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Ghosts in the machine: Modernism's ...

Williams, Jennifer Hardy.

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Ghosts in the machine: Modernism's religious other (Soren Kierkegaard, Denmark, Joseph Conrad, Gertrude Stein).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Ghosts in the machine: Modernism's religious other (Soren Kierkegaard, Denmark, Joseph Conrad, Gertrude Stein)./
作者:	Williams, Jennifer Hardy.
面頁冊數:	304 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-08, Section: A, page: 2986.
Contained By:	Dissertation Abstracts International65-08A.
標題:	Literature, English. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3142956
ISBN:	0496010255

Ghosts in the machine: Modernism's religious other (Soren Kierkegaard, Denmark, Joseph Conrad, Gertrude Stein).
Williams, Jennifer Hardy.

Ghosts in the machine: Modernism's religious other (Soren Kierkegaard, Denmark, Joseph Conrad, Gertrude Stein). - 304 p.

Source: Dissertation Abstracts International, Volume: 65-08, Section: A, page: 2986.

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

This dissertation analyzes the use of religious tropes in the fiction of Soren Kierkegaard, Joseph Conrad, and Gertrude Stein to argue that religion is the defining feature of a modernism that locates resistance to totalizing hegemonies through modes of religious play, irony, and contingency. The religious, then, stages a particular way of reading that transforms totality into a revalued ethics.

ISBN: 0496010255Subjects--Topical Terms:

1017709
Literature, English.

Ghosts in the machine: Modernism's religious other (Soren Kierkegaard, Denmark, Joseph Conrad, Gertrude Stein).
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500 $a Source: Dissertation Abstracts International, Volume: 65-08, Section: A, page: 2986.
500 $a Chair: J. Hillis Miller.
502 $a Thesis (Ph.D.)--University of California, Irvine, 2004.
520 $a This dissertation analyzes the use of religious tropes in the fiction of Soren Kierkegaard, Joseph Conrad, and Gertrude Stein to argue that religion is the defining feature of a modernism that locates resistance to totalizing hegemonies through modes of religious play, irony, and contingency. The religious, then, stages a particular way of reading that transforms totality into a revalued ethics.
520 $a In Chapter One, I contend that Kierkegaard defines provisionally the religious as a modality, an unstable ironic stance, as opposed to the content of a single message. Proper reading, then, is that which recognizes its own limits. In defining the religious as a modality marked by resistance to comprehension, Kierkegaard re-imagines the creation of subjectivity.
520 $a In Chapter Two, I argue that, for Joseph Conrad, engagement with the religious takes place by reading well, a practice, he contends, at which we often fail. This failure is emblematic of the dilemma of early-twentieth century modernity in which the reading practices of the Judeo-Christian tradition are no longer guaranteed by God. Reading religiously for Conrad, represented by the contingency of risk and love, is something that pays attention to the individual.
520 $a In Chapter Three, Gertrude Stein employs religious tropes in her opera Four Saints in Three Acts as a deliberate staging of responsibilities that is represented by saints who do nothing. Stein's saints transvalue the terms "something" and "nothing" to demonstrate a resistance to totality that holds on fiercely to the everyday. The religious, figured as this transgressive nothingness, reinvigorates what it means to be ethical by refusing to engage in false economies.
520 $a Stein's grappling with false universalisms comes to its full expression in her novel Mrs. Reynolds. I argue in Chapter Four that prophecy and saints, as species of nothingness, act with a performativity that disrupts temporality within history. In so doing, the religious undoes the oppressiveness of history by demonstrating that no reading of history can be complete. Because prophecy and the figure of Saint Odile disrupt the traditional rules of reading, the characters in the novel must instead read the particularities of their everyday lives.
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