東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Citation and Tradition: Hannah Arend...

Mattner, Cosima.

Linked to FindBook

Google Book

Amazon

博客來

Citation and Tradition: Hannah Arendt's and Susan Sontag's Walter Benjamin Portraits.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Citation and Tradition: Hannah Arendt's and Susan Sontag's Walter Benjamin Portraits./
Author:	Mattner, Cosima.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2024,
Description:	376 p.
Notes:	Source: Dissertations Abstracts International, Volume: 85-10, Section: A.
Contained By:	Dissertations Abstracts International85-10A.
Subject:	German literature. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30992993
ISBN:	9798382200163

Citation and Tradition: Hannah Arendt's and Susan Sontag's Walter Benjamin Portraits.
Mattner, Cosima.

Citation and Tradition: Hannah Arendt's and Susan Sontag's Walter Benjamin Portraits. - Ann Arbor : ProQuest Dissertations & Theses, 2024 - 376 p.

Source: Dissertations Abstracts International, Volume: 85-10, Section: A.

Thesis (Ph.D.)--Columbia University, 2024.

This dissertation explores the relationship of two of the most prominent women intellectuals of the twentieth century, Hannah Arendt and Susan Sontag. While they are not commonly considered to be related figures - Arendt is mainly recognized as a political thinker, Sontag is an icon of postwar popular culture - it has been anecdotally noted that they lived and worked in the same intellectual environment in postwar New York City, where their paths crossed a few times. However, a comprehensive systematic study of their relationship is missing. Starting from their Benjamin portraits of 1968 and 1978, I argue that Arendt's and Sontag's relationship is significant in terms of the German and US American tradition of literary criticism: Both women acted as transatlantic critics invested in cultural transfer between postwar US and Germany, and they employed similar styles of citation and editorial strategies to create and inscribe themselves into an authoritative literary tradition. With Arendt and Sontag, I discuss the critic's task in terms of citational style and as a matter of taking care of literary traditions beyond national borders.As I demonstrate through comprehensive, in-depth archival analysis and close readings, Arendt and Sontag intervened with their Benjamin portraits in a heated debate about critical methods surrounding the editorial management of Benjamin's estate and legacy through Theodor W. Adorno and Gershom Scholem in late 1960s Germany. Arendt's portrait made Benjamin's work available to an English-speaking audience for the first time and Sontag popularized his prominence in the US even further. Both stage Benjamin as a literary figure rather than a philosopher. Stylistically, they employ related strategies of citational mimicry to create an intimate connection between their voices and Benjamin's, granting even unfamiliar readers access to Benjamin's complex writing. Through constant dialogue with his work, their affective and affirmative mediation has significant editorial qualities. By preserving and promoting Benjamin as a critic in the US, Arendt and Sontag created a transatlantic tradition of literary criticism in which they inscribed themselves to gain critical authority in singular yet similar ways.Tracing the relationship between the portraits archivally, I argue that their similar citational creation of discursive authority results from Sontag's comprehensive study of Arendt's work and is thus an example of critical skill building through stylistic imitation. Rendering the hidden citational traces between the portraits transparent, I show how this line of influence ironically yields a lack of credit to Arendt on Sontag's part. Like Arendt, Sontag reifies rather than breaks patriarchal citational chains. Illuminating what Arendt calls a "hidden tradition" - consisting in stylistically visible yet inexplicit commonalities - I draw on terminology gained from the current debate on critical method in Western literary studies to argue that the portraits afford a concept of criticism between such polemic poles as "surface" versus "depth" reading, "description" versus "interpretation" or "affirmation" versus "suspicion." Characterizing this critical nuance with Arendt and Sontag as related critics, my study delineates a genealogy of a transatlantic mode of close reading with hermeneutic roots and a feminist twist.

