Ashes Taken for Fire: Aesthetic Modernism And the Critique of IdentityU of Minnesota Press, 2007 - 252 páginas |
Índice
| 2 | |
Holographic Ensemble The Death of Doubt ItselfinThe Nigger of the Narcissus | 38 |
Something Savage Something Pedantic Imaginary Portraits of Certitude in Jacobs Room | 72 |
Maladjusted Phantasms The Ontological Question of Blackness in Light in August | 112 |
The Business of Dreams Retailing Presence in Miss Lonelyhearts | 135 |
Chaos and Surface in Invisible Man | 162 |
Assuming the Position Fugitivity and Futurity in the Work of Chester Himes | 193 |
Notes | 222 |
Bibliography | 240 |
Index | 248 |
Otras ediciones - Ver todo
Ashes Taken for Fire: Aesthetic Modernism and the Critique of Identity Kevin Bell No hay ninguna vista previa disponible - 2007 |
Ashes Taken for Fire: Aesthetic Modernism and the Critique of Identity Kevin Bell No hay ninguna vista previa disponible - 2007 |
Términos y frases comunes
absence absolute abyss actual Adorno aesthetic African American articulation Baldwin body character Chester Himes Christmas color Conrad critical cultural dark death deconstruction discourse Donkin Ellison emerges ence experience Faulkner fiction figure function gaze gestures Glissant Heart of Darkness Hegel Himes Himes's ideal identification identity ideological idiom interpellation Invisible Jacob Jacob's Room Jameson Joseph Conrad language Les Deux Magots literary modernism literature logic Lyotard material meaning metanarrative Miss Lonelyhearts modernist movement narcissistic Narcissus narrative narrator Nathanael Nathanael West Nathaniel Mackey negative Negro ness never nigger nonidentity nothingness notion novel object paradoxically political position presumed protagonist race racial radical Ralph Ellison reality recognition refusal representation scene sense Shrike signifier silence singularity social sound space speech strategy symbolic thematic thinking thought tion Trans truth unity University Press utterance violence Virginia Woolf voice void Wait Wait's West's Woolf words writing zone
Pasajes populares
Página 37 - All art, therefore, appeals primarily to the senses, and the artistic aim when expressing itself in written words must also make its appeal through the senses, if its high desire is to reach the secret spring of responsive emotions.
Página 137 - Love all God's creation, the whole and every grain of sand in it. Love every leaf, every ray of God's light. Love the animals, love the plants, love everything. If you love everything, you will perceive the divine mystery in things.
Página 72 - Let us record the atoms as they fall upon the mind in the order in which they fall, let us trace the pattern, however disconnected and incoherent in appearance, which each sight or incident scores upon the consciousness.
Página 177 - I'm gone I want you to keep up the good fight. I never told you, but our life is a war and I have been a traitor all my born days, a spy in the enemy's country ever since I give up my gun back in the Reconstruction. Live with your head in the lion's mouth. I want you to overcome 'em with yeses, undermine 'em with grins, agree 'em to death and destruction, let 'em swoller you till they vomit or bust wide open.
Página 226 - Marlow was not typical (if his propensity to spin yarns be expected), and to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that sometimes are made visible by the spectral illumination of moonshine.
Página 6 - In the empty immensity of earth, sky, and water, there she was, incomprehensible, firing into a continent. Pop, would go one of the six-inch guns; a small flame would dart and vanish, a little white smoke would disappear, a tiny projectile would give a feeble screech— and nothing happened.
Página 7 - ... that mysterious life of the wilderness that stirs in the forest, in the jungles, in the hearts of wild men. There's no initiation either into such mysteries. He has to live in the midst of the incomprehensible, which is also detestable. And it has a fascination, too, that goes to work upon him. The fascination of the abomination - you know, Imagine the growing regrets, the longing to escape, the powerless disgust, the surrender, the hate.
Página 180 - ... could never be sure of what he meant. Grandfather had been a quiet old man who never made any trouble, yet on his deathbed he had called himself a traitor and a spy, and he had spoken of his meekness as a dangerous activity. It became a constant puzzle which lay unanswered in the back of my mind. And whenever things went well for me I remembered my grandfather and felt guilty and uncomfortable. It was as though I was carrying out his advice in spite of myself.
Página 40 - ... tattooed like a cannibal chief all over his powerful chest and enormous biceps. Between the blue and red patterns his white skin gleamed like satin; his bare back was propped against the heel of the bowsprit, and he held a book at arm's length before his big sunburnt face. With his spectacles and a venerable white beard...
Página 119 - The whiskey died away in time and was renewed and died again, but the street ran on. From that night the thousand streets ran as one street, with imperceptible corners and changes of scene, broken by intervals of begged and stolen rides, on trains and trucks, and on country wagons with he at twenty and twentyfive and thirty sitting on the seat with his still, hard face and clothes (even when soiled and worn) of a city man and the driver of the wagon not knowing who or what the passenger was and not...