Pub Date : 2022-09-01DOI: 10.1215/0041462x-10028057
Aaron D. Chandler
Abstract:Placing Jack Kerouac’s representations of poverty in dialogue with the work of anthropologist Oscar Lewis, originator of the “culture of poverty” thesis, this essay demonstrates that their disparate modes of allegiance with the poor share roots in the same unstable poverty ontology. Unable to fix the meaning of poverty as either as a natural condition or as a cultural product, Lewis and Kerouac each present poverty both as an abject expression of social disorder and as a point of vital social exteriority. Tracing this poverty ontology to Rousseau, the essay reveals how its instabilities spur aesthetic innovations— and political contradictions—in both writers.
{"title":"Slum Simulacra: Jack Kerouac, Oscar Lewis, and Cultures of Poverty","authors":"Aaron D. Chandler","doi":"10.1215/0041462x-10028057","DOIUrl":"https://doi.org/10.1215/0041462x-10028057","url":null,"abstract":"Abstract:Placing Jack Kerouac’s representations of poverty in dialogue with the work of anthropologist Oscar Lewis, originator of the “culture of poverty” thesis, this essay demonstrates that their disparate modes of allegiance with the poor share roots in the same unstable poverty ontology. Unable to fix the meaning of poverty as either as a natural condition or as a cultural product, Lewis and Kerouac each present poverty both as an abject expression of social disorder and as a point of vital social exteriority. Tracing this poverty ontology to Rousseau, the essay reveals how its instabilities spur aesthetic innovations— and political contradictions—in both writers.","PeriodicalId":44252,"journal":{"name":"TWENTIETH CENTURY LITERATURE","volume":"39 1","pages":"243 - 272"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90680630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1215/0041462x-9808078
Justin Prystash
Abstract:This article examines the relationship between British Idealist philosophy and modernist form, particularly the stream of consciousness technique. Idealism was ascendant from the 1870s to the 1920s, and the writer/philosopher May Sinclair participated in its conceptual discourse, finding the British Idealists' contention that time is unreal an especially valuable insight for her literary agenda. For many of the idealists, time is unreal in the sense that multiple temporal series coexist within the universe or atemporal "Absolute." This idea, which was debated in the journal Mind and elsewhere, played a significant role in the literary conception of "stream of consciousness," a term first applied to literature by Sinclair in 1918. Considering the interplay of literature and philosophy during this period expands our understanding of the genealogy of modernist form and its effects. In particular, in evoking an experience of the timeless, for Sinclair stream of consciousness draws together authors, characters, and readers, generating among them complex investments, both ethical and ontological.
摘要:本文考察了英国唯心主义哲学与现代主义形式，特别是意识流手法的关系。从19世纪70年代到20世纪20年代，理想主义盛行，作家兼哲学家梅·辛克莱(May Sinclair)参与了它的概念论述，发现英国理想主义者关于时间是不真实的论点对她的文学议程特别有价值。对于许多理想主义者来说，时间是不真实的，因为多个时间序列共存于宇宙或非时间的“绝对”中。这一观点在《心灵》(Mind)杂志和其他地方进行了辩论，在文学概念“意识流”(stream of consciousness)中发挥了重要作用。1918年，辛克莱首次将“意识流”一词用于文学。考察这一时期文学与哲学的相互作用，拓展了我们对现代主义形式谱系及其影响的理解。特别是，辛克莱的意识流在唤起一种永恒的体验时，把作者、人物和读者聚集在一起，在他们中间产生了复杂的投资，既有伦理的，也有本体论的。
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Pub Date : 2022-06-01DOI: 10.1215/0041462x-9808091
Garrett Bridger Gilmore
Abstract:This article examines the function of Anglo-Saxon racial kinship in Harper Lee's 2015 novel Go Set a Watchman, arguing that it obscures the relationship between personal family dynamics and national struggle over desegregation in the late 1950s. For Lee, psychological maturity and political liberty constitute the core features of a mythologized Anglo-Saxon racial inheritance, one shared by her novel's white characters, and over the course of the novel, as its protagonist Jean Louise Finch rejects psychologically stunted and politically naive colorblind liberalism, she learns to "think racially" and embrace the virtues of massive resistance to integration. The novel's equation of psychological maturity and white supremacy is key to Jean Louise consistent denial of the centrality of anti-Black violence and oppression throughout the long history of Anglo-Saxon and southern US culture the novel uncritically offers as the true nature of Jim Crow society. By emphasizing Lee's self-conscious deployment of literary history in her construction of an Anglo-Saxon racial essence, the article distinguishes between the novel's reactionary critiques of colorblind liberalism and progressive ones traditionally made by Lee's critics.