ISBN: 9798382200163Subjects--Topical Terms:

699188
German literature.
Subjects--Index Terms:

Citation

Citation and Tradition: Hannah Arendt's and Susan Sontag's Walter Benjamin Portraits.
LDR:04576nmm a2200409 4500 001 2398932
005 20240819061935.5
006 m o d
007 cr#unu||||||||
008 251215s2024 ||||||||||||||||| ||eng d
020 $a 9798382200163
035 $a (MiAaPQ)AAI30992993
035 $a AAI30992993
040 $a MiAaPQ $c MiAaPQ
100 1 $a Mattner, Cosima. $3 3768886
245 1 0 $a Citation and Tradition: Hannah Arendt's and Susan Sontag's Walter Benjamin Portraits.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2024
300 $a 376 p.
500 $a Source: Dissertations Abstracts International, Volume: 85-10, Section: A.
500 $a Advisor: Breger, Claudia C.
502 $a Thesis (Ph.D.)--Columbia University, 2024.
520 $a This dissertation explores the relationship of two of the most prominent women intellectuals of the twentieth century, Hannah Arendt and Susan Sontag. While they are not commonly considered to be related figures - Arendt is mainly recognized as a political thinker, Sontag is an icon of postwar popular culture - it has been anecdotally noted that they lived and worked in the same intellectual environment in postwar New York City, where their paths crossed a few times. However, a comprehensive systematic study of their relationship is missing. Starting from their Benjamin portraits of 1968 and 1978, I argue that Arendt's and Sontag's relationship is significant in terms of the German and US American tradition of literary criticism: Both women acted as transatlantic critics invested in cultural transfer between postwar US and Germany, and they employed similar styles of citation and editorial strategies to create and inscribe themselves into an authoritative literary tradition. With Arendt and Sontag, I discuss the critic's task in terms of citational style and as a matter of taking care of literary traditions beyond national borders.As I demonstrate through comprehensive, in-depth archival analysis and close readings, Arendt and Sontag intervened with their Benjamin portraits in a heated debate about critical methods surrounding the editorial management of Benjamin's estate and legacy through Theodor W. Adorno and Gershom Scholem in late 1960s Germany. Arendt's portrait made Benjamin's work available to an English-speaking audience for the first time and Sontag popularized his prominence in the US even further. Both stage Benjamin as a literary figure rather than a philosopher. Stylistically, they employ related strategies of citational mimicry to create an intimate connection between their voices and Benjamin's, granting even unfamiliar readers access to Benjamin's complex writing. Through constant dialogue with his work, their affective and affirmative mediation has significant editorial qualities. By preserving and promoting Benjamin as a critic in the US, Arendt and Sontag created a transatlantic tradition of literary criticism in which they inscribed themselves to gain critical authority in singular yet similar ways.Tracing the relationship between the portraits archivally, I argue that their similar citational creation of discursive authority results from Sontag's comprehensive study of Arendt's work and is thus an example of critical skill building through stylistic imitation. Rendering the hidden citational traces between the portraits transparent, I show how this line of influence ironically yields a lack of credit to Arendt on Sontag's part. Like Arendt, Sontag reifies rather than breaks patriarchal citational chains. Illuminating what Arendt calls a "hidden tradition" - consisting in stylistically visible yet inexplicit commonalities - I draw on terminology gained from the current debate on critical method in Western literary studies to argue that the portraits afford a concept of criticism between such polemic poles as "surface" versus "depth" reading, "description" versus "interpretation" or "affirmation" versus "suspicion." Characterizing this critical nuance with Arendt and Sontag as related critics, my study delineates a genealogy of a transatlantic mode of close reading with hermeneutic roots and a feminist twist.
590 $a School code: 0054.
650 4 $a German literature. $3 699188
650 4 $a Literature. $3 537498
650 4 $a American literature. $3 523234
650 4 $a Womens studies. $3 2122688
653 $a Citation
653 $a Criticism
653 $a Arendt, Hannah
653 $a Sontag, Susan
653 $a Tradition
653 $a Benjamin, Walter
690 $a 0311
690 $a 0401
690 $a 0591
690 $a 0453
710 2 $a Columbia University. $b Germanic Languages. $3 2101598
773 0 $t Dissertations Abstracts International $g 85-10A.
790 $a 0054
791 $a Ph.D.
792 $a 2024
793 $a English
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30992993