Queering Philip Roth: Homosocial Discourse in 'An Actor's
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Philip Roth's Confessional Narrators: the Growth of Consciousness
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1979 Philip Roth's Confessional Narrators: The Growth of Consciousness. Alexander George Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation George, Alexander, "Philip Roth's Confessional Narrators: The Growth of Consciousness." (1979). Dissertations. 1823. https://ecommons.luc.edu/luc_diss/1823 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1979 Alexander George PHILIP ROTH'S CONFESSIONAL NARRATORS: THE GROWTH OF' CONSCIOUSNESS by Alexander George A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 1979 ACKNOWLEDGE~£NTS It is a singular pleasure to acknowledge the many debts of gratitude incurred in the writing of this dissertation. My warmest thanks go to my Director, Dr. Thomas Gorman, not only for his wise counsel and practical guidance, but espec~ally for his steadfast encouragement. I am also deeply indebted to Dr. Paul Messbarger for his careful reading and helpful criticism of each chapter as it was written. Thanks also must go to Father Gene Phillips, S.J., for the benefit of his time and consideration. I am also deeply grateful for the all-important moral support given me by my family and friends, especially Dr. -
Philip Roth, Henry Roth and the History of the Jews
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 16 (2014) Issue 2 Article 9 Philip Roth, Henry Roth and the History of the Jews Timothy Parrish Florida State University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Literature Commons, Comparative Literature Commons, Jewish Studies Commons, Modern Literature Commons, and the Other Arts and Humanities Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Parrish, Timothy. "Philip Roth, Henry Roth and the History of the Jews." CLCWeb: Comparative Literature and Culture 16.2 (2014): <https://doi.org/10.7771/1481-4374.2411> This text has been double-blind peer reviewed by 2+1 experts in the field. -
The Media Assemblage: the Twentieth-Century Novel in Dialogue with Film, Television, and New Media
THE MEDIA ASSEMBLAGE: THE TWENTIETH-CENTURY NOVEL IN DIALOGUE WITH FILM, TELEVISION, AND NEW MEDIA BY PAUL STEWART HACKMAN DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Robert Markley Associate Professor Jim Hansen Associate Professor Ramona Curry ABSTRACT At several moments during the twentieth-century, novelists have been made acutely aware of the novel as a medium due to declarations of the death of the novel. Novelists, at these moments, have found it necessary to define what differentiates the novel from other media and what makes the novel a viable form of art and communication in the age of images. At the same time, writers have expanded the novel form by borrowing conventions from these newer media. I describe this process of differentiation and interaction between the novel and other media as a “media assemblage” and argue that our understanding of the development of the novel in the twentieth century is incomplete if we isolate literature from the other media forms that compete with and influence it. The concept of an assemblage describes a historical situation in which two or more autonomous fields interact and influence one another. On the one hand, an assemblage is composed of physical objects such as TV sets, film cameras, personal computers, and publishing companies, while, on the other hand, it contains enunciations about those objects such as claims about the artistic merit of television, beliefs about the typical audience of a Hollywood blockbuster, or academic discussions about canonicity. -
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© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. 