首页> 外文学位 >Worldliness and wit: Satire and the grotesque in the late modernist novel (Evelyn Waugh, Nathanael West, Djuna Barnes, Samuel Beckett, Ireland).
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Worldliness and wit: Satire and the grotesque in the late modernist novel (Evelyn Waugh, Nathanael West, Djuna Barnes, Samuel Beckett, Ireland).

机译:世俗与智慧:已故的现代主义小说中的讽刺与怪诞(伊芙琳·沃,纳塔奈尔·韦斯特,德朱纳·巴恩斯,塞缪尔·贝克特,爱尔兰)。

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摘要

Worldliness and Wit: Satire and the Grotesque in the Late Modernist Novel argues for the importance of the interrelated aesthetic modes of satire and the grotesque to an understanding of modernist literature, particularly the fiction of the 1930s. Modernism, it maintains, can be understood not only through the traditional frameworks of philosophy, technique, or historical context, but also through its dominant sensibility —a sensibility that is, broadly speaking, satiric in its reduction of the human to the level of the animal or mechanical. In-depth readings of Evelyn Waugh's Vile Bodies and A Handful of Dust , Nathanael West's The Day of the Locust, and Djuna Barnes's Nightwood, as well as a brief afterword on Samuel Beckett's “Dante and the Lobster,” illustrate how some of the most powerful fiction of the decade displays a central concern with questions of suffering and with the aesthetic problems that representations of suffering necessarily present. In these works, the rejection of sentimentality, and the consequent repudiation of emotion as a guarantee of moral and aesthetic value, lead to the rise of an aestheticizing, ironic, and often apparently cruel attitude toward suffering. Indeed, in one sense, a modern sensibility rests precisely on such a satiric capacity to laugh at pain.; But if the writers under discussion vehemently reject the sentimental, they also demonstrate a more subtle discomfort with the triumph of irony. In these novels, cruel wit and indifferent worldliness produce grotesque representations of bodies as machine-like or animal-like that elicit revulsion as well as laughter, and thus betray an underlying ambivalence toward the ethical consequences of the modern sensibility. Late modernist satire, in other words, recoils in the face of its own dehumanizing representations. The emergence of uncanny anxiety in the responses of both characters and readers toward such grotesques paradoxically affirms the value emotion, although only in negative or aversive forms. Ultimately, then, the fiction of the thirties stubbornly insists on a residual notion of the ethical, based in a human capacity for feeling, yet it can only do so through the cruelly satiric work of negation.
机译:世俗与机智:晚现代主义小说中的讽刺与怪诞指出,讽刺与怪诞的相互联系的美学模式对于理解现代主义文学尤其是1930年代小说的重要性。它坚持认为,现代主义不仅可以通过哲学,技术或历史背景的传统框架来理解,而且可以通过其显性的 sensibility 来理解,从广义上讲,这种感觉满足于减少人到动物或机械的水平。伊夫琳·沃(Evelyn Waugh)的邪恶尸体一尘不染,Nathanael West的蝗虫日和Djuna Barnes的的深入阅读Nightwood 以及塞缪尔·贝克特(Samuel Beckett)的“但丁和龙虾”的简短后记,说明了十年来一些最有影响力的小说如何表现出对苦难问题以及代表苦难的美学问题的关注。必然存在。在这些作品中,拒绝感性,以及随之而来的拒绝情感作为道德和审美价值的保证,导致了人们对苦难的审美化,讽刺性以及通常是残酷的态度的兴起。的确,从某种意义上说,现代的情感正是基于这种嘲笑痛苦的讽刺能力。但是,如果讨论中的作家强烈拒绝这种情感,那么他们对讽刺的胜利也会表现出更微妙的不适。在这些小说中,残酷的机智和冷漠的世俗性产生了怪异的身体表征,像机器般或动物般,引起了厌恶和欢笑,从而背离了对现代感性的伦理后果的内在矛盾。换句话说,已故的现代主义讽刺作品在面对自身非人性化的表象时反而退缩了。人物和读者对这种奇形怪状的反应中都出现了异常的焦虑,这矛盾地肯定了价值情感,尽管只是消极或厌恶的形式。因此,最终,三十年代的小说顽固地坚持以人的感觉能力为基础的伦理学的残余概念,但它只能通过残酷的讽刺性工作来做到。

著录项

  • 作者

    Greenberg, Jonathan Daniel.;

  • 作者单位

    Princeton University.;

  • 授予单位 Princeton University.;
  • 学科 Literature Modern.; Literature English.; Literature American.
  • 学位 Ph.D.
  • 年度 2002
  • 页码 310 p.
  • 总页数 310
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 世界文学;
  • 关键词

  • 入库时间 2022-08-17 11:46:38

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