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Everyday: Literature, modernity, and time (Gustave Flaubert, France, H. G. Wells, Joseph Conrad).

机译:每天:文学,现代性和时间(法国古斯塔夫·弗劳伯特,H·G·威尔斯,约瑟夫·康拉德)。

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摘要

There is more to modernity than progress and development, eventfulness and acceleration. Everyday: Literature, Modernity, and Time argues that empty time---marked by boredom, blankness, and the disjunction of past precedent from future opportunity---is a dominant preoccupation of the last two centuries, and that modernist and proto-modernist fiction is its significant mirror. The period's literature is entangled in such issues as how to make the ordinary interesting, how to order the essentially inchoate, and how to give a formal end to what threatens to go on forever. These challenges intersect with a vast array of social developments, such as the rise of the popular media and consumer desire, anxieties about life in an increasingly egalitarian and democratic world, and the changing experience of work in a market defined by imperial expansion and belt-tightening rationalization.; Beginning with Gustave Flaubert and in particular Madame Bovary, Everyday describes the way that a society's temporal disorder---namely, boredom---manifests itself as a literary disorder. Emma Bovary's effort to "write" a romantic event into quotidian domestic life parallels Flaubert's struggle with the banalizing constraints of his genre. With H. G. Wells, the threat of the everyday expands to the world of politics and science. In the trope of thermodynamic "heat death," The Time Machine conveys an anxious ambivalence about the future both of the novel and human progress. Everyday concludes with Joseph Conrad's Heart of Darkness, a work preoccupied with unemployment---both literally and metaphorically. The novella's narrative temporality is a formal reflection of the changing nature of the labor market and the workplace at the dawn of the twentieth century. If Wells's Time Machine breaks down before a pure present of mindless technologized consumption, Conrad's dystopian everyday is forged under the pressure of economic rationalization and limitless competition.
机译:现代性不只是进步与发展,突发事件和加速。每天:文学,现代性和时间论认为,空旷的时间(以无聊,空白和过去的先例与未来的机会的分离为标志)是过去两个世纪的主要关注点,现代主义者和原始现代主义者小说是其重要的一面镜子。该时期的文学纠缠于诸如如何使平凡的人变得有趣,如何使本质上早期的人有秩序,以及如何正式终结威胁永远持续下去的问题。这些挑战与各种各样的社会发展相交,例如大众媒体的兴起和消费者的渴望,在日益平等的民主世界中对生活的焦虑,以及由帝国扩张和束腰带定义的市场中工作经验的变化。加强合理化。从古斯塔夫·弗劳伯特(Gustave Flaubert)特别是鲍瓦里夫人(Bovary)开始,《每一天》(Everyday)都描述了一个社会的时间混乱(即无聊)将自身证明为文学混乱的方式。艾玛·博瓦里(Emma Bovary)将浪漫事件“写成”日常生活的努力与弗劳伯特(Flaubert)的斗争及其体裁的平庸约束相提并论。有了H. G. Wells,日常的威胁就会扩展到政治和科学领域。在热力学的“热死”概念中,Time Machine传达了对小说和人类进步的未来的焦虑。每天都有约瑟夫·康拉德(Joseph Conrad)的《黑暗之心》作为结尾,这部作品从字面上和寓意上都与失业有关。中篇小说的叙事时间性是对二十世纪初劳动力市场和工作场所性质变化的正式反映。如果在纯粹的无意识的技术化消费出现之前,威尔斯的时间机器发生故障,那么康拉德的反乌托邦每天都会在经济合理化和无限竞争的压力下伪造。

著录项

  • 作者

    Sayeau, Michael Douglas.;

  • 作者单位

    Princeton University.;

  • 授予单位 Princeton University.;
  • 学科 Literature Comparative.; Literature Modern.; Literature English.; Literature Romance.
  • 学位 Ph.D.
  • 年度 2005
  • 页码 251 p.
  • 总页数 251
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 文学理论;世界文学;世界文学;
  • 关键词

  • 入库时间 2022-08-17 11:42:20

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