1 Introduction: Roth Antagonistes ecrying the “sanitized” eulogy he has just heard delivered over Dthe coffin of his friend the novelist Nathan Zuckerman, who has sud denly died during heart surgery, an unidentified mourner, bearded and middle-aged, gives an impromptu countereulogy on the sidewalk: He made it easy for them. Just went in there and died. This is a death we can all feel good about. Not like cancer....The cancer deaths are horri fying. That’s what I would have figured him for. Wouldn’t you? Where was the rawness and the mess? Where was the embarrassment and the shame? Shame in this guy operated always.Here is a writer who broke taboos, fucked around, indiscreet, stepped outside that stuff deliberately, and they bury him like Neil Simon—Simonize our filthy, self-afflicted Zuck! Hegel’s unhappy consciousness out under the guise of sentiment and love! This unsatisfiable, suspect, quarrelsome novelist, this ego driven to its furthest extremes, ups and presents them with a palatable death—and the feeling police, the grammar police, they give him a palatable funeral with all the horseshit and the mythmaking!...I can’t get over it. He’s not even going to rot in the ground, this guy who was made for it. This insidious, unregenerate defiler, this irritant in the Jew ish bloodstream, making people uncomfortable and angry by looking with a mirror up his own asshole, really despised by a lot of smart peo ple, offensive to every possible lobby, and they put him away, decontam inated, deloused—suddenly he’s Abe Lincoln and Chaim Weizmann in one! Could this be what he wanted, this kosherization, this stenchless ness? I really had him down for cancer, the works. -
Philip Roth As Moral Artist at Mid-Career
PHILIP ROTH AS MORAL ARTIST AT MID-CAREER by James Phelan B.A., Concordia University, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December, 2009 © James Phelan, 2009 Abstract As a serious young man in the nineteen-fifties and early sixties, Philip Roth believed writing fiction was an exalted calling with a high moral purpose. He was a committed social realist with a Lionel- Trilling-like ethics of fiction and a grand, unrealized ambition to write about public life. Then, fifteen years into his career, he wrote Portnoy’s Complaint (1969), a rollicking extravaganza of scurrilous comic invention and exaggerated grievance. Revelling in wildness and transgression, he found a voice that galvanized his talent as nothing before had done. Yet he still seemed to feel bound by his old ethical commitments. This was not the artistic breakthrough he had been hoping for. My paper considers how Roth works at reconciling his deep-seated sense of moral responsibility as a writer with his inescapable talent for imaginative recklessness in three novels, each of which marks a turning point in the middle of his career, Portnoy , The Ghost Writer (1979), and The Counterlife (1986). I take this moral/aesthetic problem to be an important preoccupation of Roth’s and make that preoccupation the basis for readings of the novels. In doing so, I try to show that his ethics and aesthetics are much deeply entangled than is usually acknowledged. In Portnoy he does all he can to contain Alex Portnoy’s rampaging monologue inside a morally proper narrative frame. -
Editor's Column Derek Parker Royal
Editor's Column Derek Parker Royal Philip Roth Studies, Volume 6, Number 1, Spring 2010, pp. 9-11 (Article) Published by Purdue University Press For additional information about this article https://muse.jhu.edu/article/383554 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] Editor’s Column Derek Parker Royal Philip Roth has had his share of troubles when it comes to women, at least the fictional kind. In the early decades of his career, he was accused by many readers of stacking the deck against his female characters, contorting women’s issues, and even engaging in blatant misogynist stereotypes. Figures such as Brenda Potemkin, Libby Herz, Lucy Nelson, Mary Jane Reed (aka “The Mon- key”), and Maureen Tarnopol were criticized as unflattering representations that served merely as passive and vapid backdrops to the more complicated, albeit neurotic, male protagonists. And with works such as The Professor of Desire (1977) and The Great American Novel (1973)—the latter being called by Janis P. Stout outright misogynistic—Roth was not seen as the most sensi- tive of authors. Read as either Jewish American princesses, unsympathetic actants, or sexual objects of desire, his women characters helped to contribute to what had become, even as late as the early 1990s, Roth’s reputation as a writer of “men’s novels.” However, such an unequivocal reading of this fiction does not do it justice. As Marshall Bruce Gentry has pointed out, Roth’s representation of women, and of gender roles in a broader sense, are quite complicated and should not be discounted as merely “anti-woman” or “male-centered.” In fact, Gentry’s perspective was timely, arriving at what can be seen now as a turning point in Roth’s career, or at least a turning point in his critical reception. -