摘要:本文考察了哈珀·李(Harper Lee) 2015年出版的小说《设立守望者》(Go Set a Watchman)中盎格鲁-撒克逊种族亲属关系的功能，认为它模糊了20世纪50年代末个人家庭动态与民族反种族隔离斗争之间的关系。对李来说，心理成熟和政治自由构成了神话般的盎格鲁-撒克逊种族遗产的核心特征，她的小说中的白人角色也有这种特征。在小说的过程中，主人公让·路易斯·芬奇(Jean Louise Finch)拒绝了心理发育不良、政治幼稚的色盲自由主义，她学会了“从种族角度思考”，并接受了大规模抵制种族融合的美德。小说中心理成熟和白人至上的等式是简·路易斯始终否认盎格鲁-撒克逊和美国南部文化漫长历史中反黑人暴力和压迫的中心地位的关键小说不加批判地提供了吉姆·克劳社会的真实本质。通过强调李在构建盎格鲁-撒克逊种族本质时对文学史的自觉运用，文章区分了小说中对有色自由主义的反动批评和李的批评者传统上的进步批评。
{"title":"\"A Dirty Word These Days\": Anglo-Saxonism, Race, and Kinship in Go Set a Watchman","authors":"Garrett Bridger Gilmore","doi":"10.1215/0041462x-9808091","DOIUrl":"https://doi.org/10.1215/0041462x-9808091","url":null,"abstract":"Abstract:This article examines the function of Anglo-Saxon racial kinship in Harper Lee's 2015 novel Go Set a Watchman, arguing that it obscures the relationship between personal family dynamics and national struggle over desegregation in the late 1950s. For Lee, psychological maturity and political liberty constitute the core features of a mythologized Anglo-Saxon racial inheritance, one shared by her novel's white characters, and over the course of the novel, as its protagonist Jean Louise Finch rejects psychologically stunted and politically naive colorblind liberalism, she learns to \"think racially\" and embrace the virtues of massive resistance to integration. The novel's equation of psychological maturity and white supremacy is key to Jean Louise consistent denial of the centrality of anti-Black violence and oppression throughout the long history of Anglo-Saxon and southern US culture the novel uncritically offers as the true nature of Jim Crow society. By emphasizing Lee's self-conscious deployment of literary history in her construction of an Anglo-Saxon racial essence, the article distinguishes between the novel's reactionary critiques of colorblind liberalism and progressive ones traditionally made by Lee's critics.","PeriodicalId":44252,"journal":{"name":"TWENTIETH CENTURY LITERATURE","volume":"89 1","pages":"151 - 178"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79393462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1215/0041462x-9808117
Lisa Tyler
{"title":"The Green Depression: American Ecoliterature in the 1930s and 1940s by Matthew M. Lambert (review)","authors":"Lisa Tyler","doi":"10.1215/0041462x-9808117","DOIUrl":"https://doi.org/10.1215/0041462x-9808117","url":null,"abstract":"","PeriodicalId":44252,"journal":{"name":"TWENTIETH CENTURY LITERATURE","volume":"15 1","pages":"225 - 234"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75289507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1215/0041462x-9808130
Aaron Long
{"title":"Inventing Tomorrow: H.G. Wells and the Twentieth Century by Sarah Cole (review)","authors":"Aaron Long","doi":"10.1215/0041462x-9808130","DOIUrl":"https://doi.org/10.1215/0041462x-9808130","url":null,"abstract":"","PeriodicalId":44252,"journal":{"name":"TWENTIETH CENTURY LITERATURE","volume":"70 1","pages":"235 - 240"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74522748","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1215/0041462x-9808104
Eric Strand
Abstract:Although our recovery of Elizabeth Bishop's politics has involved seeing her as a resistant "outsider," this essay argues that she was at her most challenging as an inhabitant of poetic institutions. Exemplifying the vexed status of the Depression-era writer after the crash of the patronage system, when Bishop settled in Key West, Florida, she was moving not to a cultural periphery but to a showpiece for government-sponsored social reform, where some of her most successful poems were stimulated by federal government policies. This productive interaction with agencies like the Federal Writers' Project was cut short by World War II and by the sort of conservative backlash to the New Deal that drove the House Committee on Un-American Activities to investigate events leading to the postwar construction of an apolitical Bishop, abstracted from the politics that in fact conditioned much of her work. Ultimately, the essay suggests that relocating Bishops's work in its New Deal context helps us see that, as one critic put it, "There's something queer about the welfare state."
