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Mystifying Technologies : = Production and Prestige in Contemporary Literary Fiction.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Mystifying Technologies :/
其他題名:	Production and Prestige in Contemporary Literary Fiction.
作者:	Weeks Mahoney, Mackenzie.
面頁冊數:	1 online resource (181 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-05, Section: A.
Contained By:	Dissertations Abstracts International84-05A.
標題:	Modern literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29393891click for full text (PQDT)
ISBN:	9798352937730

Mystifying Technologies : = Production and Prestige in Contemporary Literary Fiction.
Weeks Mahoney, Mackenzie.

Mystifying Technologies :Production and Prestige in Contemporary Literary Fiction. - 1 online resource (181 pages)

Source: Dissertations Abstracts International, Volume: 84-05, Section: A.

Thesis (Ph.D.)--University of California, Irvine, 2022.

Includes bibliographical references

"Mystifying Technologies: Production and Prestige in Contemporary Literary Fiction" examines how contemporary literary fiction as a genre coalesces in the late twentieth- and twenty-first centuries to lend unique figuration to the material conditions of literary production and consumption in the US. Reading novels symptomatically and sociologically, the dissertation articulates how the formal and thematic fixations of novels published as "literary fiction" emerge in response to conflicting artistic, economic, and cultural demands for literature to achieve both profitability and prestige. Registering the effects of publishing industry conglomeration, technological advancement, and economic precarity in the present historical moment, it focuses on one prominent strand of recent literary fiction which grapples with the tension between aesthetic ideals and market imperatives by representing the processes attendant to capitalist mystification-from technological mediation to alienation and even fictionalization itself-through formal and thematic engagements with magic, mystification, and dematerialization in otherwise strictly realist texts. The first chapter argues for understanding autofiction, a dominant subgenre of literary fiction, as a publishing "gimmick" in Sianne Ngai's theorization of the term, making a case for how Sheila Heti's Motherhood (2018) and Rachel Cusk's Transit (2016) recast technological processes of production as occult practices to at once reveal and re-veil their own conditions of production. The following chapter then turns to Alexandra Kleeman's You Too Can Have a Body Like Mine (2015) and Hilary Leichter's Temporary (2020) to demonstrate how the prestige genre of high postmodernism and the popular genre of self-help converge in the twenty-first century to produce an aesthetic of realist irrationalism, which registers the diverse pressures shaping literary fiction published by conglomerate and nonprofit publishers. Ultimately, the final chapter looks back at Jennifer Egan's second novel, Look at Me (2001), to illuminate how it re-renders the disjointed temporalities of technological mediation and finance as mystified processes of defacement and re-enactment, at the same time re-rendering Egan's image as an author of prestige literary fiction.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798352937730Subjects--Topical Terms:

2122750
Modern literature.
Subjects--Index Terms:

Literary fictionIndex Terms--Genre/Form:

542853
Electronic books.

Mystifying Technologies : = Production and Prestige in Contemporary Literary Fiction.
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520 $a "Mystifying Technologies: Production and Prestige in Contemporary Literary Fiction" examines how contemporary literary fiction as a genre coalesces in the late twentieth- and twenty-first centuries to lend unique figuration to the material conditions of literary production and consumption in the US. Reading novels symptomatically and sociologically, the dissertation articulates how the formal and thematic fixations of novels published as "literary fiction" emerge in response to conflicting artistic, economic, and cultural demands for literature to achieve both profitability and prestige. Registering the effects of publishing industry conglomeration, technological advancement, and economic precarity in the present historical moment, it focuses on one prominent strand of recent literary fiction which grapples with the tension between aesthetic ideals and market imperatives by representing the processes attendant to capitalist mystification-from technological mediation to alienation and even fictionalization itself-through formal and thematic engagements with magic, mystification, and dematerialization in otherwise strictly realist texts. The first chapter argues for understanding autofiction, a dominant subgenre of literary fiction, as a publishing "gimmick" in Sianne Ngai's theorization of the term, making a case for how Sheila Heti's Motherhood (2018) and Rachel Cusk's Transit (2016) recast technological processes of production as occult practices to at once reveal and re-veil their own conditions of production. The following chapter then turns to Alexandra Kleeman's You Too Can Have a Body Like Mine (2015) and Hilary Leichter's Temporary (2020) to demonstrate how the prestige genre of high postmodernism and the popular genre of self-help converge in the twenty-first century to produce an aesthetic of realist irrationalism, which registers the diverse pressures shaping literary fiction published by conglomerate and nonprofit publishers. Ultimately, the final chapter looks back at Jennifer Egan's second novel, Look at Me (2001), to illuminate how it re-renders the disjointed temporalities of technological mediation and finance as mystified processes of defacement and re-enactment, at the same time re-rendering Egan's image as an author of prestige literary fiction.
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