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Modernity and its discontents: Cult...

Palermo, Lynn Elizabeth.

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Modernity and its discontents: Cultural debates in interwar France (Le Corbusier, Louis Aragon, Andre Gide, Andre Breton).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Modernity and its discontents: Cultural debates in interwar France (Le Corbusier, Louis Aragon, Andre Gide, Andre Breton)./
作者:	Palermo, Lynn Elizabeth.
面頁冊數:	331 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-12, Section: A, page: 4488.
Contained By:	Dissertation Abstracts International64-12A.
標題:	Literature, Romance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3114880

Modernity and its discontents: Cultural debates in interwar France (Le Corbusier, Louis Aragon, Andre Gide, Andre Breton).
Palermo, Lynn Elizabeth.

Modernity and its discontents: Cultural debates in interwar France (Le Corbusier, Louis Aragon, Andre Gide, Andre Breton). - 331 p.

Source: Dissertation Abstracts International, Volume: 64-12, Section: A, page: 4488.

Thesis (Ph.D.)--The Pennsylvania State University, 2003.

This dissertation analyzes a spectrum of verbal and cultural texts generated in France between the First and Second World Wars for the insights they provide into the creative and ethical struggles of a particular French artistic and intellectual elite to make sense of the modern industrial world with its potential for individual and societal liberation on the one hand, or totalitarianism on the other. These texts span the decorative arts, architecture, the culture of display, and literary forms. Through them, Le Corbusier, Louis Aragon, André Gide, and André Breton all wrestled with similar issues containing both societal and highly personal dimensions.Subjects--Topical Terms:

1019014
Literature, Romance.

Modernity and its discontents: Cultural debates in interwar France (Le Corbusier, Louis Aragon, Andre Gide, Andre Breton).
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245 1 0 $a Modernity and its discontents: Cultural debates in interwar France (Le Corbusier, Louis Aragon, Andre Gide, Andre Breton).
300 $a 331 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-12, Section: A, page: 4488.
500 $a Adviser: Monique Yaari.
502 $a Thesis (Ph.D.)--The Pennsylvania State University, 2003.
520 $a This dissertation analyzes a spectrum of verbal and cultural texts generated in France between the First and Second World Wars for the insights they provide into the creative and ethical struggles of a particular French artistic and intellectual elite to make sense of the modern industrial world with its potential for individual and societal liberation on the one hand, or totalitarianism on the other. These texts span the decorative arts, architecture, the culture of display, and literary forms. Through them, Le Corbusier, Louis Aragon, André Gide, and André Breton all wrestled with similar issues containing both societal and highly personal dimensions.
520 $a Chapters one and two focus on the culture of display, namely two large-scale exhibitions in Paris dedicated to two facets of modernity and national image construction, domestically and internationally, as well as on the protests which they elicited from Le Corbusier and Aragon, who contested the assumptions underlying these events.
520 $a The second half of this dissertation turns to literary texts and is grounded in the period from the mid-1930s until the early years of World War 11, an age marked by the increasing polarization of communism and fascism, and an expanded role for Western states' colonial possessions in global conflicts. Chapter three presents a reading of <italic>Les Nouvelles nourritures</italic> (1935), which argues that Gide critiques excessive rationalism and its instrumentalization in the service of capitalist views of progress.
520 $a Finally, chapter four examines <italic>Martinique, charmeuse de serpents </italic>, written in 1941 but published after World War II. Breton also takes on modern perversions of rationalism as manifested in the fascism practiced by authorities on Martinique during the Vichy regime, and the colonialism that had prepared its way, without, however, entirely escaping the lure of exoticism. I argue that beneath his critique of the power structures in Martinique, Breton seeks reaffirmation of the psychological, sensual, and artistic liberation underlying surrealism. Moreover, I show that while his own text, like Gide's, struggles painfully with the tension between art and politics, it also sets as an example of successful such heterogeneity in the work of Martinican poet Aimé Césaire. (Abstract shortened by UMI.)
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650 4 $a History, Modern. $3 516334
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790 $a 0176
791 $a Ph.D.
792 $a 2003
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