Оглавление
Rahel Rivera Godoy-Benesch. The Production of Lateness
Contents
Acknowledgements
1 Introduction: Approaching Late-Life Creativity in Literature
1.1 Old Age, the Age of Style
1.2 Theorizing the Elderly Artist
1.3 Late-Style Narrativeslate-style narrative in Context
2 Late Style through the Ages: From Criticism to Creative Practice
2.1 Late Stylelate style or Old-Age Styleold-age style?
2.2 Universalistuniversal late style and Individualist Approaches
2.3 AdornoAdorno, Theodor W. and His Legacylegacy: Shaping the Late Artist
2.4 Expanding Latenesslateness in Literature: Late Stylelate style as a Code of Production
3 Old Age, the Intruder: John Barth’sBarth, John Young and Old Artists
3.1 From the KünstlerromanKünstlerroman to the Late-Style Narrativelate-style narrative
3.2 The Artist, His Bodybody, and the Text: Lost in the Funhouse
3.3 Trial and Error: The Development
3.4 Deathdeath and Dementiadementia: Writing to Forget and to Remember Old Age
3.5 Authorial Power Games: Controllingcontrol and Constructing Old Age
4 Disrupting Closureclosure, Challenging Deathdeath: Karen Blixen’sBlixen, Karen Pellegrina Stories
4.1 The Continuation and Revision of Earlier Work
4.2 Femalegender Art in a Male Disguisemask: “The Dreamers”
4.3 Writing for Life: “Echoes”
4.4 Opening Historicalhistory Spaces
4.5 Blixen’s Latenesslateness: A Conscious Gesture
5 Getting Old, Getting Real: Joan Didion’sDidion, Joan Late Autobiographyautobiography
5.1 The Autobiographical Project as Artistic and Communicativecommunication Practice
5.2 Stylestyle and Stability: The Emergence of Didion’s Authorial Persona
5.3 Stylestyle on Display: “The White Album”
5.4 Recovering the Past: The Year of Magical Thinking
5.5 Rejecting the Past: Blue Nights
5.6 Facing the Truthtruth of Old Age
6 Conclusions: Late-Life Creativitycreativity Revisited
6.1 The Critic as Skeptic
6.2 Concepts of Late-Life Creativitycreativity and Their Socialsocial discourse Implications
6.3 Towards an Ethicalethics Practice of Literary Analysis
Works Cited. Primary Texts
Secondary Sources
Databases and Web Sources
Index
abstraction
achievement
active ageing
Adams-Price, Carolyn
adolescence
Adorno, Theodor W
aestheticization
ageism
agency
alienation
ambiguity
ambivalence
Améry, Jean
Amigoni, David
anaphora
appropriation
architecture
Aristotle
ars senescendi
art history
Austen, Jane
Auster, Paul
authorial intention
autobiography
autonomous art
avant-garde
baby boomers
Barrett Browning, Elizabeth
Barth, John
Barthes, Roland
Beardsley, Monroe
Bede the Venerable
Beethoven, Ludwig van
Benstock, Shari
Berg, Alban
Bewes, Timothy
Bildungsroman
biographical approach
Blixen, Karen
body
Borges, Jorge Luis
Bram, Christopher
Bronfen, Elisabeth
Burke, Seán
Burn, Stephen J
Burton, Robert
Cædmon
Caruth, Cathy
Categorical Imperative
Catholicism
celibacy
Chatman, Seymour
childhood
Childs, Peter
Christ
cinema
class
closure
Coetzee, John Maxwell
Cohen-Shalev, Amir
coming of age
communication
confessional writing
continuity
contradiction
control
convention
counter-discourse
creativity
Cronk, Rip
Culler, Jonathan
cultural analysis
cultural discourse
cultural gerontology
Currie, Mark
Daum, Meghan
death
death of the author
decline
deconstruction
Delany, Samuel R
Delbanco, Nicholas
de Man, Paul
dementia
demography
Derrida, Jacques
devaluation
Didion, Joan
dilemma
disability
Dowden, Edward
Dunne, John Gregory
Eco, Umberto
economic discourse
empowerment
ethics
existentialism
Falcus, Sarah
Federhofer, Hellmut
Felman, Shoshana
feminism
Fletcher, John
Folkenflik, Robert
formalism
fourth age
fragmentation
frailty
frame
gender
Genette, Gérard
genius
genre
German criticism
Gilbert, Sandra M
Gilmore, Leigh
