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Laughing Revolutions: The Popular Cu...

Leet, Stephen Everett.

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Laughing Revolutions: The Popular Culture of Modern Aesthetic Manifestos.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Laughing Revolutions: The Popular Culture of Modern Aesthetic Manifestos./
作者:	Leet, Stephen Everett.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
面頁冊數:	181 p.
附註:	Source: Dissertations Abstracts International, Volume: 81-03, Section: A.
Contained By:	Dissertations Abstracts International81-03A.
標題:	Cultural anthropology. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13857035
ISBN:	9781085779500

Laughing Revolutions: The Popular Culture of Modern Aesthetic Manifestos.
Leet, Stephen Everett.

Laughing Revolutions: The Popular Culture of Modern Aesthetic Manifestos. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 181 p.

Source: Dissertations Abstracts International, Volume: 81-03, Section: A.

Thesis (Ph.D.)--The University of Memphis, 2019.

This item must not be sold to any third party vendors.

During the first quarter of the twentieth century, a veritable manifesto-craze in the arts swept across Europe and the Americas. Inaugurated by F.T. Marinetti's "Founding and Manifesto of Futurism" (1909), this phenomenon saw the publication of thousands of manifesto texts and parodic manifestos announcing new aesthetic theories and movements in the form of bombastic and often incredulous rhetoric. This dissertation intervenes in the extant body of literary criticism on the subject of this phenomenon. It argues that, contrary to current analytic trends, these manifestos were irreducible to their generic antecedents in the realm of politics. Rather than seeking legitimacy for their artistic programs in the same way political manifestos seek legitimacy for and subscription to their political programs, the authors of these texts sought legitimacy through a paradoxical process of delegitimizing themselves, by appropriating a confluence of comedic framing, rhetoric, and performance specific to burgeoning forms of entertainment unique to early twentieth-century popular culture.Assessing the modern aesthetic manifesto with this internal cultural logic in mind, the project interrogates the genesis, popularization, and decline of the genre at its origin-point in Belle Epoque Paris. In what unfolds as a narrative of cultural actors, events, and reflexive relations, the project attends to the manifesto's popular reception in and appropriation of the theater, the press, cultural memory, and the visual arts, respectively. The genre's participation in each of these popular forms, I argue, expose a calculated invocation of the affective, innervating anxious indeterminacy between the serious and non-serious on the part of manifesto authors in order to gain public attention, effectively inculcating in the manifesto a new modality of popular entertainment.

ISBN: 9781085779500Subjects--Topical Terms:

2122764
Cultural anthropology.
Subjects--Index Terms:

Belle Epoque

Laughing Revolutions: The Popular Culture of Modern Aesthetic Manifestos.
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520 $a During the first quarter of the twentieth century, a veritable manifesto-craze in the arts swept across Europe and the Americas. Inaugurated by F.T. Marinetti's "Founding and Manifesto of Futurism" (1909), this phenomenon saw the publication of thousands of manifesto texts and parodic manifestos announcing new aesthetic theories and movements in the form of bombastic and often incredulous rhetoric. This dissertation intervenes in the extant body of literary criticism on the subject of this phenomenon. It argues that, contrary to current analytic trends, these manifestos were irreducible to their generic antecedents in the realm of politics. Rather than seeking legitimacy for their artistic programs in the same way political manifestos seek legitimacy for and subscription to their political programs, the authors of these texts sought legitimacy through a paradoxical process of delegitimizing themselves, by appropriating a confluence of comedic framing, rhetoric, and performance specific to burgeoning forms of entertainment unique to early twentieth-century popular culture.Assessing the modern aesthetic manifesto with this internal cultural logic in mind, the project interrogates the genesis, popularization, and decline of the genre at its origin-point in Belle Epoque Paris. In what unfolds as a narrative of cultural actors, events, and reflexive relations, the project attends to the manifesto's popular reception in and appropriation of the theater, the press, cultural memory, and the visual arts, respectively. The genre's participation in each of these popular forms, I argue, expose a calculated invocation of the affective, innervating anxious indeterminacy between the serious and non-serious on the part of manifesto authors in order to gain public attention, effectively inculcating in the manifesto a new modality of popular entertainment.
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