Nemesis and the Persistence of Tragic Framing: Bucky Cantor As Job, Hebrew Prometheus, And
1 Nemesis and the Persistence of Tragic Framing: Bucky Cantor as Job, Hebrew Prometheus, and Reverse Oedipus Nicholas Stangherlin ABSTRACT. This article analyzes the protagonist of Nemesis, Eugene “Bucky” Cantor, in order to delineate those elements that define him not only as a Promethean figure, but as a modern incarnation of both Job and Oedipus. The evocative power of these archetypes contributes to establishing the tragic framework of the novel and the heroic status of its protagonist, both of which resist the narrator’s attempt to deconstruct them in the final chapter. The Prometheus archetype is a recurrent presence in Philip Roth’s works and it is in the Nemeses tetralogy that the author further develops the syncretic use of topoi and symbols of Hebrew and Greek mythology and Attic tragedy that had only been hinted at in American Pastoral. If in the Zuckerman novels, particularly in Zuckerman Bound and The Anatomy Lesson, the figure of Prometheus is alluded to with a certain degree of irony, in the American trilogy it acquires a more epic grandeur and tragic gravitas.1 Moreover, in American Pastoral, Roth introduces Jobian themes, which he is able to integrate within the context of the Swede’s Promethean transgression of the boundaries of ethnicity and history. The objective of this article is to analyze the characteristics of the protagonist of Nemesis, Eugene “Bucky” Cantor, in order to define those elements that make him not only a Promethean figure, but a modern incarnation of the biblical Job. Moreover, I will discuss those traits that Bucky shares with the figure of Oedipus; it will be observed how the very co-existence within the protagonist of the intrinsically divergent features of Job, Prometheus and Oedipus contributes to heightening the tragedy of his fall. -
A Conversation with Philip Roth Philip Roth
Ontario Review Volume 1 Fall 1974 Article 3 August 2014 A Conversation with Philip Roth Philip Roth Joyce Carol Oates Follow this and additional works at: http://repository.usfca.edu/ontarioreview Part of the Nonfiction Commons Recommended Citation Roth, Philip and Oates, Joyce Carol (2014) "A Conversation with Philip Roth," Ontario Review: Vol. 1, Article 3. Available at: http://repository.usfca.edu/ontarioreview/vol1/iss1/3 For more information, please contact [email protected]. Published by USF Scholarship: a digital repository @ Gleeson Library | Geschke Center, 2014 A Conversation with Philip Roth JOYCE CAROL OATES JCO: Your first book, Goodbye, Columbus, won the most distinguished American literary honor—the National Book Award—in 1960; you were twenty-seven years old at that time. A few years later, your third novel, Portnoy's Complaint, achieved a critical and popular success—and noto riety—that must have altered your personal life, and your awareness of yourself as a writer with a great deal of public "influence." Do you believe that your sense of having experienced life, its ironies and depths, has been at all intensified by your public reputation? Have you come to know more because of your fame? Or has the experience of enduring the bizarre pro jections of others been at times more than you can reasonably handle? ROTH: My public reputation—as distinguished from the reputation of my work—is something I try to have as little to do with as I can. I know it's out there, of course—a concoction spawned by Portnoy's Complaint and compounded largely out of the fantasies that book gave rise to in readers because of its "confessional" strategy, and also because of its financial suc cess. -
Cambridge University Press 978-1-108-48929-4 — Philip Roth in Context Edited by Maggie Mckinley Index More Information
Cambridge University Press 978-1-108-48929-4 — Philip Roth in Context Edited by Maggie McKinley Index More Information Index Adichie, Chimamanda Ngozi, Conrad, Joseph, , Albert, Elisa, Cooper, James Fenimore, Allen, Mary, American Pastoral (film), DeLillo, Don, , Anderson, Sherwood, , Derrida, Jacques, Anti-Defamation League, , Dos Passos, John, Appelfeld, Aharon, , , –, , , Dostoevsky, Fyodor, , , , , Dreiser, Theodore, , Apple, Sam, Dunham, Lena, Arendt, Hannah, , , Atwood, Margaret, Einstein, Albert, Auster, Paul, , Elegy, , , Ellison, Ralph, , , , , Babel, Isaac, Ellmann, Richard, Bailey, Blake, , Emerson, Ralph Waldo, –, Baraka, Amiri, Englander, Nathan, , Barnes, Julian, Erdrich, Louise, , Barth, John, , , – Barthelme, Donald, Farrell, James