Goethe, Johann Wolfgang von
Goya, Francisco
Greenblatt, Stephen
Gubar, Susan
Hamilton, Donald
Hartman, Geoffrey
health
healthcare
Heller, Joseph
Henke, Suzette A
Hinrichsen, Hans-Joachim
Hippocrates
history
Hopkins, Gerard Manley
Horne, Donald
human condition
human existence
human experience
humanism
Hutcheon, Linda
Hutcheon, Michael
Hutchinson, Ben
hybridity
hypercognitivism
Ibsen, Henrik
identity
implied author
innocence
intertextuality
irony
James, Henry
Jeter Naslund, Sena
Johnson, Samuel
Joyce, James
Kant, Immanuel
Keats, John
Klein, Richard
Krenek, Ernst
Künstlerroman
Kunz, Ralph
Kureishi, Hanif
lateness
late phase
late style
late-style narrative
late work
legacy
Lehman, Harvey C
Lejeune, Philippe
life cycle
life span
life writing
Lindauer, Martin S
Lipsius, Justus
literary gerontology
Lively, Penelope
loss
Lubart, Todd I
Luckhurst, Roger
Maftei, Micaela
Mann, Thomas
Manning, Jane
Marlowe, Christopher
marriage
mask
McMullan, Gordon
McNally, Richard
memoir
memory
menopause
mental illness
metafiction
middle age
mimesis
mise-en-abîme
modernism
modernity
Monet, Claude
Moretti, Franco
mortality
Mousley, Andy
Mozart, Wolfgang Amadeus
Munro, Alice
music
narrative healing
narrative recovery
natural sciences
New Journalism
Newman, Terry
Newton, Adam Zachary
Oates, Joyce Carol
old-age style
Olney, James
Ovid
Painter, Karen
painting
parody
patriarchy
peak-and-decline model
Pederson, Joshua
Peek, Ella
performative contradiction
Phelan, James
philosophy
political discourse
popular culture
Post, Stephen G
postmodernism
poststructuralism
productivity
psychoanalysis
Pygmalion
race
Rapoport, Tamar
Reaves, Gerri
rebellion
reception
Regard, Frédéric
Rentsch, Thomas
representation
responsibility
retrospection
role model
romanticism
Roth, Philip
routine
Said, Edward
sarcasm
Sartre, Jean-Paul
satire
Sauerländer, Willibald
Scarry, Elaine
Schoenberg, Arnold
sexual abstinence
sexuality
sexual orientation
Shakespeare, William
Sidney, Philip
Sinfield, Alan
Small, Helen
Smiles, Sam
Smith, Sidonie
social discourse
social gerontology
Socrates
Sohm, Philip
solitariness
Sontag, Susan
Spitzer, Michael
stasis
stereotype
Sternberg, Robert J
Straus, Joseph N
structuralism
style
stylistics
subjectivity
subversion
successful ageing
suicide
Taberner, Stuart
Tate-LaBianca murders
textual analysis
textuality
thanatography
Thane, Pat
third age
Thompson, Hunter S
tone
transcendence
trauma
trauma memoir
trauma theory
truth
Twain, Mark
Twigg, Julia
universal late style
unreliability
Urbanek, Nikolaus
Verres, Rolf
voice
vulnerability
Watson, Julia
Watzlawick, Paul
Waugh, Patricia
Welles, Orson
Williams, Bernard
Wimsatt, William Kurtz
wisdom
Wolfe, Tom
Woodward, Kathleen
Woolf, Virginia
youth
Zanetti, Sandro
Zimmermann, Harm-Peer
Fußnoten. 1.1 Old Age, the Age of Style
1.2 Theorizing the Elderly Artist
1.3 Late-Style Narratives in Context
2.1 Late Style or Old-Age Style?
2.2 Universalist and Individualist Approaches
2.3 Adorno and His Legacy: Shaping the Late Artist
2.4 Expanding Lateness in Literature: Late Style as a Code of Production
3.1 From the Künstlerroman to the Late-Style Narrative
3.2 The Artist, His Body, and the Text: Lost in the Funhouse
3.4 Death and Dementia: Writing to Forget and to Remember Old Age
3.5 Authorial Power Games: Controlling and Constructing Old Age
4.1 The Continuation and Revision of Earlier Work
4.2 Female Art in a Male Disguise: “The Dreamers”
4.3 Writing for Life: “Echoes”
4.4 Opening Historical Spaces
4.5 Blixen’s Lateness: A Conscious Gesture
5.1 The Autobiographical Project as Artistic and Communicative Practice
5.2 Style and Stability: The Emergence of Didion’s Authorial Persona
5.3 Style on Display: “The White Album”
