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

The American Artist Narrative After ...

Johnston, Mitchell,

Linked to FindBook

Google Book

Amazon

博客來

The American Artist Narrative After the End of Art /

Record Type:	Electronic resources : Monograph/item
Title/Author:	The American Artist Narrative After the End of Art // Mitchell Johnston.
Author:	Johnston, Mitchell,
Description:	1 electronic resource (205 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 86-05, Section: A.
Contained By:	Dissertations Abstracts International86-05A.
Subject:	African literature. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31295076
ISBN:	9798342754668

The American Artist Narrative After the End of Art /
Johnston, Mitchell,

The American Artist Narrative After the End of Art /Mitchell Johnston. - 1 electronic resource (205 pages)

Source: Dissertations Abstracts International, Volume: 86-05, Section: A.

This dissertation analyzes artist narratives in American fiction between 1973 and 2013. Modernist artist narratives like William Gaddis's The Recognitions assert the artwork's importance despite its social indifference. In their seemingly private labors, fictional artists index a life unbound by capitalist logic. My project examines the persistence of artist narratives during a period (late capitalism) commonly understood to signal the end of art altogether in conjunction with a discourse (postmodernism) typically cheerful about the decline of outmoded categories like high art and aesthetics. Artist narratives from this period seek to defend literature's value by making literature commensurate with work. For Lydia Davis, Richard Ford, Stephen King, and Toni Morrison, such narratives bring the work of aesthetic production back into the world, identifying artistic and nonartistic labor, transforming texts into sites of readerly production, and proposing that art must labor to make society more equal. But this fiction also puts the commensurability of form and work to the test, revealing the surprising relevance of a modernist assertion of the artwork's autonomy from social concern. Where scholars have lauded the genre for its capacity to make labor visible, I argue that recent American fiction about artists ironizes the connection that binds art to work and artist to worker.Against defenses of literary value that depict the work literature does in the world, artist narratives ask us to consider the advantages of indirection, irony, and aloofness. Chapter One discusses Davis's and Ford's interest in minimalism as a technology for equalizing literary and readerly labor, demonstrating that the scene of readerly participation is structurally unequal. Chapter Two, examining fiction's homology to housework in King's Misery, pursues problematic identifications between authors and housekeepers. Finally, Chapter Three reads Sula's disdain of the assumption that art should have a social vocation, exploring its suggestion that a novel might possess no purpose whatsoever. In each chapter, work, as a mechanism for linking artists and non-artists, becomes an index of class difference. Ultimately, Davis, Ford, King, and Morrison highlight the inequality subtending late-20th-century cultural production.

English

ISBN: 9798342754668Subjects--Topical Terms:

1973478
African literature.
Subjects--Index Terms:

American

The American Artist Narrative After the End of Art /
LDR:03675nmm a22004213i 4500 001 2432781
005 20250807123453.5
006 m o d
007 cr|nu||||||||
008 261011s2024 miu||||||m |||||||eng d
020 $a 9798342754668
035 $a (MiAaPQD)AAI31295076
035 $a AAI31295076
040 $a MiAaPQD $b eng $c MiAaPQD $e rda
100 1 $a Johnston, Mitchell, $e author. $3 3822140
245 1 0 $a The American Artist Narrative After the End of Art / $c Mitchell Johnston.
264 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2024
300 $a 1 electronic resource (205 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 86-05, Section: A.
500 $a Advisors: Morgenstern, Naomi Committee members: Cruz, Denise; Dancer, Thom.
502 $b Ph.D. $c University of Toronto (Canada) $d 2024.
520 $a This dissertation analyzes artist narratives in American fiction between 1973 and 2013. Modernist artist narratives like William Gaddis's The Recognitions assert the artwork's importance despite its social indifference. In their seemingly private labors, fictional artists index a life unbound by capitalist logic. My project examines the persistence of artist narratives during a period (late capitalism) commonly understood to signal the end of art altogether in conjunction with a discourse (postmodernism) typically cheerful about the decline of outmoded categories like high art and aesthetics. Artist narratives from this period seek to defend literature's value by making literature commensurate with work. For Lydia Davis, Richard Ford, Stephen King, and Toni Morrison, such narratives bring the work of aesthetic production back into the world, identifying artistic and nonartistic labor, transforming texts into sites of readerly production, and proposing that art must labor to make society more equal. But this fiction also puts the commensurability of form and work to the test, revealing the surprising relevance of a modernist assertion of the artwork's autonomy from social concern. Where scholars have lauded the genre for its capacity to make labor visible, I argue that recent American fiction about artists ironizes the connection that binds art to work and artist to worker.Against defenses of literary value that depict the work literature does in the world, artist narratives ask us to consider the advantages of indirection, irony, and aloofness. Chapter One discusses Davis's and Ford's interest in minimalism as a technology for equalizing literary and readerly labor, demonstrating that the scene of readerly participation is structurally unequal. Chapter Two, examining fiction's homology to housework in King's Misery, pursues problematic identifications between authors and housekeepers. Finally, Chapter Three reads Sula's disdain of the assumption that art should have a social vocation, exploring its suggestion that a novel might possess no purpose whatsoever. In each chapter, work, as a mechanism for linking artists and non-artists, becomes an index of class difference. Ultimately, Davis, Ford, King, and Morrison highlight the inequality subtending late-20th-century cultural production.
546 $a English
590 $a School code: 0779
650 4 $a African literature. $3 1973478
650 4 $a American literature. $3 523234
650 4 $a Modern literature. $3 2122750
653 $a American
653 $a Artist
653 $a Novel
653 $a Postmodernism
690 $a 0316
690 $a 0591
690 $a 0298
710 2 $a University of Toronto (Canada). $b English. $e degree granting institution. $3 3759081
720 1 $a Morgenstern, Naomi $e degree supervisor.
773 0 $t Dissertations Abstracts International $g 86-05A.
790 $a 0779
791 $a Ph.D.
792 $a 2024
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31295076