1,720,988 research outputs found
Selling Out: The American Literary Market Place and the Modernist Novel
No full text250 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2010."Selling Out: The American Literary Marketplace and the Modernist Novel" re­examines the "modernist author" we think we know by rereading how four American authors, F. Scott Fitzgerald, Ernest Hemingway, Kay Boyle, and William Faulkner deliberately tried to create a literary reputation through both their success in commercial publishing and their resistance to it. I do not so much refute the difference between elite and mass culture, but instead show how even in their fictionality, those very categories inform the very structure of how we understand the categories of the author, the book, and of modernism itself.U of I OnlyRestricted to the U of I community idenfinitely during batch ingest of legacy ETD
Selling Out: The American Literary Market Place and the Modernist Novel
No full text"""Selling Out: The American Literary Marketplace and the Modernist Novel"" re­examines the ""modernist author"" we think we know by rereading how four American authors, F. Scott Fitzgerald, Ernest Hemingway, Kay Boyle, and William Faulkner deliberately tried to create a literary reputation through both their success in commercial publishing and their resistance to it. I do not so much refute the difference between elite and mass culture, but instead show how even in their fictionality, those very categories inform the very structure of how we understand the categories of the author, the book, and of modernism itself."Made available in DSpace on 2015-09-25T20:15:30Z (GMT). No. of bitstreams: 2
license.txt: 4848 bytes, checksum: 96035ab3f5e1c23cc7138a224ce498bd (MD5)
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Previous issue date: 2010Embargo set by: Seth Robbins for item 82747
Lift date: Forever
Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDsRestricted to the U of I community idenfinitely during batch ingest of legacy ETDsU of I Only250 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2010
Regional Fictions: Culture and Identity in Nineteenth-Century American Literature
Get PDFReview of: Regional Fictions: Culture and Identity in Nineteenth-Century American Literature. Foote, Stephanie
Regional Fictions: Culture and Identity in Nineteenth-Century American Literature
Get PDFReview of: Regional Fictions: Culture and Identity in Nineteenth-Century American Literature. Foote, Stephanie
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
'Truth Is Stranger Than Fiction': Black Women in American Literature of the *South
No full text"Although the South has been an enduring site of criticism in American Studies and in American literary history, my dissertation argues that it is impossible to consider what the ""South"" and what ""southernness"" mean as cultural references without looking at how black women have contributed to and contested any unified definition of that region. I focus on the late nineteenth century, a period of intense regional conflict when southern blacks witnessed the reassertion of white hegemony. Hence, the idea of the South and southern identity become synonymous with ""whiteness"" as it solidifies in literary and political narratives. The scope of my dissertation examines the relationship between Southern literature and the South's social history. Specifically, I look at that relationship by focusing on black women, fictional and historical, arguing that they are unacknowledged agents of cultural change. Though black women were integral to southern society, they are often invisible in historical accounts of regional politics and culture, especially as southern black women. Black women, likewise, are a largely under-critiqued presence in the regional fiction of the period. My dissertation reconsiders the South and explains how black women contributed to its literary and cultural history."Made available in DSpace on 2015-09-25T20:15:13Z (GMT). No. of bitstreams: 2
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Previous issue date: 2005Embargo set by: Seth Robbins for item 82692
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Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDsRestricted to the U of I community idenfinitely during batch ingest of legacy ETDsU of I Only175 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2005
'Truth Is Stranger Than Fiction': Black Women in American Literature of the *South
No full text175 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2005.Although the South has been an enduring site of criticism in American Studies and in American literary history, my dissertation argues that it is impossible to consider what the "South" and what "southernness" mean as cultural references without looking at how black women have contributed to and contested any unified definition of that region. I focus on the late nineteenth century, a period of intense regional conflict when southern blacks witnessed the reassertion of white hegemony. Hence, the idea of the South and southern identity become synonymous with "whiteness" as it solidifies in literary and political narratives. The scope of my dissertation examines the relationship between Southern literature and the South's social history. Specifically, I look at that relationship by focusing on black women, fictional and historical, arguing that they are unacknowledged agents of cultural change. Though black women were integral to southern society, they are often invisible in historical accounts of regional politics and culture, especially as southern black women. Black women, likewise, are a largely under-critiqued presence in the regional fiction of the period. My dissertation reconsiders the South and explains how black women contributed to its literary and cultural history.U of I OnlyRestricted to the U of I community idenfinitely during batch ingest of legacy ETD
Middlebrow Modernism: Professional Writing, Genre, and the Circulation of Cultural Authority in U.S. Mass Culture, 1913--1932
No full text260 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008.This project investigates the role of middlebrow culture in creating an understanding of the term "modernism" for its readers. Middlebrow culture consists of those institutions and writers who taught readers the bounds of "high" art and literature beginning with the rise of U.S. mass culture in the 1890s. It defined modernism as a genre, a predicted pleasure in reading attached to a specific set of forms or writing techniques. This genre was, paradoxically, a convention of experimentation and surprise. As such, it anticipates what critics have called postmodernism's flattening-out of modernism into a set of codes; yet, where this flattening-out is often understood as synonymous with the demise of the relevance of modernist techniques or writers, I show how middlebrow culture's understanding of modernism as a genre was fundamental to promoting it. Middlebrow culture, by including modernism within its pedagogical project, helped to create the long-term prestige enjoyed by the writers and styles labeled modernist, including their prestige in the academy from the New Critics forward. The institutions and writers I discuss consider modernism as only one of a number of literary options in the early twentieth-century, but in doing so they also show readers the way to imagining themselves as the audience for difficult, experimental writing. The smart magazines Vanity Fair and the New Yorker taxonomized literary kinds, including modernism, through parodies and reviews that tried to consider the various payoffs and drawbacks of each for readers. Dorothy Parker, immersed in the editorial apparatus of the smart magazines in particular and middlebrow magazines more broadly, wrote many of the light verse parodies of modernist and other poetry---a middlebrow form that shaped her perspective of on modern changes in heterosexual romance as well as on literary kinds. Serial novels by Ring Lardner and Anita Loos gave readers the opportunity to imagine themselves as readers of innovative stream-of-consciousness through adaptations of nineteenth-century vernacular humor. Finally, Glenway Wescott's self-conscious rejections of imagistic and impressionistic modernism---even while writing under the influence of Ford Madox Ford, Henry James, and Marcel Proust resulted in a novel that solicits a reader oscillating between the genre pleasures of modernism and realism.U of I OnlyRestricted to the U of I community idenfinitely during batch ingest of legacy ETD
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