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The modern savage: Figures of the fa...

Watkins, Raymond J.

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The modern savage: Figures of the fascist 'primitive' in interwar Europe.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The modern savage: Figures of the fascist 'primitive' in interwar Europe./
Author:	Watkins, Raymond J.
Description:	370 p.
Notes:	Adviser: Steven Ungar.
Contained By:	Dissertation Abstracts International67-07A.
Subject:	Literature, American. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3225686
ISBN:	9780542796173

The modern savage: Figures of the fascist 'primitive' in interwar Europe.
Watkins, Raymond J.

The modern savage: Figures of the fascist 'primitive' in interwar Europe. - 370 p.

Adviser: Steven Ungar.

Thesis (Ph.D.)--The University of Iowa, 2006.

The Modern Savage: Figures of the Fascist 'Primitive' in Interwar Europe examines primitivist tropes in the fiction and art of three artists from three countries: D. H. Lawrence (England), Max Ernst (Germany. France), and Djuna Barnes (the United States, France). I argue that this range of modernist tropes---whether animal, tribesperson Jew, woman, or forest---overlaps significantly with an idealized agrarian Nature found in fascist ideology. Modernism uses the trope of fascism to stress material vitalist practices that liberate the individual from history, tradition, and the stifling aspects of civilization. This primitivism thus paradoxically leads to a glorification of modernity's innovations through tropes of machinery and the technology of war. I trace the way fascist tropes emerge in modernism through the notion of a "becoming" developed by French philosophers Gilles Deleuze and Felix Guattari.

ISBN: 9780542796173Subjects--Topical Terms:

1017657
Literature, American.

The modern savage: Figures of the fascist 'primitive' in interwar Europe.
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100 1 $a Watkins, Raymond J. $3 1297760
245 1 4 $a The modern savage: Figures of the fascist 'primitive' in interwar Europe.
300 $a 370 p.
500 $a Adviser: Steven Ungar.
500 $a Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2569.
502 $a Thesis (Ph.D.)--The University of Iowa, 2006.
520 $a The Modern Savage: Figures of the Fascist 'Primitive' in Interwar Europe examines primitivist tropes in the fiction and art of three artists from three countries: D. H. Lawrence (England), Max Ernst (Germany. France), and Djuna Barnes (the United States, France). I argue that this range of modernist tropes---whether animal, tribesperson Jew, woman, or forest---overlaps significantly with an idealized agrarian Nature found in fascist ideology. Modernism uses the trope of fascism to stress material vitalist practices that liberate the individual from history, tradition, and the stifling aspects of civilization. This primitivism thus paradoxically leads to a glorification of modernity's innovations through tropes of machinery and the technology of war. I trace the way fascist tropes emerge in modernism through the notion of a "becoming" developed by French philosophers Gilles Deleuze and Felix Guattari.
520 $a Within each case-study chapter, I explore the way fascism becomes a privileged trope by which to understand the relation between the 'primitive' and the highly aestheticized realm that characterizes modernism in conjunction with eight themes: the fascination with sadomasochism, violence and horror as a positive transformative power, depicted through war, the soldier, bombing or the battlefield; the emphasis on vitalism, especially in the way the biological is seen to multiply and reproduce outside the rational control of the human; the portrayal of female characters as idealized symbols of beauty in contrast to either the virile animal or warrior-soldier; the primitive tribesman or animal as capable of savagely destroying an enervated and lifeless bourgeois society; the emphasis on performativity in which 'primitive' characters are put on display in the style of fascist pageantry and spectacle; the literary movement of decadence, as it informs representations of the primitive, the homosexual, and to emphasize the artificial and constructed nature of the work of art; allusion to animal vision or the animal eve as a return to prelapsarian wholeness in contrast to the 'blind' human world; and finally, the metaphor of the machine, used in Italian Futurism and German protofascism to glorify the mechanical processes of automatism and to emphasize the nonhuman.
590 $a School code: 0096.
650 4 $a Literature, American. $3 1017657
650 4 $a Literature, Comparative. $3 530051
650 4 $a Literature, English. $3 1017709
650 4 $a Literature, Germanic. $3 1019072
690 $a 0295
690 $a 0311
690 $a 0591
690 $a 0593
710 2 0 $a The University of Iowa. $3 1017439
773 0 $t Dissertation Abstracts International $g 67-07A.
790 $a 0096
790 1 0 $a Ungar, Steven, $e advisor
791 $a Ph.D.
792 $a 2006
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3225686