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Jayson Scott Grimes Doctor of Philosophy in Literature

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Jayson Scott Grimes Doctor of Philosophy in Literature Migrating Imageries: zoomorphic depictions of immigrants in American illustrations by Jayson Scott Grimes a Thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Literature Approved Dissertation Committee Prof. Dr. Immacolata Amodeo Name and title of Chair Prof. Dr. Birgit Mersmann Name and title of Committee Member Prof. Dr. Johannes Paulmann Name and title of Committee Member Date of Defense: December 15, 2014 Statutory Declaration (on Authorship of a Dissertation) I, Jayson Scott Grimes hereby declare that I have written this PhD thesis independently, unless where clearly stated otherwise. I have used only the sources, the data and the support that I have clearly mentioned. This PhD thesis has not been submitted for conferral of degree elsewhere. I confirm that no rights of third parties will be infringed by the publication of this thesis. Bremen, May 3, 2015 Signature ___________________________________________________________ Contents 1.0 An Introduction to Migrating Imageries [1] 2.0 Literature Review Regarding Migrating Imageries [9] 3.0 Methodology Used for Migrating Imageries and the Various Analyses [20] 4.0 The Immigrant Animal’s Aggression: riotous Irish apes, cannibalism and the sub-human Chinese (ca. 1820 – 1870) [32] 4.1 Introduction to Wave 2 [34] 4.2 Historic Review Wave 2 [37] 4.3 Pictorial Analyses Wave 2 [48] 4.4 Discourse Analysis Wave 2 [71] 4.5 Conclusion of Wave 2 [82] 5.0 The Immigrant Other: depictions of immigrants as wild apes and creatures from the sea (ca. 1870 – 1910) [85] 5.1 Introduction to Wave 3 [88] 5.2 Historic Review Wave 3 [91] 5.3 Pictorial Analyses Wave 3 [102] 5.4 Discourse Analysis Wave 3 [137] 5.5 Conclusion of Wave 3 [154] 6.0 The Immigrant Swarm: contemporary depictions of immigrants as insects and rodents (post 1960) [157] 6.1 Introduction to Wave 4 [159] 6.2 Historic Review Wave 4 [162] 6.3 Pictorial Analyses Wave 4 [173] 6.4 Discourse Analysis Wave 4 [195] 6.5 Conclusion of Wave 4 [208] 7.0 Migrating Imageries: Conclusion [211] Works Cited [230] 1.0 An Introduction to Migrating Imageries Since the founding of the United States in 1776, and after the revolution in which the original 13 colonies became independent of the British crown, immigration has played a central role in the peopling of the country which today is recognized as one of the most diverse and culturally varied on earth. This immigration equals not to an isolated phenomenon in the case of the United States, but rather an ongoing and continual process which even now forms a part of the American cultural consciousness. While the adage of the melting-pot has been deemed inaccurate upon review of the historical animosities which occurred among the immigrant groups themselves and the among the ‘nativist’ or already established post- immigration communities, it is important to look at how this process of co-existence was dealt with in terms of social conditions, but also and most importantly here visually and with regards to the discourse surrounding the occurrence of immigration to the United States. Nativist sentiment is not a thing of the past and continues both as a socio-political phenomenon and as a visual one. If it is possible then to trace nativism through the various stages of US immigrant history, then it is also worth trying to determine to what degree this was also present visually and to what extent it is still present in this respect. What elements consistently create the scopic regime in which immigrants are viewed and are there patterns which are both observable and understood specifically based upon the interpretation of certain icons- these are the foundational aspects of the line of questioning from whence this work commences. Furthermore, it is of interest as to what degree these phenomena are linked (socio-economic and visual). As there are surely multifaceted means by which one could read these visuals it is therein reasonably valid to consider the illustrator’s agency on their viewing and his/her reuse of certain symbolism and the implications thereof. The reoccurrence of specific imagery and its intended function cannot be forgotten when seeking to interpret the ‘audiencing’ of specific illustrations. This visual aspect of immigration will be the focus of this thesis, yet just as the sentiment behind many of the images and their creation was spurred by nativism, this work will seek to determine to what degree this effect had on the viewing of these images within the context of the progress of immigration and the visual content created throughout that process and elements which are obvious upon inspection of many of the images. The particular use of zoomorphic imagery, that is the depiction of non-animal subjects with animal traits, characteristics or behaviors, is a phenomenon that can be found not only in the