5.4 Recovering the Past: The Year of Magical Thinking
5.6 Facing the Truth of Old Age
6.1 The Critic as Skeptic
6.2 Concepts of Late-Life Creativity and Their Social Implications
6.3 Towards an Ethical Practice of Literary Analysis
Отрывок из книги
Rahel Rivera Godoy-Benesch
The Production of Lateness
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In the texts selected for this study, the feeling of urgency and the desire to make a last and lasting impression as an artist is observable on several levels. Most notably, this desire is expressed explicitly by the artist-protagonists portrayed in each story. In John Barth’sBarth, John The Development, the protagonist George Newett muses that he “would be remembered as a once-conventional and scarcely noticed writer who, in his Late Period, produced the refreshingly original works that belatedly made his name” (89). In Karen Blixen’sBlixen, Karen short story “Echoes,” Pellegrina Leoni, the ageing wanderer and former opera singer, decides to engage in one last act of creativity by turning a talented peasant boy into a professional singer, reflecting that “this last part bestowed upon her [by God] was the greatest of her repertoire and in itself divine. In it she must allow herself no neglectfulness and no rest. Were she to die at the end of the respite granted her it would be but a small matter” (171). She further compares her swan song’s effect to Christ’sChrist resurrection, upon which “the whole world had built up its creed” (170). In Joan Didion’sDidion, Joan autobiographical novel Blue Nights, the author’s desire to make a last statement can be best discerned in her wish to show herself in a direct, immediate way, rejecting her former authorial masksmask. “Let me try again to talk to you directly,” she states (134). And: “The tonetone needs to be direct. I need to talk to you directly, I need to address the subject as it were” (116, original italics). What the statements from these three texts have in common is their strong concern for the audience. How will the late or last work be receivedreception? What kind of shadow will the creative work cast on its creator? What image of the artist will the general public and the critical community infer from it?
Such concerns about the response of the audience are, of course, nothing extraordinary in an artist’s world, were it not for the fact that they are here directly linked to the artists’ age. For each of these figures, old age contributes decisively to their wish to mark a stylistic change in their late creative works, and they state this wish explicitly. Unlike musicmusic and visual artpainting, literature has the advantage of explicit language and rhetoric. Hence, the protagonists can express what old age means for them, which makes subjective ageingsubjectivity (rather than cultural stereotypesstereotype) more accessible to the critic. Interestingly enough, in each of the chosen works, the physical aspects are at the forefront. In Barth’sBarth, John The Development, long lists of age-related ailments and illnesses dictate how the various elderly characters are perceived by the reader (26–28). In Blixen’sBlixen, Karen “Echoes,” Pellegrina imagines herself attending the presentation of her last work – the singing peasant boy – as “an old unknown woman in a black shawl, the corpse in the grave witnessing its own resurrection” (170). Finally, Didion’sDidion, Joan Blue Nights abounds in descriptions of Didion’s frailtyfrailty and her fear of it. She is constantly afraid of, for instance, falling in the street, or of not being able to get up from a chair after a concert has ended (e.g. 105–111).
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