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The New What's Next: Innovation and Failure in Contemporary American Literature

機譯：新的下一步：當代美國文學的創(chuàng)新與失敗

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摘要

My research suggests that American literature from the 1970s to today is deeply concerned with a representation of social and cultural upheaval, and argues that it figures this concern through aesthetic failure, particularly the failure to formally represent the totality of late capitalist America. The literature I consider -- including works by Kathy Acker, Cormac McCarthy, Willian Gaddis, Vanessa Place, and others -- responds to contemporary crises, particularly the financial unrest that begins in the 1970s and 80s and resonates to today. These authors' works conceive of this "neoliberal" or, as I would call it, late capitalist crisis not indexically, in ways that register at the level of content, but rather at the level of form. I call this literature innovative because it attempts to represent the totality of the world in crisis through new, experimental formal strategies. But when innovative literature attempts to model new ways of representing social or political totality, it fails due to the aesthetic logic of constraint by which it is defined, either through misinterpretation, formal incongruity, or the intrusion of narrative subjectivity into the aesthetic.;This failure, against pessimistic descriptions of reactionary "capitalist realism" endorsed by Mark Fisher among others, defines, I claim, the very ground of productivity for innovative literature. This dissertation argues that, just as crisis impels innovation, so too do these innovative texts reveal in their formal malfunctions something about the deeply contradictory world in which they are produced. My dissertation, The New What's Next: Innovation and Failure in 20th Century Literature, therefore begins by locating the conditions of late 20th century economic crisis in the shifting formal quality of money since the middle of the 19th century, and then turns exclusively to aesthetic considerations of literary works that engage with the symptoms of this crisis via formal intervention. Ultimately, this investigation provides not only a relevancy for literary form and practice in our contemporary intellectual moment, but in fact resituates literary aesthetics as the crucial technology for societal self-knowledge and revelation.
機譯：我的研究表明，從1970年代到今天的美國文學一直非常關注社會和文化動蕩的表現(xiàn)，并認為它通過美學上的失敗，尤其是未能正式代表已故的資本主義美國的整體來說明這種擔憂。我認為的文獻-包括凱西·阿克（Kathy Acker），科馬克·麥卡錫（Cormac McCarthy），威利·加迪斯（Willian Gaddis），凡妮莎廣場（Vanessa Place）等人的作品，都是對當代危機的回應，尤其是從1970年代和80年代開始的金融動蕩，并在今天引起共鳴。這些作者的作品構想了這種“新自由主義”，或者我稱之為“晚期資本主義危機”，不是以索引的方式，而是以內(nèi)容的層次，而是形式的層次。我認為這些文獻具有創(chuàng)新性，因為它試圖通過新的，試驗性的形式化策略來代表處于危機中的整個世界。但是，當創(chuàng)新文學試圖為代表社會或政治整體的新方式建模時，由于定義錯誤的美學邏輯的限制，它失敗了，要么是由于誤解，形式上的不一致，要么是敘事主觀性侵入美學之中。我認為，失敗與馬克·費舍爾（Mark Fisher）等人對反動的“資本主義現(xiàn)實主義”的悲觀描述形成了鮮明的對比，這為創(chuàng)新文學定義了生產(chǎn)力的根本基礎。本文認為，正如危機推動創(chuàng)新一樣，這些創(chuàng)新文本也在其形式上的失誤中揭示了與之產(chǎn)生深刻矛盾的世界的某些東西。因此，我的論文《下一步是什么：20世紀文學中的創(chuàng)新與失敗》首先從定位20世紀后期經(jīng)濟危機的狀況（從19世紀中葉開始轉(zhuǎn)移貨幣的質(zhì)量）開始，然后專門轉(zhuǎn)向美學考慮。通過正式干預與危機癥狀相關的文學作品。最終，這項研究不僅為我們當代知識分子時代的文學形式和實踐提供了相關性，而且實際上將文學美學重新定位為社會自我知識和啟示的關鍵技術。

著錄項

  • 作者

    Strunk, Trevor.;

  • 作者單位

    University of Illinois at Chicago.;

  • 授予單位 University of Illinois at Chicago.;
  • 學科 American literature.;American studies.
  • 學位 Ph.D.
  • 年度 2017
  • 頁碼 165 p.
  • 總頁數(shù) 165
  • 原文格式 PDF
  • 正文語種 eng
  • 中圖分類 遙感技術;
  • 關鍵詞

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