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Adaptation As Anarchist Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2012 Adaptation as Anarchist: A Complexity Method for Ideology-Critique of American Crime Narratives Kristopher Mecholsky Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Mecholsky, Kristopher, "Adaptation as Anarchist: A Complexity Method for Ideology-Critique of American Crime Narratives" (2012). LSU Doctoral Dissertations. 3247. https://digitalcommons.lsu.edu/gradschool_dissertations/3247 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. ADAPTATION AS ANARCHIST: A COMPLEXITY METHOD FOR IDEOLOGY-CRITIQUE OF AMERICAN CRIME NARRATIVES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Kristopher Mecholsky B.A., The Catholic University of America, 2004 M.A., Marymount University, 2008 August 2012 Copyright © 2012 by Kristopher Mecholsky All rights reserved ii Perhaps the sentiments contained in the following pages, are not yet sufficiently fashionable to procure them general favour… Thomas Paine, Common Sense iii ACKNOWLEDGMENTS This section was originally a lot longer, a lot funnier, and a lot more grateful. Before I thank anyone, let me apologize to those I cannot list here. Know that deep in my computer, a file remains saved, inscribed with eloquent gratitude. First of all, I owe a great debt to my advisor, Carl Freedman, for his assistance, guidance, and confidence, as well as his conversation and friendship. I hope my work in this dissertation helps to pay it back. His thoughtful judgement, lucid writing, and superb scholarship have inspired me in my studies, and have in fact influenced a number of aspects of this dissertation and my critical thinking in general. In his honor, then, the word ―incredible‖ and its derivations do not appear one other time in the following pages. I also want to express my gratitude to the other members of my dissertation committee, Brannon Costello and Rosemary Peters. Both graciously answered unbidden knocks on their door and gave of their valuable time selflessly and endlessly. I respect them both immensely as scholars and teachers, and feel honored to call them friends. For one, I do not use the term ―graphic novel‖ save here; to the other, I gave one of my chapters (the Sirk one). For all three, I begin with Bruce Springsteen. I want to express my sincere appreciation to the South Central Modern Language Association for awarding me the 2012 Graduate Student Grant to aid me in completing this dissertation this year. Additionally, a few other institutions have been vital for my writing, including Brandeis University and the Kurt Weill Foundation for providing me a rare, historical recording of the 1954 concert premiere of Marc Blitzstein‘s adaptation and arrangement of The Threepenny Opera, conducted by Leonard Bernstein at the inaugural Festival of the Creative iv Arts. I also wish to thank the Wisconsin Historical Society for expert help in navigating through and procuring items from the Marc Blitzstein Archive housed there. A number of people have helped me significantly who were in no way obligated, but did so out of kindness. Jesse Cohn‘s scholarship and theory in Anarchism and the Crisis of Representation affected me profoundly, and inspired my interest in anarchism, and he graciously helped me work out some theoretical problems in a long walk around New Orleans. I hope I have done all of his help justice. I want to thank Victor MacGill, who genially permitted me use of his excellent overview of power law distributions, and Professor Christine Kooi, who graciously joined my committee as a Dean‘s representative only a week before the defense. My writing group—Conor Picken, Laura Faulk, and Corrie Kiesel—deserves special recognition here for giving me such constructive feedback on chapters that had no business being the length they did, and for giving me such warm companionship. Jerod Hollyfield and Mitch Frye have both received numerous calls and questions at all hours, and both have answered them with characteristic humor and knowledge. Whether they knew it or not, their examples of remarkable professionalism were a constant motivation to me. We still haven‘t watched Slap Shot. Rhonda Amis and Valerie Hudson warrant singular attention here. They solved every problem I ever had for them warmly and efficiently, and I have come to cherish their presence in Allen Hall. They both worked far beyond their job description to help me, and they did so with smiles and pleasant