American Modernism's Expatriate Scene: The Labour of by Daniel Katz PDF
By Daniel Katz
This learn takes as its element of departure an important premise: that the frequent phenomenon of expatriation in American modernism is much less a flight from the native land than a dialectical go back to it, yet one that renders uncanny all tropes of familiarity and immediacy which 'fatherlands' and 'mother tongues' are ordinarily obvious as supplying. during this framework, equally totalizing notions of cultural authenticity are obvious to control either exoticist mystification and 'nativist' obsessions with the purity of the 'mother tongue.' whilst, cosmopolitanism, translation, and multilingualism develop into frequently eroticized tropes of violation of this version, and consequently, concurrently courted and abhorred, in a stream which, if crystallized in expatriate modernism, endured to make its presence felt beyond.Beginning with the past due paintings of Henry James, this publication is going directly to study at size Ezra Pound and Gertrude Stein, to finish with the uncanny regionalism of mid-century San Francisco Renaissance poet Jack Spicer, and the deterritorialized aesthetic of Spicer's peer, John Ashbery. via an emphasis on modernism as an area of generalized interference, the perform and trope of translation emerges as relevant to all the writers involved, whereas the publication is still in consistent discussion with key fresh works on transnationalism, transatlanticism, and modernism.
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Additional resources for American Modernism's Expatriate Scene: The Labour of Translation (Edinburgh Studies in Transatlantic Literatures)
Secret and hidden but has come to light” (345, original emphasis). In English, we could think of Freud’s problematic as a dialectics of the “private,” in that this word, like “heimlich,” implies both what is most personal and also what is potentially shameful, and to be hidden. In this light, “unheimlich” could also be read as a radical “deprivatization,” in the sense of shameful exposure but also of the removal of a space of absolute, sacrosanct identification, creating a situation in which one’s affect, though recognizable, is strange to oneself.
12 In his work on “orginary seduction,” Laplanche seeks to restore to “seduction” the importance it had for the early Freud and for Ferenczi, but with crucial modifications. For Laplanche, the scene of seduction is not one occurring between a child and its parents, but more generally consists of the invitation proffered to the child by the entire adult world to enter into a signifying structure charged with unconscious meaning. In other words, not only must the child translate the meaning of the words and gests with which she is constantly confronted, but these “messages” of love and care delivered by the adult world are themselves laden with unconscious sexual energy of which their bearers are unaware.
W. and H. James, Selected Letters, 208)14 The position James ironically eschews is the one that prima facie might seem the most desirable: to seem like an American when writing about America, an Englishman when discussing England. On the contrary, the letter to William stresses precisely the advantage to be gained from the freshness and critical distance of the foreign perspective––James strives to maintain his American eye when examining English morals, but to put his assumed “Englishness” to good effect when working on his fellow Americans.
American Modernism's Expatriate Scene: The Labour of Translation (Edinburgh Studies in Transatlantic Literatures) by Daniel Katz