简·图默手杖中的熵和平衡

IF 0.1 4区 文学 0 LITERARY THEORY & CRITICISM MISSISSIPPI QUARTERLY Pub Date : 2022-06-08 DOI:10.1353/mss.2022.0004
Matthew Phillips
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引用次数: 0

摘要

我对凯恩的阅读是基于吉恩·图默在文本中使用熵和热力学第二定律来传达他种族平衡的政治目标。图默独特地将他的种族定义为“纯粹的美国人”,这是他希望通过他的文本与全国分享的愿景。在乔治亚州的斯巴达呆了一段时间后,他受到了写《甘蔗》的启发,这导致了他与他所谓的“民间精神”的形成性接触——一种文化能量,甚至在他第一次接触时,他就发现这种文化能量正在退化。我的研究表明,他对凯恩的希望是展示文本中最终的热死如何反映了他对国家种族平衡的看法。我对凯恩事件的分析表明,图默用他的文字来哀叹民间精神,他认为这种精神是宝贵的,但却与过时的社会和种族模式无情地联系在一起。图默试图通过他个人宣称他的种族是纯粹的美国人来消除种族障碍,而凯恩则拥有一位受到民间精神启发的作家的创造力。我的论文表明叶芝的《芦苇间的风》的中心主题是通过破坏创造。我的研究主要集中在他的一首不太为人所知的诗《黑猪谷》上,但也关注他的其他作品,比如《流浪的安古斯之歌》,以及由诗歌改编的戏剧《暗水》。我分析了叶芝在诗歌和戏剧中的风格选择如何反映了他创作时的思维过程。参考书目的稳定性使我能够在这些作品中阅读一个富有想象力的背景,同时保持在年表和出版数据强有力支持的证据基础上。我所做的大部分研究都使用了叶芝已发表和未发表的诗歌和戏剧手稿。我从早期草稿中收集到的信息使我能够通过对每篇文章的几次修改来追踪叶芝的思想历程。通过这种方法,我能够证明,在1899年的《芦苇间的风》中,通过破坏创造的再生循环——通过牺牲获得重生——是叶芝早在1884年就开始创作的过程的结果,他的戏剧《暗影之水》最早的未发表的草稿就已经开始了。他最终通过在他的作品中体现不同的人物,找到了身份的授权和稳定。
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Entropy and Equilibrium in Jean Toomer’s Cane
My reading of Cane is based on Jean Toomer’s use of entropy and the second law of thermodynamics within the text in order to communicate his political aim of a racial equilibrium. Toomer uniquely defined his race as “purely American,” and this was the vision he had hoped to share with the nation by way of his text. He was inspired to write Cane after a stint in Sparta, Georgia, resulted in a formative encounter with what he called the “folk-spirit”—a cultural energy that, even at his first encounter, he found to be degenerating. My research shows that his hope for Cane was to show how the eventual heat-death in the text mirrors his conception of racial equilibrium for the nation. My analysis of the events in Cane shows that Toomer uses his text to lament the folk-spirit that he saw as precious yet inexorably linked to outmoded social and racial models. Toomer sought to dissolve racial barriers through his personal proclamation of his race as purely American, and Cane harbors the creative force of an author freshly inspired by the folk-spirit. My thesis shows that the central theme of Yeats’s The Wind Among the Reeds is one of creation through destruction. My work centers upon one of his lesser-known poems, “The Valley of the Black Pig,” but also focuses on other works from the volume, such as “The Song of Wandering Aengus,” as well as the poem turned play, The Shadowy Waters. I analyze how Yeats’s stylistic choices in his poems and plays reflect his intellectual processes at the time of their composition. The stability of bibliography allows me to read an imaginative context into these works while remaining grounded in evidence that is strongly supported by chronology and publication data. Much of the research that I have done makes use of both published and unpublished manuscripts of Yeats’s poems and plays. The information I glean from early drafts allows me to trace Yeats’s intellectual process through several revisions of each text. Through this method I am able to show that the regenerative cycles of creation through destruction—rebirth via sacrifice—in 1899’s The Wind Among the Reeds are the result of a creative process that Yeats began as early as 1884, with the composition of the earliest unpublished draft of his play The Shadowy Waters. He ultimately finds empowerment and stability of identity through the embodiment of diverse personae throughout his body of work.
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来源期刊
MISSISSIPPI QUARTERLY
MISSISSIPPI QUARTERLY Arts and Humanities-Literature and Literary Theory
CiteScore
0.20
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0.00%
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期刊介绍: Founded in 1948, the Mississippi Quarterly is a refereed, scholarly journal dedicated to the life and culture of the American South, past and present. The journal is published quarterly by the College of Arts and Sciences of Mississippi State University.
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