conversation, and I truly cannot thank them enough here. I wish I could list all of my friends and family here, in and out of graduate school. I hope none take offense at being left out on paper, for they have never left my heart or mind. I assure them that there they are all in the greatest of company. v Lastly, I want to thank my family. To my in-laws—Susan, Nathaniel, and John—I owe so much; I vigorously wish I had a more evocative word than ―in-law‖ to describe them, for no word could be farther from my feeling for them. Susan has particularly been outstandingly supportive of my graduate work, financially as well as intellectually and emotionally. I am especially grateful that she has taken such devoted interest in reading what I have to say. My father, Jack Mecholsky, and my brother, Nicholas Mecholsky, both aided me with the scientific aspects of this project, and I thank them for their loving help. I want to thank Nick particularly for also reading and editing and for talking over the central ideas I argue here. Without his help, this would have been a poorer and less ambitious work. I heartily thank him for encouraging me to do my best. My grandmother, Rachel, and my mother, Susan, have both given me unfailing support, and unreservedly. I must thank them both particularly for crucial financial support, in both little and big ways. I always noticed. My siblings John and Sarah have both sustained me at crucial times. To John I owe most of my early literary and filmic taste, and I am appreciative it was so discriminating. To Sarah I am so very grateful for her time in Baton Rouge, for our weekly dinners, and for her abiding enthusiasm, of which I have been the fortunate beneficiary. To my own family, I don‘t think I have the words. Everything has been possible only through Ellen, and Eliza and Matilda have been the very joy of my days. They have put up with a lot, including their apparent absence from a dedication here. They all know I already dedicate everything to them. vi TABLE OF CONTENTS COPYRIGHT……………………………………………………………………... ii ACKNOWLEDGMENTS……………………………………………………….... iv ABSTRACT……………………………………………………………………….. viii CHAPTER 1. INTRODUCTION…………………………………………………………. 1 PART ONE. ―THE EFFECT OF AN INSTINCT‖: INTERNALIZED IDEOLOGY IN BILLY BUDD AND ITS ADAPTATIONS…………………………....................... 57 2. ―THE DRUMBEAT DISSOLVED THE MULTITUDE‖: INDIVIDUAL IDENTITY, CULTURAL COMPULSION, AND THE PROBLEM OF ACQUIESCENCE IN BILLY BUDD................. 58 3. WORSE THAN ANY ENEMY: CONSCRIPTION, MUTINY, AND THE PROBLEM OF CLAGGART AND VERE IN BILLY BUDD ADAPTATIONS……………………………………............ 145 PART TWO. ―EVERY MAN ROUND ME MAY ROB, IF HE PLEASE‖: COMMUNITY AND CRIMINAL IDENTITY IN MOLLY MAGUIRE AND NEWGATE ADAPTATIONS.......... 198 4. ―THE POOR MAKE NO NEW FRIENDS‖: THE MOLLY MAGUIRES IN ADAPTATION………………………….. 199 5. ―UND SIE WISSEN IMMER NOCH NICHT, WER ICH BIN‖: CAPITALISM AND EIGENTLICHE REVOLT IN ADAPTATIONS OF DIE DREIGROSCHENOPER…………………………………………. 258 REFERENCES…………………………………………………………………….. 313 APPENDIX A. POWER-LAW DISTRIBUTION AND 1/F–PINK–FLICKER NOISE………………………………. 327 APPENDIX B……………………………………………………………………… 330 VITA……………………………………………………………………………….. 333 vii ABSTRACT Particularly through their relation to ideology, crime narrative adaptations expose the conflict between individuals and communities on one side and the State on the other. Adaptations take the already defamiliarizing effect of narrative and continue to defamiliarize, creating a narrative cubist effect through various audiences and discursive orderings of events. Hence, they question the ideological prefiguring that lies at the foundation of narrative understanding. Insofar as ideologies are simplified ways to legitimate actions and project images of identity, the fact that a society‘s narratives necessarily inherit ideology from the State obscures that society and State‘s inevitable deviations from their self-images. Ideology misrepresents that which it attempts to legitimate. In order to critique ideological influence, the position from which total, reflective cultural study can extend is the vantage point that consistently and actively questions culture to its limits. It can only come from a position in which the audience‘s freedom from domination is maximized. Cultural study and criticism thus arises most completely and honestly when it comes as close as it can from without ideology. By definition, the opposite of ideology is anarchy. In this
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