| LDR | | 00000nam u2200205 4500 |
| 001 | | 000000436029 |
| 005 | | 20200228112316 |
| 008 | | 200131s2019 ||||||||||||||||| ||eng d |
| 020 | |
▼a 9781392400074 |
| 035 | |
▼a (MiAaPQ)AAI27692350 |
| 035 | |
▼a (MiAaPQ)OhioLINKosu1563283222402333 |
| 040 | |
▼a MiAaPQ
▼c MiAaPQ
▼d 247004 |
| 082 | 0 |
▼a 820 |
| 100 | 1 |
▼a Potkalitsky, Nicolas Joseph. |
| 245 | 10 |
▼a Refracted Realism and the Ethical Dominant in Contemporary American Fiction. |
| 260 | |
▼a [S.l.]:
▼b The Ohio State University.,
▼c 2019. |
| 260 | 1 |
▼a Ann Arbor:
▼b ProQuest Dissertations & Theses,
▼c 2019. |
| 300 | |
▼a 147 p. |
| 500 | |
▼a Source: Dissertations Abstracts International, Volume: 81-06, Section: A. |
| 500 | |
▼a Advisor: Phelan, James. |
| 502 | 1 |
▼a Thesis (Ph.D.)--The Ohio State University, 2019. |
| 506 | |
▼a This item must not be sold to any third party vendors. |
| 520 | |
▼a Refracted Realism and the Ethical Dominant in Contemporary American Fiction offers three linked pursuits, at once literary-historical and theoretical: (1) a study of the rhetorical dynamics of literary realism, (2) a study of the literary period after postmodernism and the identification of the aesthetic dominant at work in contemporary literature, and (3) a systemic analysis of a distinct mode of realist representation in contemporary American fiction, which I describe as "refracted realism." At the intersection between literary realism's longevity and flexibility, I explore three questions: What interests and engagements drive the interactions between authors and audiences in literary realism? What are the "dominant" features and interactions at work in the literary period after postmodernism? How has literary realism changed under the influence of the new aesthetic dominant? My project combines Roman Jakobson's and Brian McHale's concept of the "dominant" with Peter J. Rabinowitz's and James Phelan's rhetorical narrative theory to develop a rhetorically-inflected approach to literary history. In this analytical framework, I identify characteristic and uncharacteristic rhetorical properties, purposes, interests, resources, processes, and engagements in particular works of literature, literary movements, and aesthetic dominants or literary periods and track change and/or continuity accordingly. When theorizing literary realism, I emphasize how representative authors foreground their audiences' interests and engagements with narrative's mimetic and thematic components. When conceptualizing the new aesthetic dominant, I point to an ethical one, oriented towards and engaged in various questions and inquiries about value and power. Then when characterizing "refracted realism," I define its minimal conditions in terms of the foregrounding of the mimetic and thematic components and the ethical aesthetic dominant, even as "refraction"-representative authors' redeployment of modernist and postmodernist narrative techniques and strategies towards realist ends-proceeds through the handling and oftentimes foregrounding of the synthetic component. "Refracted realism," as such, represents an important and highly valuable method for engaging with and foregrounding ethical questions and concerns in the contemporary literary period to the extent that these narrative's "refracted" designs and purposes allow for the consideration of multiple ethical viewpoints and perspectives without foreclosing on the possibility of knowledge and political action. In my case studies, I trace out the historical development of "refracted realism" and showcase the rhetorical, technical, and ethical diversity of this literary aesthetic or movement. Roth's The Human Stain (2000) serves as a more transitional example of the aesthetic where "refraction" through narratorial "stubbornness" activates an enduring state of tension between the project's realist and modernist investments. Teju Cole's Open City (2011) and Jennifer Egan's A Visit from the Goon Squad (2010) represent more fully formed versions of refracted realism. Refraction in Open City proceeds more instrumentally, where Cole uses the novel's complicated narratorial dynamics to cultivate different and at times competing conceptions of the novel's driving aesthetic interests. In Goon Squad, refraction focuses on ethical questions and concerns throughout the narrative progression, where Egan uses disjunctive temporality, multiple narration, and future-oriented representation to guide and limit her audience's interpretive and ethical processes and judgments. |
| 590 | |
▼a School code: 0168. |
| 650 | 4 |
▼a Ethics. |
| 650 | 4 |
▼a Rhetoric. |
| 650 | 4 |
▼a American literature. |
| 690 | |
▼a 0681 |
| 690 | |
▼a 0394 |
| 690 | |
▼a 0591 |
| 710 | 20 |
▼a The Ohio State University.
▼b English. |
| 773 | 0 |
▼t Dissertations Abstracts International
▼g 81-06A. |
| 773 | |
▼t Dissertation Abstract International |
| 790 | |
▼a 0168 |
| 791 | |
▼a Ph.D. |
| 792 | |
▼a 2019 |
| 793 | |
▼a English |
| 856 | 40 |
▼u http://www.riss.kr/pdu/ddodLink.do?id=T15494684
▼n KERIS
▼z 이 자료의 원문은 한국교육학술정보원에서 제공합니다. |
| 980 | |
▼a 202002
▼f 2020 |
| 990 | |
▼a ***1816162 |
| 991 | |
▼a E-BOOK |