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Advertising, Affect, and the Avant-Garde : = The Aesthetics of Interruption and Identity Formation In American Fiction of the 1920s.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Advertising, Affect, and the Avant-Garde :/
Reminder of title:	The Aesthetics of Interruption and Identity Formation In American Fiction of the 1920s.
Author:	Ramon, Miguel.
Description:	1 online resource (153 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 83-04, Section: A.
Contained By:	Dissertations Abstracts International83-04A.
Subject:	English literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28768039click for full text (PQDT)
ISBN:	9798460479122

Advertising, Affect, and the Avant-Garde : = The Aesthetics of Interruption and Identity Formation In American Fiction of the 1920s.
Ramon, Miguel.

Advertising, Affect, and the Avant-Garde :The Aesthetics of Interruption and Identity Formation In American Fiction of the 1920s. - 1 online resource (153 pages)

Source: Dissertations Abstracts International, Volume: 83-04, Section: A.

Thesis (Ph.D.)--University of California, Irvine, 2021.

Includes bibliographical references

My dissertation, Advertising, Affect, and the Avant-Garde: The Aesthetics of Interruption and Identity Formation in American Fiction of the 1920s, details the connection between advertising, identity, and magazine fiction production. The promissory nature of 20th century photographic advertising-experienced as the reader decodes the commercial images that create and sustain feelings-is a powerful albeit ephemeral force in commodity aesthetics, a force that eventually extends beyond the ads to influence the authors of the stories published alongside them. This dissertation traces the movement of this promised feeling-the affect of being-an emotional state that reassures each person of a sense of identity at the moment in time in which the anxieties experienced at work and home seemingly demand a new way to understand the concept of self. My project traces the influence of labor practices of Taylorism and Fordism, cultural products produced for national magazines, and individual identity experienced as a feeling that shapes fiction production critical to magazine production. Print adverts tap into affect, or frequently but briefly experienced semi-conscious moments of feeling, because it increasingly mediates the relationship between work, lifestyle, and a sense of self. Advertising exists in the cross current of these social forces.This study rethinks the relationship between Madison Avenue and Modernism by tracing how the evolution of photographic adverts fashioned for magazines like the Saturday Evening Post revolutionized a visual-based rhetoric to shape cultural desires. I analyze the advertising archive and short stories produced for national publications to detail how the commodity aesthetic invokes emotion. Thus, the avant-garde does not influence popular culture, but rather commodified culture creates the readership for the auteur. My analysis focuses on tracing literary texts that begin in magazine publication, including short stories by F. Scott Fitzgerald and Willa Cather. Adopting the visual rhetoric of the advert and its translation into literary fragmentation allows me to map moments of the quotidian, pinning down the reality of lived experience. By naming the structure of feeling for the 1920s, I explain how the abstract ideological analysis moves from the factory into an individual's consciousness, allowing personal feelings to be understood in their cumulative social role. The affect of being explains how Fordism's war on space and Taylorism's assault on time became inculcated without being made explicit. For Fordist-Taylorist thought to emerge as a cultural dominant, ideology is transmitted through an expressive medium: the affective register expressed in photographic advertising.

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

Mode of access: World Wide Web

ISBN: 9798460479122Subjects--Topical Terms:

516356
English literature.
Subjects--Index Terms:

AffectIndex Terms--Genre/Form:

542853
Electronic books.

Advertising, Affect, and the Avant-Garde : = The Aesthetics of Interruption and Identity Formation In American Fiction of the 1920s.
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504 $a Includes bibliographical references
520 $a My dissertation, Advertising, Affect, and the Avant-Garde: The Aesthetics of Interruption and Identity Formation in American Fiction of the 1920s, details the connection between advertising, identity, and magazine fiction production. The promissory nature of 20th century photographic advertising-experienced as the reader decodes the commercial images that create and sustain feelings-is a powerful albeit ephemeral force in commodity aesthetics, a force that eventually extends beyond the ads to influence the authors of the stories published alongside them. This dissertation traces the movement of this promised feeling-the affect of being-an emotional state that reassures each person of a sense of identity at the moment in time in which the anxieties experienced at work and home seemingly demand a new way to understand the concept of self. My project traces the influence of labor practices of Taylorism and Fordism, cultural products produced for national magazines, and individual identity experienced as a feeling that shapes fiction production critical to magazine production. Print adverts tap into affect, or frequently but briefly experienced semi-conscious moments of feeling, because it increasingly mediates the relationship between work, lifestyle, and a sense of self. Advertising exists in the cross current of these social forces.This study rethinks the relationship between Madison Avenue and Modernism by tracing how the evolution of photographic adverts fashioned for magazines like the Saturday Evening Post revolutionized a visual-based rhetoric to shape cultural desires. I analyze the advertising archive and short stories produced for national publications to detail how the commodity aesthetic invokes emotion. Thus, the avant-garde does not influence popular culture, but rather commodified culture creates the readership for the auteur. My analysis focuses on tracing literary texts that begin in magazine publication, including short stories by F. Scott Fitzgerald and Willa Cather. Adopting the visual rhetoric of the advert and its translation into literary fragmentation allows me to map moments of the quotidian, pinning down the reality of lived experience. By naming the structure of feeling for the 1920s, I explain how the abstract ideological analysis moves from the factory into an individual's consciousness, allowing personal feelings to be understood in their cumulative social role. The affect of being explains how Fordism's war on space and Taylorism's assault on time became inculcated without being made explicit. For Fordist-Taylorist thought to emerge as a cultural dominant, ideology is transmitted through an expressive medium: the affective register expressed in photographic advertising.
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