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Broken English: Dickens, Kipling, Co...

Faulkner, David.

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Broken English: Dickens, Kipling, Conrad and Woolf in global space.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Broken English: Dickens, Kipling, Conrad and Woolf in global space./
作者:	Faulkner, David.
面頁冊數:	428 p.
附註:	Advisers: Elaine Showalter; U. C. Knoepflmacher.
Contained By:	Dissertation Abstracts International56-05A.
標題:	Literature, English. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9532843

Broken English: Dickens, Kipling, Conrad and Woolf in global space.
Faulkner, David.

Broken English: Dickens, Kipling, Conrad and Woolf in global space. - 428 p.

Advisers: Elaine Showalter; U. C. Knoepflmacher.

Thesis (Ph.D.)--Princeton University, 1995.

This dissertation assesses some consequences, in British fiction, of the emergence of "global space" by 1870. These consequences include a breakdown of conventional literary structures of narrative and identity, as well as the production of the concept of "culture" itself (in both its Arnoldian and anthropological senses). Major changes were occurring in British imperial society by 1870: the triumph of a fully global capitalist system; the perceived annihilation of distance by steamship, railroad and telegraph; the stirring of commercial and imperial rivalry and the death of free trade; the confrontation with alien cultures along a global frontier. These massive structural shifts resisted the traditional historical understanding afforded by ontogenetic, domestic narrative; they generated contradictory new "culture concepts"--new cultural spaces to be mapped--which are legible as mutations within British culture itself as well as in its relation to the non-European world.Subjects--Topical Terms:

1017709
Literature, English.

Broken English: Dickens, Kipling, Conrad and Woolf in global space.
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100 1 $a Faulkner, David. $3 713082
245 1 0 $a Broken English: Dickens, Kipling, Conrad and Woolf in global space.
300 $a 428 p.
500 $a Advisers: Elaine Showalter; U. C. Knoepflmacher.
500 $a Source: Dissertation Abstracts International, Volume: 56-05, Section: A, page: 1789.
502 $a Thesis (Ph.D.)--Princeton University, 1995.
520 $a This dissertation assesses some consequences, in British fiction, of the emergence of "global space" by 1870. These consequences include a breakdown of conventional literary structures of narrative and identity, as well as the production of the concept of "culture" itself (in both its Arnoldian and anthropological senses). Major changes were occurring in British imperial society by 1870: the triumph of a fully global capitalist system; the perceived annihilation of distance by steamship, railroad and telegraph; the stirring of commercial and imperial rivalry and the death of free trade; the confrontation with alien cultures along a global frontier. These massive structural shifts resisted the traditional historical understanding afforded by ontogenetic, domestic narrative; they generated contradictory new "culture concepts"--new cultural spaces to be mapped--which are legible as mutations within British culture itself as well as in its relation to the non-European world.
520 $a The unfinished, conflicting narrative and characterological paradigms of The Mystery of Edwin Drood decenter a whole Dickensian novelistic tradition; they exemplify the tensions animating the nascent Victorian "culture-concept." The history of British opiate use offers a way into the novel's shifty cultural poetics. My next sections contrast Kipling's and Conrad's early responses to the globalized cultural conflicts and uneven development that imperialism produced. Kipling's "knowing" narrative personae anticipate adjacent developments in fieldwork ethnography; beneath his confident epistemological claims lies a dizzying experience of a new technological sublime. In his "Malayan trilogy," Conrad embeds his protagonists' cultural dislocations and corrosive skepticism in an overarching narrative of the triumph of steam power in global space; he attempts quixotically to inscribe, simultaneously, the totalizing narrative of conquest and the fragmentary, "subaltern" narrative of resistance. My final chapter examines Virginia Woolf's eccentric, overdetermined relationship to the dominant British culture. The Voyage Out emerges as Woolf's autobiographical meditation on the imperial cultural tradition that both produces and excludes her, as a "modern" artist and a woman writer. Woolf's culture-concept acknowledges its global subtext. I conclude by suggesting a few late-Victorian anticipations of present "postcolonial" concerns.
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790 1 0 $a Showalter, Elaine, $e advisor
791 $a Ph.D.
792 $a 1995
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9532843