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Taking objects for origins: Cultura...

Shapple, Deborah Louise.

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Taking objects for origins: Cultural fetishism and visions of Africa in the late imperial novel.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Taking objects for origins: Cultural fetishism and visions of Africa in the late imperial novel./
Author:	Shapple, Deborah Louise.
Description:	212 p.
Notes:	Source: Dissertation Abstracts International, Volume: 63-11, Section: A, page: 3939.
Contained By:	Dissertation Abstracts International63-11A.
Subject:	Literature, African. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3073051
ISBN:	9780493929415

Taking objects for origins: Cultural fetishism and visions of Africa in the late imperial novel.
Shapple, Deborah Louise.

Taking objects for origins: Cultural fetishism and visions of Africa in the late imperial novel. - 212 p.

Source: Dissertation Abstracts International, Volume: 63-11, Section: A, page: 3939.

Thesis (Ph.D.)--University of Pennsylvania, 2002.

"Taking Objects for Origins" provides a rhetorical and theoretical analysis of how the quest for cultural purity and ethnographic authority haunts late imperial literature as well as contemporary critical practices. The discourse of authenticity constructed in post-Enlightenment European prose strove to distinguish "purely" indigenous from hybrid cultural forms. This fetishistic discourse thereby worked to broaden differences of cultural value between African and European societies, while it simultaneously constructed and devalued African objects as fetishes of "primitive" social or religious significance. Considered neither beautiful nor sublime, these African objects emerged in Enlightenment aesthetics as grotesque fetishes preceding historical development that would later become central to ethnological reconstructions of prehistory. Texts by Kant, Burke, Herder, Rousseau, and Hegel, as well as works by ethnologists like Prichard, Bastian, Pitt-Rivers, and Tylor consistently represent African cultures and their producers as radically other, yet unequivocally knowable and visually identifiable. British and German novelists of the late nineteenth and early twentieth centuries, particularly those invested in revising the dominant conventions of literary realism, increasingly turned to the "grotesque" arts of Africa as an alternate creative model, while reproducing many of the stereotypes and strategies of representation employed in aesthetic and ethnological writing on African visual culture since the late eighteenth century. Underwritten by the fetishistic discourse of authenticity, the late imperial novels and prose of Olive Schreiner, Carl Einstein, and D. H. Lawrence represent African arts as desired products of another world while keeping African histories, stories, and cultural records at a "safe" distance. In Olive Schreiner's The Story of an African Farm, "grotesque" rock paintings mediates a colonial artist's contradictory engagement with an indigenous population as both historic predecessors and political rivals. Carl Einstein subsequently presents African sculpture as the aesthetic precedent to modern art and literature, while the artistic autonomy he posits alienates African producers socially and politically. D. H. Lawrence, while writing The Rainbow and Women in Love, similarly turns to African art as an alternative to the aesthetic Idealism of late-Victorian realism, while displacing ethnological narratives onto objects as well as "others" to construct fetishes that help manage the anxiety of late imperial cultural contact.

ISBN: 9780493929415Subjects--Topical Terms:

1022872
Literature, African.

Taking objects for origins: Cultural fetishism and visions of Africa in the late imperial novel.
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500 $a Supervisors: Liliane Weissberg; Elaine Freedgood.
502 $a Thesis (Ph.D.)--University of Pennsylvania, 2002.
520 $a "Taking Objects for Origins" provides a rhetorical and theoretical analysis of how the quest for cultural purity and ethnographic authority haunts late imperial literature as well as contemporary critical practices. The discourse of authenticity constructed in post-Enlightenment European prose strove to distinguish "purely" indigenous from hybrid cultural forms. This fetishistic discourse thereby worked to broaden differences of cultural value between African and European societies, while it simultaneously constructed and devalued African objects as fetishes of "primitive" social or religious significance. Considered neither beautiful nor sublime, these African objects emerged in Enlightenment aesthetics as grotesque fetishes preceding historical development that would later become central to ethnological reconstructions of prehistory. Texts by Kant, Burke, Herder, Rousseau, and Hegel, as well as works by ethnologists like Prichard, Bastian, Pitt-Rivers, and Tylor consistently represent African cultures and their producers as radically other, yet unequivocally knowable and visually identifiable. British and German novelists of the late nineteenth and early twentieth centuries, particularly those invested in revising the dominant conventions of literary realism, increasingly turned to the "grotesque" arts of Africa as an alternate creative model, while reproducing many of the stereotypes and strategies of representation employed in aesthetic and ethnological writing on African visual culture since the late eighteenth century. Underwritten by the fetishistic discourse of authenticity, the late imperial novels and prose of Olive Schreiner, Carl Einstein, and D. H. Lawrence represent African arts as desired products of another world while keeping African histories, stories, and cultural records at a "safe" distance. In Olive Schreiner's The Story of an African Farm, "grotesque" rock paintings mediates a colonial artist's contradictory engagement with an indigenous population as both historic predecessors and political rivals. Carl Einstein subsequently presents African sculpture as the aesthetic precedent to modern art and literature, while the artistic autonomy he posits alienates African producers socially and politically. D. H. Lawrence, while writing The Rainbow and Women in Love, similarly turns to African art as an alternative to the aesthetic Idealism of late-Victorian realism, while displacing ethnological narratives onto objects as well as "others" to construct fetishes that help manage the anxiety of late imperial cultural contact.
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