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Modernism and melancholia: Affect an...

Flatley, Jonathan.

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Modernism and melancholia: Affect and aesthetics in the imagining of alternative modernities.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Modernism and melancholia: Affect and aesthetics in the imagining of alternative modernities./
作者:	Flatley, Jonathan.
面頁冊數:	321 p.
附註:	Source: Dissertation Abstracts International, Volume: 57-10, Section: A, page: 4357.
Contained By:	Dissertation Abstracts International57-10A.
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9710228
ISBN:	0591176904

Modernism and melancholia: Affect and aesthetics in the imagining of alternative modernities.
Flatley, Jonathan.

Modernism and melancholia: Affect and aesthetics in the imagining of alternative modernities. - 321 p.

Source: Dissertation Abstracts International, Volume: 57-10, Section: A, page: 4357.

Thesis (Ph.D.)--Duke University, 1996.

My dissertation, "Modernism and Melancholia: Affect and Aesthetics in the Imagining of Alternative Modernities," is a comparative project about the modern concern with the relationship between melancholia and aesthetics. My overall aim is twofold: to develop a conceptual framework for understanding modernism's international context, as well as a framework that would enable us to place affect at the center of a consideration of the potentially political or transformative value of art and literature.

ISBN: 0591176904Subjects--Topical Terms:

530051
Literature, Comparative.

Modernism and melancholia: Affect and aesthetics in the imagining of alternative modernities.
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500 $a Source: Dissertation Abstracts International, Volume: 57-10, Section: A, page: 4357.
500 $a Supervisor: Fredric R. Jameson.
502 $a Thesis (Ph.D.)--Duke University, 1996.
520 $a My dissertation, "Modernism and Melancholia: Affect and Aesthetics in the Imagining of Alternative Modernities," is a comparative project about the modern concern with the relationship between melancholia and aesthetics. My overall aim is twofold: to develop a conceptual framework for understanding modernism's international context, as well as a framework that would enable us to place affect at the center of a consideration of the potentially political or transformative value of art and literature.
520 $a Conceptions of affect have occupied a central place in many of the most famous attempts to theorize the nature and value of aesthetic experience--from theories of the sublime, to theories of tragedy and catharsis, to more recent accounts of the "waning of affect" in postmodern art. This theoretical tradition, however, despite its emphasis on affect, is not particularly strong at explaining what affect is, how it works, if or how affects and their structures have changed in different historical and social contexts, and exactly why aesthetics and affect have been so consistently associated. In my dissertation, I recover one particularly rich moment in the history of "all that has given color to existence" by examining the modern concern with the relationship between aesthetics and melancholia. My main focus is on a group of philosophically self-conscious aesthetic projects clustered around the late nineteenth and twentieth centuries that raise a specific and recognizable set of issues regarding the significance and modernity of the melancholia with which they are preoccupied. Through a series of readings of figures including Karl Marx, Sigmund Freud, Henry James, Walter Benjamin, W.E.B. Du Bois, Andrei Platonov and Andy Warhol, I recover and reconstruct one approach towards the relationship between aesthetic activity and melancholia, examining how this approach articulates a set of ideas about what modernity was and should be, and about what art could or should do about it.
520 $a I argue that behind the modernist interest in melancholia there is a central tension between two ideas about melancholia. I call the first view an apocalyptic one. This position views melancholia as the result of a failure to mourn a loss; the problem here is the ghostly return of the past in the present. From this perspective, aesthetic practices are valuable to the extent that they can either redeem melancholic experience or help us to finally mourn and leave behind the ghosts of the past. My main focus, however, is on recovering another attitude towards melancholy, what I call a spectropoetic one. In this modernism, the fact that the past keeps returning in the present making the time out of joint is not something to set right, but something to hold onto as the link to historicality itself. To the extent that melancholia is taken as a historically paradigmatic and exemplary structure of feeling, as a paradoxical and singular yoking together of the personal and the socio-political, it appears not primarily as a personal problem but as an occasion to consider and potentially contest the historicity of subjectivity. For this spectropoetic modernism, melancholia demands a more activist aesthetics, one that engages with the social context. (Abstract shortened by UMI.)
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650 4 $a Literature, American. $3 1017657
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