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Post-human mimesis and the aesthetic...

Berkley, James David.

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Post-human mimesis and the aesthetics of the technical milieu.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Post-human mimesis and the aesthetics of the technical milieu./
作者:	Berkley, James David.
面頁冊數:	491 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-01, Section: A, page: 0137.
Contained By:	Dissertation Abstracts International65-01A.
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3117695

Post-human mimesis and the aesthetics of the technical milieu.
Berkley, James David.

Post-human mimesis and the aesthetics of the technical milieu. - 491 p.

Source: Dissertation Abstracts International, Volume: 65-01, Section: A, page: 0137.

Thesis (Ph.D.)--University of California, Los Angeles, 2004.

This dissertation proposes that contemporary ideas of post-human subjectivity have antecedents in nineteenth-century literature affiliated with the decadent tradition, and that this connection is best understood through concepts of imitation and environment. Both decadence and post-humanism, I argue, reflect debates over mimesis that go back to Plato, Aristotle, and Longinian aesthetics of the sublime: since the nineteenth century, these debates have often concerned modes of human interaction with an increasingly pervasive “technical Like their later heirs, authors associated with decadence explored how submitting to a mimetic, performative relationship with technological modernity could yield experiences of post-human transcendence that resisted instrumental forms of mimesis and outwitted concerns about technical and environmental domination. Yet while these aesthetics brought new understandings of mediation into embodied and textual practice, they were grounded in a logic of subjective inscription that was ethically and politically ambiguous and could heighten cultural anxiety.Subjects--Topical Terms:

530051
Literature, Comparative.

Post-human mimesis and the aesthetics of the technical milieu.
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500 $a Source: Dissertation Abstracts International, Volume: 65-01, Section: A, page: 0137.
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502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2004.
520 $a This dissertation proposes that contemporary ideas of post-human subjectivity have antecedents in nineteenth-century literature affiliated with the decadent tradition, and that this connection is best understood through concepts of imitation and environment. Both decadence and post-humanism, I argue, reflect debates over mimesis that go back to Plato, Aristotle, and Longinian aesthetics of the sublime: since the nineteenth century, these debates have often concerned modes of human interaction with an increasingly pervasive “technical Like their later heirs, authors associated with decadence explored how submitting to a mimetic, performative relationship with technological modernity could yield experiences of post-human transcendence that resisted instrumental forms of mimesis and outwitted concerns about technical and environmental domination. Yet while these aesthetics brought new understandings of mediation into embodied and textual practice, they were grounded in a logic of subjective inscription that was ethically and politically ambiguous and could heighten cultural anxiety.
520 $a The study is divided into three parts. Part One offers two chapters of introduction to the historical trajectory covered: after a theoretical introduction on concepts of mimesis, decadence, and milieu, I turn next to Arthur Machen's <italic> The Great God Pan</italic> and J. G. Ballard's <italic>Crash</italic> as a means of proposing a heuristic distinction between “gothic” and “celebratory” modes of post-human mimesis. Part Two contains two chapters on Edgar Allan Poe: the first compares motifs of decadent performance in his essay “Maelzel's Chess-Player” with Alan Turing's “imitation game;” the second examines the diverse contexts of mimesis and post-human subjectivity that inform Poe's fiction and criticism. The three chapters in Part Three turn to France after 1850, tracing the relationship between mimesis, post-human embodiment, and notions of global, national, domestic, and cosmic space in authors ranging from Baudelaire, Guy de Maupassant and Max Nordau, to Huysmans, Rachilde, and Villiers de l'Isle-Adam. In my Conclusion, I discuss the crisis of passivity that post-human mimesis faced by the end of the nineteenth century and look at the work of Alfred Jarry and F. T. Marinetti to sketch how twentieth-century aesthetics sought a revitalized mimesis as a solution.
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