By Daniel Katz
This learn takes as its element of departure an important premise: that the common phenomenon of expatriation in American modernism is much less a flight from the place of birth than a dialectical go back to it, yet one that renders uncanny all tropes of familiarity and immediacy which 'fatherlands' and 'mother tongues' are routinely obvious as delivering. during this framework, equally totalizing notions of cultural authenticity are noticeable to control either exoticist mystification and 'nativist' obsessions with the purity of the 'mother tongue.' while, cosmopolitanism, translation, and multilingualism turn into usually eroticized tropes of violation of this version, and as a result, at the same time courted and abhorred, in a circulation which, if crystallized in expatriate modernism, persevered to make its presence felt beyond.Beginning with the overdue paintings of Henry James, this ebook is going directly to learn 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 principal to the entire writers involved, whereas the publication continues to be in consistent discussion with key fresh works on transnationalism, transatlanticism, and modernism.
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Extra resources for American Modernism's Expatriate Scene: The Labour of Translation (Edinburgh Studies in Transatlantic Literatures)
Which only increases the desire to imagine that someone else might be. To further investigate James’ exploration of language and cultural practice as marks of authenticity, along with the possibilities of finding oneself at home among them, let us turn to The Ambassadors. M856 KATZ TEXT M/UP 14/6/07 10:10 am Page 34 CHAPTER 2 THE MOTHER’S TONGUE: SEDUCTION, AUTHENTICITY, AND INTERFERENCE IN THE AMBASSADORS In the previous chapter we examined the curious economy of the “cosmopolite,” who seems to compensate for the increasing loss of the “sanctity” of his relationship to his “home,” to any sense of originary belonging, by a tendency to reify others into nothing but sheer embodiments of a totalized cultural practice.
These two affective constructions are of course intimately linked. Regarding the former, Strether suffers two major disappointments: first, that he has been deceived regarding the nature of the lovers’ “virtuous attachment,” but second, and far worse, that the love Strether feels Marie and all she represents deserves, is not one Chad seems to share. Again, where Strether has most fooled himself is not in his assumptions regarding “European” ways, but in his understanding of Chad’s desire, which he had constructed on the model of his own.
However, this thesis is not borne out by the narrative. ” (149), remarking on her “common humanity” with the Woollett types, and concluding, “it would possibly have been more thrilling for him that she should have shown as more vividly alien” (150). Yet between this meeting and the next, and after learning of her mixed parentage and cosmopolitan personal history, Strether’s view of her wholly changes: At bottom of it all for him was the sense of her rare unlikeness to the women he had known. This sense had grown, since the day before, the more he recalled her, and had been above all singularly fed by his talk with Chad in the morning.
American Modernism's Expatriate Scene: The Labour of Translation (Edinburgh Studies in Transatlantic Literatures) by Daniel Katz