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>Forms of transculturation: The cultural aesthetics of modernist/vanguard poetry of the Americas (Ezra Pound, William Carlos Williams, Vicente Huidobro, Chile, Mario de Andrade, Brazil).
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Forms of transculturation: The cultural aesthetics of modernist/vanguard poetry of the Americas (Ezra Pound, William Carlos Williams, Vicente Huidobro, Chile, Mario de Andrade, Brazil).
This dissertation establishes a framework for inter-American literary comparison in readings of modernist and vanguardista poetry from Spanish-America, Brazil, and the United States. In tracing the process by which modern poetic forms materialize in print publications, this study examines how poetry relates to social constructions of the “American” in textual and cultural contexts. Such an approach calls attention to the dynamic interactions between immanent poetic structures and “external” historical, sociocultural, and editorial conditions in Ezra Pound's The Cantos of Ezra Pound , Vicente Huidobro's Altazor, Mario de Andrade's Paulicéia Desvairada, and William Carlos Williams' Spring and All.; While these texts do not discuss inter-Americanism per se, each in its way suggests the possibility of forging a “new,” “New World,” and distinctly “American” language out of the multiple languages and cultures that have migrated to the hemisphere. Latin American critical theories of transculturation (transculturación) therefore become central to the notions of Americanism raised in this dissertation. Transcultural processes are in turn analyzed in readings that utilize formalist and structuralist methods, historicism and culture-critique, deconstruction, and social-construction textual theory. Thus, in building critical connections between “developed” and “underdeveloped” regions of the hemisphere, transculturation is not merely a principle thematic of literatures of the Americas; inter-Americanism also necessitates the transcultural encounter of Latin American and Anglo American critical traditions, and of the variegated critical theories and methods available to contemporary literary/cultural scholars.
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机译:本文为西班牙裔美国人,巴西和美国的现代派和先锋派诗歌的阅读建立了美洲文学比较的框架。在追踪现代诗歌形式在印刷出版物中形成的过程时,本研究考察了诗歌在文本和文化语境中与“美国人”的社会建构之间的关系。这种方法引起人们对内在诗意结构与“外部”历史,社会文化和编辑条件之间动态相互作用的关注,该关系在埃兹拉·庞德的《斜体》,维森特·惠多布罗的《斜体》,《斜体》 ,马里奥·德·安德拉德(Mario de Andrade)的PaulicéiaDesvairada italic>和威廉卡洛斯·威廉姆斯(William Carlos Williams)的 Spring and All italic>。尽管这些文本本身并未讨论美洲主义,但每种文本都暗示着有可能在迁移到半球的多种语言和文化中形成一种“新”,“新世界”和截然不同的“美国”语言。 。因此,拉丁美洲的跨文化批判理论(transculturación italic>)成为本文提出的美国主义概念的中心。反过来,在利用形式主义和结构主义方法,历史主义和文化批判,解构主义和社会建构文本理论的阅读中对跨文化过程进行了分析。因此,在建立半球“发达”和“欠发达”区域之间的关键 italic>联系时,换文化不仅仅是美洲文学的一项原则主题。美洲主义还要求拉丁美洲和盎格鲁美洲批判传统以及当代文学/文化学者可用的各种批判理论和方法的跨文化交际。
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