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Reckoning with disinterest: Kant and the Victorian novel.

機(jī)譯：毫無(wú)興趣地計(jì)算：康德和維多利亞小說(shuō)。

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This dissertation challenges the view that the Victorian novel uses the notion of disinterest to separate art from economic experience. Recent criticism on literature and economics has tended to identify disinterest with the "aesthetic ideology" that writers from Pierre Bourdieu to John Guillory have traced to Kant. This view overlooks the way in which disinterest in Kantian and post-Kantian aesthetics serves to critique the teleological premises of eighteenth-century moral and economic theory. The introductory chapter argues that Kant's Critique of Judgment undermines the stable standpoint of Adam Smith's "impartial spectator," reading Kant's critique of perspective in light of Walter Benjamin's writings on the problem of a "distanced" stance from his early essays on Kant to his late work on material culture. Chapter two situates Matthew Arnold's canonical formulation of disinterest as proper distancing in the Franco-British philosophical context of the early nineteenth century, arguing that Arnold's insistence on a stable subjective standpoint in relation to an inherently valuable object produces a notion of disinterest that is the mirror image of the Utilitarian marketplace and bears little relation to Kant's. The subsequent chapters analyze alternative modes of disinterest in the works of George Eliot, Henry James, and Oscar Wilde. Chapter three argues that Eliot's theory of sympathy in her novels and essays critiques both Smith and Arnold by emphasizing moments of subjective disorientation that make moral and economic calculation impossible. Chapter four studies the fate of disinterest in the modern novel through a reading of the decline of the collection, and of culture understood as collection, in James's writings on Balzac and in The Spoils of Poynton. Chapter five situates Wilde's essays, The Picture of Dorian Gray, and An Ideal Husband between the substance-based understanding of aesthetic value of Ruskin and Hegel and the subjectivist aesthetics of Walter Pater, arguing that Wilde's theory of art as lie exposes the stable standpoint presumed in both these economies and offers an alternative notion of "virtual" value that echoes the aesthetics of Stephane Mallarme.
機(jī)譯：本文對(duì)維多利亞小說(shuō)使用無(wú)趣概念將藝術(shù)與經(jīng)濟(jì)經(jīng)驗(yàn)分開(kāi)的觀點(diǎn)提出了質(zhì)疑。最近對(duì)文學(xué)和經(jīng)濟(jì)學(xué)的批評(píng)傾向于將不感興趣與從皮埃爾·布迪厄（Pierre Bourdieu）到約翰·吉羅里（John Guillory）的作家追隨康德的“美學(xué)意識(shí)形態(tài)”聯(lián)系起來(lái)。這種觀點(diǎn)忽視了對(duì)康德主義和后康德主義美學(xué)不感興趣的方式來(lái)批判18世紀(jì)道德和經(jīng)濟(jì)理論的目的論前提的方式。介紹性章節(jié)認(rèn)為，康德的批判批判破壞了亞當(dāng)·斯密的“公正旁觀者”的穩(wěn)定立場(chǎng)，并根據(jù)沃爾特·本雅明關(guān)于沃爾特·本杰明關(guān)于康德早期論文到他后期后期的“距離”立場(chǎng)問(wèn)題的著作來(lái)閱讀康德的觀點(diǎn)批判。在物質(zhì)文化上工作。第二章將馬修·阿諾德（Matthew Arnold）的規(guī)范性表述定位為十九世紀(jì)初法英哲學(xué)環(huán)境中的適當(dāng)距離，認(rèn)為阿諾德（Arnold）堅(jiān)持與固有的有價(jià)值客體相關(guān)的穩(wěn)定的主觀立場(chǎng)會(huì)產(chǎn)生無(wú)趣的概念，即鏡像功利市場(chǎng)的形象，與康德的關(guān)系不大。隨后的章節(jié)分析了對(duì)喬治·艾略特，亨利·詹姆斯和奧斯卡·王爾德的作品不感興趣的其他方式。第三章認(rèn)為，艾略特的小說(shuō)和散文中的同情理論通過(guò)強(qiáng)調(diào)主觀迷失的時(shí)刻而使道德和經(jīng)濟(jì)計(jì)算無(wú)法進(jìn)行，從而批評(píng)了史密斯和阿諾德。第四章通過(guò)閱讀詹姆斯·巴爾扎克（James）在巴爾扎克（Balzac）的著作和《波恩頓的寵兒》（The Spoils of Poynton）中對(duì)館藏的衰落以及被理解為館藏的文化的研究來(lái)研究對(duì)現(xiàn)代小說(shuō)不感興趣的命運(yùn)。第五章將王爾德的論文，《多里安·格雷的圖片》和《理想的丈夫》置于魯斯金和黑格爾的基于物質(zhì)的理解與沃爾特·帕特的主觀主義美學(xué)之間，認(rèn)為王爾德的藝術(shù)理論是謊言，揭示了假定的穩(wěn)定立場(chǎng)。在這兩個(gè)經(jīng)濟(jì)體中，它都提供了“虛擬”價(jià)值的替代概念，與“斯蒂芬·馬拉瑪”的美學(xué)相呼應(yīng)。

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  • 作者

    Hartz, Alisa L.;

  • 作者單位

    Brown University.;

  • 授予單位 Brown University.;
  • 學(xué)科 Literature Comparative.; Literature English.
  • 學(xué)位 Ph.D.
  • 年度 2006
  • 頁(yè)碼 228 p.
  • 總頁(yè)數(shù) 228
  • 原文格式 PDF
  • 正文語(yǔ)種 eng
  • 中圖分類(lèi) 文學(xué)理論;
  • 關(guān)鍵詞

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