{"title":"Elizabeth Bishop and the New Deal: Queer Poetics and the Welfare State in Key West","authors":"Eric Strand","doi":"10.1215/0041462x-9808104","DOIUrl":"https://doi.org/10.1215/0041462x-9808104","url":null,"abstract":"Abstract:Although our recovery of Elizabeth Bishop's politics has involved seeing her as a resistant \"outsider,\" this essay argues that she was at her most challenging as an inhabitant of poetic institutions. Exemplifying the vexed status of the Depression-era writer after the crash of the patronage system, when Bishop settled in Key West, Florida, she was moving not to a cultural periphery but to a showpiece for government-sponsored social reform, where some of her most successful poems were stimulated by federal government policies. This productive interaction with agencies like the Federal Writers' Project was cut short by World War II and by the sort of conservative backlash to the New Deal that drove the House Committee on Un-American Activities to investigate events leading to the postwar construction of an apolitical Bishop, abstracted from the politics that in fact conditioned much of her work. Ultimately, the essay suggests that relocating Bishops's work in its New Deal context helps us see that, as one critic put it, \"There's something queer about the welfare state.\"","PeriodicalId":44252,"journal":{"name":"TWENTIETH CENTURY LITERATURE","volume":"1 1","pages":"199 - 224"},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83979593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1215/0041462x-9808065
K. Adams
Abstract:In 1931, African American journalist George Schuyler imagined a medical treatment that could turn Black people white and American politics upside down. Schuyler's novel, Black No More, uses this fictional race-altering technology to mount a satirical critique of progressive era investment in eugenic science as a tool of social reform. The novel draws on popular scientific theories of human perfection—electric medicine, hygienic nutrition, and glandular theory—to envision a mode of technological reproduction that troubles eugenic theories of biological inheritance and parodies the progressive marriage of politics and science. In reading Schuyler's contrarian engagement with American race science through the novel's use of medical technology, the essay extends critical discourse on the relationship between eugenics, progressive politics, and racial uplift in the early twentieth century. Bringing the politics of the past to bear on the present, it advances a critique of the persistent cultural legacy of progressive era scientific thought.
