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Society of the specter: A spectropoe...

Hay, Simon John.

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Society of the specter: A spectropoetics of Atlantic modernism (James Joyce, Ireland, T. S. Eliot, Kenneth Slessor, Australia, Amos Tutuola, Nigeria).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Society of the specter: A spectropoetics of Atlantic modernism (James Joyce, Ireland, T. S. Eliot, Kenneth Slessor, Australia, Amos Tutuola, Nigeria)./
Author:	Hay, Simon John.
Description:	257 p.
Notes:	Source: Dissertation Abstracts International, Volume: 65-06, Section: A, page: 2195.
Contained By:	Dissertation Abstracts International65-06A.
Subject:	Literature, Modern. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3136820
ISBN:	0496840168

Society of the specter: A spectropoetics of Atlantic modernism (James Joyce, Ireland, T. S. Eliot, Kenneth Slessor, Australia, Amos Tutuola, Nigeria).
Hay, Simon John.

Society of the specter: A spectropoetics of Atlantic modernism (James Joyce, Ireland, T. S. Eliot, Kenneth Slessor, Australia, Amos Tutuola, Nigeria). - 257 p.

Source: Dissertation Abstracts International, Volume: 65-06, Section: A, page: 2195.

Thesis (Ph.D.)--Duke University, 2004.

Modernism is not typically thought of as a genre that engages with the gothic, in any mode other than dismissal. And yet the gothic abounds in modernist literature, and in particular, modernist literature is filled with ghosts. In this dissertation, I offer readings of James Joyce's Ulysses (1922), T. S. Eliot's The Waste Land (1922), Kenneth Slessor's "Five Bells" (1939), and Amos Tutuola's My Life in the Bush of Ghosts (1954), in order to explain what is specific about the ghost within modernism; to develop a modernist spectropoetics. I begin by offering readings of non-modernist ghost stories, in which the ghost represents some problem with the past that returns, rather than in order to represent some aspect of the past, returning. The ghost stories in which this reading is explored are Ellen Augusta Chad's "The Ghost of Wanganilla: Founded on Fact" (1895), L. P. Hartley's "A Visitor from Down Under" (1926), Thomas Burke's "The Hollow Man" (1933), Hugh Walpole's "The Little Ghost" (1922), and May Sinclair's "The Victim" (1922). In contrast with these non-modernist ghosts, I argue that in the modernist texts I read the ghost represents not the past but precisely what is most modern about the present: modernity itself is represented as ghostly. In Ulysses, Bloom's interest in advertising overlaps with the phantasmagoric nature of Dublin's commodities. In The Waste Land, the life of London's wealthy bourgeoisie is indistinguishable from the unlife of a ghost. In "Five Bells," Australian nationalism is critiqued in a poem portrays not a haunting but a failed haunting . And in My Life in the Bush of Ghosts, the Bush of Ghosts or spirit world represents modern Nigeria, in order to raise questions about colonial sovereignty. The primary theoretical ideas used in these readings are melancholy, as derived from Nicholas Abraham and Maria Torok, and the phantasmagoria, as explained by Walter Benjamin.

ISBN: 0496840168Subjects--Topical Terms:

624011
Literature, Modern.

Society of the specter: A spectropoetics of Atlantic modernism (James Joyce, Ireland, T. S. Eliot, Kenneth Slessor, Australia, Amos Tutuola, Nigeria).
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245 1 0 $a Society of the specter: A spectropoetics of Atlantic modernism (James Joyce, Ireland, T. S. Eliot, Kenneth Slessor, Australia, Amos Tutuola, Nigeria).
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500 $a Supervisors: Michael Valdez Moses; Ian Baucom.
502 $a Thesis (Ph.D.)--Duke University, 2004.
520 $a Modernism is not typically thought of as a genre that engages with the gothic, in any mode other than dismissal. And yet the gothic abounds in modernist literature, and in particular, modernist literature is filled with ghosts. In this dissertation, I offer readings of James Joyce's Ulysses (1922), T. S. Eliot's The Waste Land (1922), Kenneth Slessor's "Five Bells" (1939), and Amos Tutuola's My Life in the Bush of Ghosts (1954), in order to explain what is specific about the ghost within modernism; to develop a modernist spectropoetics. I begin by offering readings of non-modernist ghost stories, in which the ghost represents some problem with the past that returns, rather than in order to represent some aspect of the past, returning. The ghost stories in which this reading is explored are Ellen Augusta Chad's "The Ghost of Wanganilla: Founded on Fact" (1895), L. P. Hartley's "A Visitor from Down Under" (1926), Thomas Burke's "The Hollow Man" (1933), Hugh Walpole's "The Little Ghost" (1922), and May Sinclair's "The Victim" (1922). In contrast with these non-modernist ghosts, I argue that in the modernist texts I read the ghost represents not the past but precisely what is most modern about the present: modernity itself is represented as ghostly. In Ulysses, Bloom's interest in advertising overlaps with the phantasmagoric nature of Dublin's commodities. In The Waste Land, the life of London's wealthy bourgeoisie is indistinguishable from the unlife of a ghost. In "Five Bells," Australian nationalism is critiqued in a poem portrays not a haunting but a failed haunting . And in My Life in the Bush of Ghosts, the Bush of Ghosts or spirit world represents modern Nigeria, in order to raise questions about colonial sovereignty. The primary theoretical ideas used in these readings are melancholy, as derived from Nicholas Abraham and Maria Torok, and the phantasmagoria, as explained by Walter Benjamin.
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