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The rhetoric of subjectivity: The written self in the autobiographical writings of Hawthorne, Adams and James.

机译:主观性的修辞:霍桑,亚当斯和詹姆斯的自传体著作中的书面自我。

摘要

The study takes the measure to which "self" and "self-representation" do not coincide in autobiography. Each of the writers in this study--Nathaniel Hawthorne, Henry Adams, and Henry James--writes an autobiography that consciously divides the writing-self from the written-self. Each does this at least in part as a result of his discomfort with the patriarchal culture of nineteenth-century America. Never fitting the normative models of male action in the areas of commerce and politics, each uses his autobiographical writing to construct himself along the model of the "other." This gesture requires presenting the self as a cultural construct, fabricated in a language that is always already alienated from the writing subject. As such, the signifiers of personal and social identity are manipulable in a pervasive rhetoric of subjectivity, a rhetoric supremely adapted to the literary enterprise of autobiography. In "The Custom-House," Hawthorne insists on the separateness of the sign of the self from the signified. This separateness permits the author a dilatory space which keeps him unreadable even while being read, a gesture he reproduces in The Scarlet Letter, which is read as a fictional extention of the same rhetoric of illegibility that he presents in the autobiographical preface. In The Education of Henry Adams, Adams presents a self which figuratively corresponds to a text. The "self" is a palimpsest of all the influences that have been inscribed on it, and the job of the autobiographer is to edit that palimpsest into a self/story. Fashioning a self, therefore, is consubstantial with fashioning a book, and the two activities coincide in the autobiography. Notes of a Son and Brother shows James purporting a complementary relationship between reader and writer, whereby a reader lives in and completes the life of a writer. In the memoir, James's commemorative task as reader of the family's letters allows him to appropriate the historical personages through the acquisition of their writing. In this way, autobiography (both the activity and the product) and the self are no longer supplemental to others but originary and self-realizing.
机译:该研究采取了自传中“自我”和“自我表现”不一致的措施。这项研究的每位作家(纳撒尼尔·霍索恩(Nathaniel Hawthorne),亨利·亚当斯(Henry Adams)和亨利·詹姆斯(Henry James))都撰写了自传,自觉地将写作自我与书面自我区分开。每个人这样做至少部分是由于他对19世纪美国的父权制文化感到不适。从来没有适合于商业和政治领域中男性行为的规范模型,而是每个人都用自传体著作沿“他者”模型建构自己。这种手势要求将自我表现为一种文化构造,以一种已经与写作主体已经疏远的语言来制造。因此,个人和社会身份的指称可以在普遍的主观性修辞学中加以操纵,这是最适合自传文学事业的修辞学。霍桑在《海关》中坚持将自我标志与被标志者分开。这种分离性使作者有一个扩张的空间,即使在阅读时也使他不可读,这是他在《红字》中再现的一种姿态,这被解读为对自传序言中所出现的难以辨认的修辞的虚构延伸。在《亨利·亚当斯的教育》中,亚当斯呈现了一种自我,该自我形象地对应于文本。 “自我”是刻在其上的所有影响力中的最弱者,自传作者的工作是将那个最弱者编辑成一个自我/故事。因此,塑造一个自我与塑造一本书是相当重要的,这两个活动在自传中是重合的。 《儿子和兄弟的笔记》显示詹姆斯声称读者与作家之间存在着互补的关系,从而使读者得以居住并完成作家的生活。在回忆录中,詹姆斯作为家庭书信的阅读者的纪念任务使他能够通过收购历史人物来使他们适合历史人物。这样,自传(活动和产品)和自我不再是他人的补充,而是原始的和自我实现的。

著录项

  • 作者

    Parkhurst Joseph Lanius.;

  • 作者单位
  • 年度 1990
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  • 原文格式 PDF
  • 正文语种 en
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