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Seeing in the dark: Race, represent...

Sarver, Cynthia Ann.

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Seeing in the dark: Race, representation, and visuality in literary modernism (Gertrude Stein, Virginia Woolf, Zora Neale Hurston, Djuna Barnes).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Seeing in the dark: Race, representation, and visuality in literary modernism (Gertrude Stein, Virginia Woolf, Zora Neale Hurston, Djuna Barnes)./
Author:	Sarver, Cynthia Ann.
Description:	320 p.
Notes:	Source: Dissertation Abstracts International, Volume: 65-07, Section: A, page: 2616.
Contained By:	Dissertation Abstracts International65-07A.
Subject:	Literature, English. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3140551
ISBN:	0496876929

Seeing in the dark: Race, representation, and visuality in literary modernism (Gertrude Stein, Virginia Woolf, Zora Neale Hurston, Djuna Barnes).
Sarver, Cynthia Ann.

Seeing in the dark: Race, representation, and visuality in literary modernism (Gertrude Stein, Virginia Woolf, Zora Neale Hurston, Djuna Barnes). - 320 p.

Source: Dissertation Abstracts International, Volume: 65-07, Section: A, page: 2616.

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

This dissertation examines the ways in which formal aspects of race representation in transatlantic literary modernism correspond with what Martin Jay identifies as "antiocularcentrism" in twentieth-century thought. To this end, I chart the integral role of racial visibility in literary modernism's rejection of visual realism in favor of a more obscured and embodied literary image. Beginning with W. E. B. Du Bois's turn-of-the-century model of racial double-consciousness, I show how terms of perception, race, embodiment, and subjectivity also figure significantly in the experimental writings of Gertrude Stein, Viriginia Woolf, Zora Neale Hurston, and Djuna Barnes. This unusual grouping of writers allows me to interrogate one traditional explanation of early twentieth-century literary experimentalism as aesthetic, solipsistic, and resolutely apolitical in order to demonstrate crucial ethical underpinnings of this literature. The ethics of representing visible racial difference play a key role, I argue, in determining what I call the "textual opacity" of works such as Steins "Melanctha," Woolf's Orlando: A Biography, Hurston's Tell My Horse: Voodoo and Life in Haiti and Jamaica, and Barnes's Nightwood.

ISBN: 0496876929Subjects--Topical Terms:

1017709
Literature, English.

Seeing in the dark: Race, representation, and visuality in literary modernism (Gertrude Stein, Virginia Woolf, Zora Neale Hurston, Djuna Barnes).
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100 1 $a Sarver, Cynthia Ann. $3 1903945
245 1 0 $a Seeing in the dark: Race, representation, and visuality in literary modernism (Gertrude Stein, Virginia Woolf, Zora Neale Hurston, Djuna Barnes).
300 $a 320 p.
500 $a Source: Dissertation Abstracts International, Volume: 65-07, Section: A, page: 2616.
500 $a Adviser: Joseph Allen Boone.
502 $a Thesis (Ph.D.)--University of Southern California, 2004.
520 $a This dissertation examines the ways in which formal aspects of race representation in transatlantic literary modernism correspond with what Martin Jay identifies as "antiocularcentrism" in twentieth-century thought. To this end, I chart the integral role of racial visibility in literary modernism's rejection of visual realism in favor of a more obscured and embodied literary image. Beginning with W. E. B. Du Bois's turn-of-the-century model of racial double-consciousness, I show how terms of perception, race, embodiment, and subjectivity also figure significantly in the experimental writings of Gertrude Stein, Viriginia Woolf, Zora Neale Hurston, and Djuna Barnes. This unusual grouping of writers allows me to interrogate one traditional explanation of early twentieth-century literary experimentalism as aesthetic, solipsistic, and resolutely apolitical in order to demonstrate crucial ethical underpinnings of this literature. The ethics of representing visible racial difference play a key role, I argue, in determining what I call the "textual opacity" of works such as Steins "Melanctha," Woolf's Orlando: A Biography, Hurston's Tell My Horse: Voodoo and Life in Haiti and Jamaica, and Barnes's Nightwood.
520 $a Mistrustful of conflating vision, knowledge, and language, these writers aim to destabilize a realist visual regime that perpetuates the inequities emblematized in visible racial difference. Thus their texts trace and critique the positivist strains within discourses of photography, empirical psychology, mass media, anthropology, and fascist propaganda, particularly as these serve potentially racist ideologies. The opaque, embodied images that result from these authors' literary interventions have significant implications for representations of race and subjectivity both within and without their texts. I show how their writings also perform the ethical relations that they thematize by requiring readers to adapt their reading practices from the ways of "seeing" and knowing implied by the realist text to the more intuitive, tentative, embodied, and intersubjective reading relations required by the visually opaque text. It is my claim that modern experimental literature's performance of this more phenomenological textual relation---a "seeing" filtered through the veil of the body---can be read as a response to the epistemological concerns of an emergent racial discourse.
590 $a School code: 0208.
650 4 $a Literature, English. $3 1017709
650 4 $a Literature, Modern. $3 624011
650 4 $a Literature, American. $3 1017657
650 4 $a Women's Studies. $3 1017481
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710 2 0 $a University of Southern California. $3 700129
773 0 $t Dissertation Abstracts International $g 65-07A.
790 1 0 $a Boone, Joseph Allen, $e advisor
790 $a 0208
791 $a Ph.D.
792 $a 2004
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