T., , Battle of Blood Island, The, Farrow, Mia, Bellow, Saul, , , , , , –, , Fast, Howard, –, , , –, , , Faulkner, William, , , , , Fiedler, Leslie, , Berkshires, The, – Flaubert, Henri, , , , , – Berman, Jeffrey, , Foer, Jonathan Safran, Berman, Shelley, Foucault, Michel, Bloom, Claire, , , , , , , , Frank, Anne. See The Ghost Writer , Franklin, Ruth, Bloom, Harold, , , Freud, Sigmund, , –, –, Bruce, Lenny, , –, Bukiet, Melvin, Gaddis, William, , Caruth, Cathy, – Ghost Writer, The (film), – Cather, Willa, , Golden, Harry, , Chabon, Michael, Goodbye, Columbus (film), , Chaim, Chofetz, Gornick, Vivian, , Cheever, John, –, Great Depression, Chekhov, Anton, , , Civil Rights Movement, , , , Halliday, Lisa, , Coetzee, J.M., Hawthorne, Nathaniel, -
Philip Roth: the American Trilogy PDF Book
PHILIP ROTH: THE AMERICAN TRILOGY PDF, EPUB, EBOOK Philip Roth,Ross Miller | 1088 pages | 16 Oct 2014 | The Library of America | 9781598531039 | English | New York, United States Philip Roth: The American Trilogy PDF Book The Flower Drum Song. Looking for More Great Reads? The truth about us is endless. A polio epidemic is at the centre of Nemesis , set in Newark, New Jersey, in Roth takes this scenario and spins an amazing tale of race, identity, desire, and hypocrisy that hits the bulls-eye of race relations in America, as well as the dangers of criminalizing speech. This was an insane and very angry time and let me tell you, Roth captures its essence beautifully. Necessary, eloquent, prophetic, masterful, and true. He discusses her as an inspiration for My Life as a Man throughout the book's second half, most completely in the chapter "Girl of My Dreams," which includes this on p. I am not impressed. Seriously, fuck this book. Or, oh, the surreal psychotic satirical hate spewing from the mouth of mystery girl Rita Cohen? The Daily Beast. Book Club: American Pastoral. Published March 5th by Vintage first published Literary Fiction. Can someone really have a better life if he leaves behind his old life and everything he believed were obstacles to his success? I went ahead and lopped off the superfluous page first act think frame story with no end frame. I put the book down dizzy, my head reeling with images and ideas, and I love when that happens. In this book, there are whole sections dedicated to the discussion of how to make leather gloves - just without the diagrams. -
Roth's Graveyards, Narrative Desire, and "Professional Competition with Death"
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 16 (2014) Issue 2 Article 2 Roth's Graveyards, Narrative Desire, and "Professional Competition with Death" Debra Shostak College of Wooster Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Shostak, Debra. -
A New Literary Realism: Artistic Renderings of Ethnicity, Identity, and Sexuality in the Narratives of Philip Roth
A NEW LITERARY REALISM: ARTISTIC RENDERINGS OF ETHNICITY, IDENTITY, AND SEXUALITY IN THE NARRATIVES OF PHILIP ROTH Marta Krogh Harvell, B.A., B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS May 2012 APPROVED: James Duban, Major Professor Robert Upchurch, Committee Member James Baird, Committee Member David Holdeman, Chair of the Department of English James D. Meernik, Acting Dean of the Toulouse Graduate School Harvell, Marta Krogh. A New Literary Realism: Artistic Renderings of Ethnicity, Identity, and Sexuality in the Narratives of Philip Roth. Doctor of Philosophy (English), May 2012, 154 pp., bibliography, 246 titles. This dissertation explores Goodbye, Columbus and Five Short Stories (1959), The Ghost Writer (1979), The Counterlife (1986), The Facts (1988), Operation Shylock (1993), Sabbath's Theater (1995),and The Human Stain (2000), arguing that Roth relishes the telling of the story and the search for self within that telling. With attention to narrative technique and its relation to issues surrounding reality and identity, Roth's narratives stress unreliability, causing Roth to create characters searching for a more complex interpretation of self. Chapter I examines Roth’s negotiation of dual identities as Neil Klugman in Goodbye, Columbus feels alienated and displaced from Christianized America. The search for identity and the merging of American Christianity and Judaism remain a focus in Chapter II, which explores the implications of how, in The Ghost Writer, a young Nathan Zuckerman visits his mentor E.I. Lonoff to find him living in what he believes to be a non-Jewish environment—the American wilderness.