contemporaneous depictions of immigrants with the rise of the current trends of nativist 1 ideology, but is consistent throughout the major waves of American immigration. This is especially relevant in lieu of recent legislation such as the bill which passed in 2010 in the state of Arizona which allows for racial profiling during routine police stops on roads, highways, sidewalks, and in other public domain jurisdictions.1 These current legal, socio- political and visual regimes will also be covered in the work and specifically dealt with in regards to the discourse they are a part of insofar as they inform the reading of the visual samples. Zoomorphism, has been a central theme throughout art history present in the works of Early Netherlandish painters such as H. Bosch, but is also visible in the works of more contemporary avant-garde artists like Mathew Barney who makes extensive use of zoomorphic themes throughout his Cremaster Cycle. The existing focus has been mostly in relation to its use in literature but there is also evidence in newer forms such as Japanese Manga. The interest in the Japanese illustrated stories has brought zoomorphic imagery into the mainstream of many Asian and Western countries in which Manga is popular. However, as stated, the academic interest in zoomorphism and the discussion surrounding it has largely been the domain of literature. The writings of Comte de Lautréamont, a 19th century French poet and writer who would have a great influence on the surrealists, made extensive use of zoomorphism in his work Les Chants de Maldoror in which the protagonists or other characters are often seen metamorphosing into, or taking on the characteristics of animals in a literal or behavioral sense. More recently the author H.P. Lovecraft used zoomorphic imagery in his horror novels to create elements of the grotesque and gory.2 Examples of zoomorphism are more prevalent in literature than in the visual arts, especially in relation to its use in accordance with the depiction of human beings. This frequency of the pairing of human and animal images could be due to the association of animals as primitive, unclean or unevolved, through which one could also introduce concepts of primitivism and the scopic regimes that have contextually defined these constructs. The thesis however, seeks to determine if there is a consistent use of zoomorphic imagery throughout the various waves of American immigration. Particular application of zoomorphism to immigrants will also be viewed in its proper historical context to determine if institutional apparatuses effected the depiction of immigrants in any way and if so, to what 1 Archibold, Randal. "Arizona Enacts Stringent Law on Immigration." New York Times Web. 23 Apr. 2010. 2 cf. Harford, John R. "Surrealism: H.P. Lovecraft and Dream Reality." (2001): Print. 2 extent this is visible through use of zoomorphic imagery. It is therefore impossible, in consideration of the aims of this work, to avoid the evaluation and review of the historical epochs in which immigration has progressed, this is not simply practical but also necessary in order to place the images within a contextual discourse that can be examined to determine their reflection of the larger social discourse of the respective time periods. In the interest of choosing a medium that has been somehow consistently represented in the various depictions involving immigrants, and that has progressed alongside them, illustration has been assumed as the focus of the visual study. Specimens will be taken from print media illustrations and relevant analysis, upon availability (some examples may lack any textual element), of texts will be included. These texts, often the titles or descriptions intended to accompany the original illustration, provide a link to the means whereby we are able to read the image, and vice-versa. This multi-modality was a very present part of the printed illustrations which were popular during the Great Migration, and to some degree even before it. This support of the image, in the form of text is not specialized, as Gillian Rose states: “It is very unusual, for example, to encounter a visual image unaccompanied by any text at all, whether spoken or written; even the most abstract painting in a gallery will have a written label on the wall giving certain information about its making, and in certain sorts of galleries there are sheets of paper giving a price too, and these make a difference to how spectators will see that painting. So although virtually all visual images are multimodal in this way- they always make sense in relation to other things, including written texts and very often other images- they are not reducible to the meanings carried by those other things.”3 The role of the texts will however, serve to assist in the interpretation of the images and to help establish a proper analysis of the scopic regime in which the visuals would have been viewed and the implications thereof.
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