摘要:1931年，非裔美国记者乔治·斯凯勒(George Schuyler)设想了一种可以将黑人变成白人和美国政治颠倒的医疗方法。斯凯勒的小说《不再是黑人》(Black No More)利用这种虚构的改变种族的技术，对进步时代将优生科学作为社会改革工具的投资进行了讽刺批评。这部小说借鉴了关于人类完美的流行科学理论——电子医学、卫生营养和腺体理论——设想了一种技术复制模式，它困扰着生物遗传的优生理论，并模仿了政治和科学的进步结合。在阅读斯凯勒通过小说对医疗技术的运用与美国种族科学的反向接触时，本文扩展了对优生学、进步政治和20世纪初种族提升之间关系的批判性论述。它将过去的政治带到现在，对进步时代科学思想的持久文化遗产提出了批评。
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Pub Date : 2022-03-01DOI: 10.1215/0041462x-9668910
N. Kang
Abstract:This essay argues that Langston Hughes’s acclaimed short story “The Blues I’m Playing” (1934) offers provocative feminist and queer insights into “Negrotarian” patronage of the early twentieth century. Against the backdrop of the Harlem Renaissance, the discussion sets out to define an interracial, intergenerational homoerotics of patronage between the white widowed elder, Mrs. Dora Ellsworth, and young Black pianist, Ms. Oceola Jones. The discussion places in stark relief the patron’s erotic competition with her protégée’s working-class African American fiancé. The article also grapples with topics like racialized obsession, the role of community in a black artist’s self-concept, and the best avenues for interracial solidarity across planes of difference. Understanding mature women’s legitimacy as sexual subjects and the persistence of queer loneliness (despite class and race privilege) also come to the fore.
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Pub Date : 2022-03-01DOI: 10.1215/0041462x-9668871
L. Davies
Abstract:This article explores the emergence of a new mode of representing the poor that became dominant in Britain in the early twentieth century—a mode in which the “point of view” of impoverished people themselves was increasingly foregrounded. Focusing on examples drawn from documentary film, Mass Observation, and the publications of Victor Gollancz Ltd., the article considers how, while marking a kind of formal shift away from a late Victorian discourse of poverty, this development maintains that earlier discourse’s disciplinary agenda. In examining three case studies—John Taylor, Arthur Elton, Edgar Anstey, and Ruby Grierson’s Housing Problems; Humphrey Jennings and Charles Madge’s Mass Observation Day Survey; and H. Beales and R. Lambert’s Memoirs of the Unemployed—it argues that the new point of view mode marked a continuation in the twentieth century of the outlook that shaped representations of poverty in the late Victorian era.
{"title":"Representing the Poor: Interwar Documentary Film, Mass Observation, and Victor Gollancz Ltd.","authors":"L. Davies","doi":"10.1215/0041462x-9668871","DOIUrl":"https://doi.org/10.1215/0041462x-9668871","url":null,"abstract":"Abstract:This article explores the emergence of a new mode of representing the poor that became dominant in Britain in the early twentieth century—a mode in which the “point of view” of impoverished people themselves was increasingly foregrounded. Focusing on examples drawn from documentary film, Mass Observation, and the publications of Victor Gollancz Ltd., the article considers how, while marking a kind of formal shift away from a late Victorian discourse of poverty, this development maintains that earlier discourse’s disciplinary agenda. In examining three case studies—John Taylor, Arthur Elton, Edgar Anstey, and Ruby Grierson’s Housing Problems; Humphrey Jennings and Charles Madge’s Mass Observation Day Survey; and H. Beales and R. Lambert’s Memoirs of the Unemployed—it argues that the new point of view mode marked a continuation in the twentieth century of the outlook that shaped representations of poverty in the late Victorian era.","PeriodicalId":44252,"journal":{"name":"TWENTIETH CENTURY LITERATURE","volume":"8 1","pages":"1 - 24"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88822445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-01DOI: 10.1215/0041462x-9668884
Kayvan Tahmasebian, R. Gould
Abstract:This article explores how the Iranian poet and translator Ahmad Shamlu (1925–2000) reconceives the configuration of world poetics. Working at the intersection of global modernism and translation studies, it traces the formation of a Persian modernist poetics of solidarity on the basis of translations from so-called third-world literatures and explores how Shamlu’s political aesthetic traverses national borders to embrace ignored and marginalized poetic traditions. Rather than relying on French and other European modernisms to reinvigorate his national literature, Shamlu made available to his Iranian contemporaries a broad panorama of world literature that brought together Global Southern literatures, modernist poetics, and transnational political commitments. In tracing the literary and political forms shaped by Shamlu’s poetics of global solidarity, this article develops a post-Eurocentric framework for the study of Iranian literary modernism.
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