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American proletarian Modernism and t...

Dawahare, Anthony David.

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American proletarian Modernism and the problem of modernity in the thirties: Meridel Le Sueur, Tillie Olsen, and Langston Hughes.

Record Type:	Electronic resources : Monograph/item
Title/Author:	American proletarian Modernism and the problem of modernity in the thirties: Meridel Le Sueur, Tillie Olsen, and Langston Hughes./
Author:	Dawahare, Anthony David.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1994,
Description:	187 p.
Notes:	Source: Dissertations Abstracts International, Volume: 55-11, Section: A.
Contained By:	Dissertations Abstracts International55-11A.
Subject:	American literature. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9415540
ISBN:	9798645415709

American proletarian Modernism and the problem of modernity in the thirties: Meridel Le Sueur, Tillie Olsen, and Langston Hughes.
Dawahare, Anthony David.

American proletarian Modernism and the problem of modernity in the thirties: Meridel Le Sueur, Tillie Olsen, and Langston Hughes. - Ann Arbor : ProQuest Dissertations & Theses, 1994 - 187 p.

Source: Dissertations Abstracts International, Volume: 55-11, Section: A.

Thesis (Ph.D.)--University of California, Irvine, 1994.

This item must not be sold to any third party vendors.

American proletarian literature of the thirties is a form of Modernism, both a product of and a response to modern social conditions, particularly the early twentieth-century urban experience. However, writers from the thirties also provide us with a unique vantage point on the Modernism of the late teens and twenties. Confronted with the Depression, mass movements, and the escalation of fascism around the world, many proletarian writers re-evaluate the Modernist aesthetics of the previous decades and, in the process, create a proletarian Modernism, an aesthetics sensitive to the conditions of workers, women, and minorities. Langston Hughes responds to the Depression by revising the Harlem Renaissance aesthetic that privileged African American cultural production as a sufficient force for ending racism in a period of political passivity. He dispenses with African American expressive forms and adapts colloquial images and discourses to give voice and support to a new, racially diverse, working-class subjectivity generated by the Depression. Tillie Olsen and Meridel Le Sueur revise Modernism by foregrounding issues of gender and class. Olsen is specifically critical or the reification of the family; she explores the complex relationships of domestic life to external social conditions. She deploys Modernist formal innovations, such as collage and parataxis, to map the interconnectedness of seemingly isolated social phenomena in order to overcome the fragmentation of social reality. Le Sueur attempts to overcome urban alienation, particularly that of women, through a philosophy that privileges intuition, emotion, and agrarianism as constitutive of utopian communities. Le Sueur's response to the issue of modernity is problematic, however, since it validates the neo-Romantic nostalgia of the thirties mass culture rather than rethinks social relationships in an advanced technological society. Nonetheless, because her writings represent a popular response to modernity, they contain valuable insights on the difficulty of going beyond the limitations of such a modern sensibility. Read as a response to American Modernism, as well as the social upheavals of the period, thirties literature proves to be far more relevant to current debates over what constitutes modernity, Modernism, and the beginnings of a "post-modern" literature than previously believed.

ISBN: 9798645415709Subjects--Topical Terms:

523234
American literature.
Subjects--Index Terms:

Hughes, Langston

American proletarian Modernism and the problem of modernity in the thirties: Meridel Le Sueur, Tillie Olsen, and Langston Hughes.
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520 $a American proletarian literature of the thirties is a form of Modernism, both a product of and a response to modern social conditions, particularly the early twentieth-century urban experience. However, writers from the thirties also provide us with a unique vantage point on the Modernism of the late teens and twenties. Confronted with the Depression, mass movements, and the escalation of fascism around the world, many proletarian writers re-evaluate the Modernist aesthetics of the previous decades and, in the process, create a proletarian Modernism, an aesthetics sensitive to the conditions of workers, women, and minorities. Langston Hughes responds to the Depression by revising the Harlem Renaissance aesthetic that privileged African American cultural production as a sufficient force for ending racism in a period of political passivity. He dispenses with African American expressive forms and adapts colloquial images and discourses to give voice and support to a new, racially diverse, working-class subjectivity generated by the Depression. Tillie Olsen and Meridel Le Sueur revise Modernism by foregrounding issues of gender and class. Olsen is specifically critical or the reification of the family; she explores the complex relationships of domestic life to external social conditions. She deploys Modernist formal innovations, such as collage and parataxis, to map the interconnectedness of seemingly isolated social phenomena in order to overcome the fragmentation of social reality. Le Sueur attempts to overcome urban alienation, particularly that of women, through a philosophy that privileges intuition, emotion, and agrarianism as constitutive of utopian communities. Le Sueur's response to the issue of modernity is problematic, however, since it validates the neo-Romantic nostalgia of the thirties mass culture rather than rethinks social relationships in an advanced technological society. Nonetheless, because her writings represent a popular response to modernity, they contain valuable insights on the difficulty of going beyond the limitations of such a modern sensibility. Read as a response to American Modernism, as well as the social upheavals of the period, thirties literature proves to be far more relevant to current debates over what constitutes modernity, Modernism, and the beginnings of a "post-modern" literature than previously believed.
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