東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Peripheral visions: Picturing human ...

Toth, Margaret A.

FindBook

Google Book

Amazon

博客來

Peripheral visions: Picturing human bodies in American literature and visual culture, 1900--1919.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Peripheral visions: Picturing human bodies in American literature and visual culture, 1900--1919./
作者:	Toth, Margaret A.
面頁冊數:	292 p.
附註:	Source: Dissertation Abstracts International, Volume: 70-01, Section: A, page: 1840.
Contained By:	Dissertation Abstracts International70-01A.
標題:	American literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3341725
ISBN:	9780549973706

Peripheral visions: Picturing human bodies in American literature and visual culture, 1900--1919.
Toth, Margaret A.

Peripheral visions: Picturing human bodies in American literature and visual culture, 1900--1919. - 292 p.

Source: Dissertation Abstracts International, Volume: 70-01, Section: A, page: 1840.

Thesis (Ph.D.)--Tufts University, 2008.

This dissertation interrogates tensions between visual and written representational practices in early-twentieth-century U.S. texts. Drawing on thinkers such as Michel Foucault and Jonathan Crary, I demonstrate that this period contributed to a significant paradigm shift in the way we think about and experience both vision and images. In the early decades of the twentieth century, image-oriented technology was entering mainstream life at a rapid pace: several optical devices popular in the nineteenth century were still prevalent; photography was undergoing major transformations; and the period had its own new visual form with which to contend, film. Such media, I suggest, monopolized realism, particularly when it came to representations of the human body. In two separate chapters on visual texts, one on the living human exhibits at Buffalo's Pan-American Exposition (1901) and the other on D. W. Griffith's Broken Blossoms (1919), I show how different visual technologies functioned to organize and make intelligible visible bodily signs in support of dominant power structures.

ISBN: 9780549973706Subjects--Topical Terms:

523234
American literature.

Peripheral visions: Picturing human bodies in American literature and visual culture, 1900--1919.
LDR:03158nmm a2200277 4500 001 2073569
005 20160915122807.5
008 170521s2008 ||||||||||||||||| ||eng d
020 $a 9780549973706
035 $a (MiAaPQ)AAI3341725
035 $a AAI3341725
040 $a MiAaPQ $c MiAaPQ
100 1 $a Toth, Margaret A. $3 3188836
245 1 0 $a Peripheral visions: Picturing human bodies in American literature and visual culture, 1900--1919.
300 $a 292 p.
500 $a Source: Dissertation Abstracts International, Volume: 70-01, Section: A, page: 1840.
500 $a Adviser: Elizabeth Ammons.
502 $a Thesis (Ph.D.)--Tufts University, 2008.
520 $a This dissertation interrogates tensions between visual and written representational practices in early-twentieth-century U.S. texts. Drawing on thinkers such as Michel Foucault and Jonathan Crary, I demonstrate that this period contributed to a significant paradigm shift in the way we think about and experience both vision and images. In the early decades of the twentieth century, image-oriented technology was entering mainstream life at a rapid pace: several optical devices popular in the nineteenth century were still prevalent; photography was undergoing major transformations; and the period had its own new visual form with which to contend, film. Such media, I suggest, monopolized realism, particularly when it came to representations of the human body. In two separate chapters on visual texts, one on the living human exhibits at Buffalo's Pan-American Exposition (1901) and the other on D. W. Griffith's Broken Blossoms (1919), I show how different visual technologies functioned to organize and make intelligible visible bodily signs in support of dominant power structures.
520 $a By contrast, early-twentieth-century multiethnic fiction consistently problematized vision's alignment with scientific realism. In chapters on Charles Chesnutt's The House Behind the Cedars (1900), Edith's Wharton's The House of Mirth (1905), and Maria Cristina Mena's short fiction (1910s), I argue that writers from the period were conscious---at times, hyper-conscious---of developments in visual technology and of that technology's ability to capture and re-present to a largely uncritical public images that masqueraded as "truth." While these particular writers are quite different in terms of voice, form, and target audience, they share one important literary impulse: they all deploy ocular-centric language to undermine the power visual media---including painting, photography, film, the mug shot, and medical illustrations---holds over representing human bodies. In many respects, their texts theorize the human body in ways we would now call postmodern; well in advance of cultural theorists like Foucault and Judith Butler, Chesnutt, Wharton, and Mena were exposing the body as a construct and inviting readers to consider whose interests such constructions serve.
590 $a School code: 0234.
650 4 $a American literature. $3 523234
690 $a 0591
710 2 $a Tufts University. $b English. $3 1022054
773 0 $t Dissertation Abstracts International $g 70-01A.
790 $a 0234
791 $a Ph.D.
792 $a 2008
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3341725