that cross categorical boundaries between Irish and cosmopolitan modernism, this study traces the ways in which modernist aesthetics construct dynamic, adaptive relationships between the global and the national, and suggest that we can imagine them as something other than static, exclusive alternatives.
Item Open Access Creative Impulse in the Modern Age: The Embodiment of Anxiety in the Early Poetry of T. S. Eliot (1910-1917)(2017-05-04) Mukamal, AnnaThrough focused analysis of T. S. Eliot’s early poetry (1910-1917), this work investigates whether, and if so, how anxiety may be worthwhile or particularly constructive for poetic production in the modern world. In order to explore the connection between anxiety and artistic production, I analyze the presence of skepticism, inaction, solipsism, and despair in Eliot’s self-lacerating and morbidly self-conscious personae. I also discuss the rhetorical means by which he conveys disembodied agency, stunted volition, and seemingly unattainable self-possession. Eliot's evocation of repetitive thought processes—mirroring self-paralysis as actions are dissociated from agents—coincides with his search for an overarching morality to transcend the banal propriety of his sociocultural milieu. Manifesting his preoccupation with social and spiritual decadence, the embodied anxiety in Eliot’s verse reveals his profound desire to confront it, both in himself and in his deeply troubled, war-embittered age.Item Open Access Crisis: Masculinity and an Ethic of Care in American Literature(2023) D'Addario, MichaelThis dissertation takes three crisis periods that have occurred throughout American history—times of war, times of disease, and times of apocalypse—and examines how such periods simultaneously provoke what can be called “traditional” masculine responses of toughness, independence, and executive action along with an alternative gender expression contemporary sociologists refer to as caring masculinity. Rather than consider caring masculinity a new phenomenon, Crisis: Masculinity and an Ethic of Care in American Literature seeks to establish the extended and underexplored history of manhood’s intersection with relational forms of care as expressed in popular literature. By analyzing literary works spanning from the nineteenth century to the twenty-first century, Crisis argues that such patterns of practice have existed in many forms, across a variety of situation, and for a long time.
Item Open Access Cruel Operators: History, Empire, and Affect in the Global Anglophone Novel(2020) Nayak, Sonia“Cruel Operators: History, Empire, and Affect in the Global Anglophone Novel,” reanimates and repoliticizes the idea of “cruel aesthetics” within contemporary literature by placing cruelty at the crux of global capitalism’s operational antihumanist logic. Historicizing this logic, the project uses a more nuanced definition of the field of Global Anglophone literature as a space to contend with the economic, racial, and emotional legacies of empire. In turn, affective and aesthetic readings of the diverse novels of Jamaica Kincaid, W.G. Sebald, Kazuo Ishiguro, and Rachel Cusk as Global Anglophone, rather than British, allows for a criticism of global capitalism that is grounded within legacies of empire. The project shows how Jamaica Kincaid’s and W.G. Sebald’s focus on everyday cruelties and historical anachronisms reestablish narrative connections between the networks of violence between colony and empire. It also illustrates how Kazuo Ishiguro’s characters connect the mental and physical servitude within imperial power dynamics to current conditions of work. Finally, locating Rachel Cusk’s novels within a financialized world shows the ubiquitous anxiety of neoliberal present. While the project embraces the universalism of capitalist realities and their imperial foundations, it is only through the concrete expressions and everyday realities of life that the universal architecture of global capitalism can be assessed. Ultimately, linking colonialism with contemporary capitalism formally carves out new “ways beyond” the erasure, paralysis, and the anxiety of the crushing force of dominating world-systems by embracing a politics of refusal, allyship, solidarity, and the bolstering of a “collective intelligence” that comes from the systematic appraisal of cruel aesthetics.
Item Open Access Cut/Copy/Paste: Composing Devotion at Little Gidding(2015) Trettien, Whitney AnneAt the community of Little Gidding from the late 1620s through the 1640s, in a special room known as the Concordance Chamber, Mary Ferrar, Anna Collett, and their sisters sliced apart printed Bibles and engravings, then pasted them back together into elaborate collages of text and image that harmonize the four gospels into a single narrative. They then bound these books between elaborate covers using a method taught to them by a bookbinder's daughter from Cambridge. The resulting volumes were so meticulously designed that one family member described the process as "a new kind of printing." Collectively, these books are known as the Little Gidding Harmonies, and they are the subject of Cut/Copy/Paste.
By close-reading the Little Gidding Harmonies, Cut/Copy/Paste illuminates a unique Caroline devotional aesthetic in which poets, designers, and printmakers collaboratively explored the capacity of the codex to harmonize sectarianism. Proceeding chronologically, I begin in the Elizabethan and early Stuart periods, when women writers like Isabella Whitney, Mary Sidney Herbert, and a range of anonymous needleworkers laid the groundwork for the Harmonies' cut-up aesthetic by marrying the language of text-making to textile labor (Chapter 1). Situating women's authorship in the context of needlework restores an appreciation for the significance and centrality of ideologically gendered skills to the process of authoring the Harmonies. Building on this chapter's argument, I turn next to the earliest Harmony to show how the Ferrar and Collett women of Little Gidding, in conversation with their friend George Herbert, used cutting and pasting as a way of bypassing the stigma of print without giving up the validation that publication, as in making public, brings. This early volume attracted the attention of the court, and Little Gidding soon found itself patronized by King Charles, Archbishop Laud, and an elite coterie who saw in the women's cut-and-paste "handiwork" a mechanism for organizing religious dissention (Chapter 2). In response, Little Gidding developed ever more elaborate collages of text and image, transforming their writing practice into a full-fledged devotional aesthetic. This aesthetic came to define the poetry of an under-appreciated network of affiliated writers, from Frances Quarles and Edward Benlowes to Royalist expatriate John Quarles, Mary Ferrar at Little Gidding, and her close friend Richard Crashaw (Chapter 3). It fell out of favor in the eighteenth century, derided by Alexander Pope and others as derivative and populist; yet annotations and objects left in one Little Gidding Harmony during the nineteenth century witness how women, still denied full access to publishing in print, continued to engage with scissors and paste as tools of a proto-feminist editorial practice (Chapter 4). The second half of the last chapter and a digital supplement turn to the Harmonies today to argue for a reorientation of digital humanities, electronic editing, and "new media" studies around deeper histories of materialist or technical tropes of innovation, histories that do not always begin and end with the perpetual avant-gardism of modernity.
This project participates in what has been called the "material turn" in the humanities. As libraries digitize their collections, the material specificity of textual objects - the inlays, paste-downs, typesetting, and typography occluded by print editions - becomes newly visible through high-resolution facsimiles. Cut/Copy/Paste seizes this moment of mass remediation as an opportunity to rethink the categories, concepts, and relationships that define and delimit Renaissance literature. By reading early modern cultural production materially, I reveal the richness of the long-neglected Caroline period as a time of literary experimentation, when communities like Little Gidding and their affiliates developed a multimedia, multimodal aesthetic of devotion. Yet, even as this project mines electronic collections to situate canonical texts within a wider field of media objects and material writing practices, it also acknowledges that digital media obscure as much as they elucidate, flattening three-dimensional book objects to fit the space of the screen. In my close readings and digital supplement, I always return to the polyphonic dance of folds and openings in the Harmonies - to the page as a palimpsest, thickly layered with paper, ink, glue, annotations, and evidence of later readers' interactions with it. By attending to the emergent materiality of the Harmonies over the longue durée, Cut/Copy/Paste both deepens our knowledge of seventeenth-century devotional literature and widens the narrow lens of periodization to consider the role of Little Gidding's cut-up method in past, present, and future media ecologies.