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Seeing Subjects: Recognition, Identity, and Visual Cultures in Literary Modernism

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University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2011 SEEING SUBJECTS: RECOGNITION, IDENTITY, AND VISUAL CULTURES IN LITERARY MODERNISM George Micajah Phillips University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Phillips, George Micajah, "SEEING SUBJECTS: RECOGNITION, IDENTITY, AND VISUAL CULTURES IN LITERARY MODERNISM" (2011). University of Kentucky Doctoral Dissertations. 221. https://uknowledge.uky.edu/gradschool_diss/221 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DISSERTATION George Micajah Phillips The Graduate School University of Kentucky 2011 SEEING SUBJECTS: RECOGNITION, IDENTITY, AND VISUAL CULTURES IN LITERARY MODERNISM ____________________________________ ABSTRACT OF DISSERTATION ____________________________________ A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By George Micajah Phillips Lexington, Kentucky Director: Dr. Jonathan Allison, Associate Professor of English Lexington, Kentucky 2011 Copyright © George Micajah Phillips 2011 ABSTRACT OF DISSERTATION SEEING SUBJECTS: RECOGNITION, IDENTITY, AND VISUAL CULTURES IN LITERARY MODERNISM Seeing Subjects plots a literary history of modern Britain that begins with Dorian Gray obsessively inspecting his portrait’s changes and ends in Virginia Woolf’s visit to the cinema where she found audiences to be “savages watching the pictures.” Focusing on how literature in the late-19th and 20th centuries regarded images as possessing a shaping force over how identities are understood and performed, I argue that modernists in Britain felt mediated images were altering, rather than merely representing, British identity. As Britain’s economy expanded to unprecedented imperial reach and global influence, new visual technologies also made it possible to render images culled from across the British world—from its furthest colonies to darkest London—to the small island nation, deeply and irrevocably complicating British identity. In response, Oscar Wilde, Joseph Conrad, T. S. Eliot, and others sought to better understand how identity was recognized, particularly visually. By exploring how painting, photography, colonial exhibitions, and cinema sought to manage visual representations of identity, these modernists found that recognition began by acknowledging the familiar but also went further to acknowledge what was strange and new as well. Reading recognition and misrecognition as crucial features of modernist texts, Seeing Subjects argues for a new understanding of how modernism’s formal experimentation came to be and for how it calls for responses from readers today. KEYWORDS: British modernism; recognition; visual culture; British national culture; social class in London _ George Micajah Phillips _____ Student’s Signature __________June 24, 2011____________ Date SEEING SUBJECTS: RECOGNITION, IDENTITY, AND VISUAL CULTURES IN LITERARY MODERNISM By George Micajah Phillips __ __Jonathan Allison _________ Director of Dissertation __ __Virginia Blum _________ Director of Graduate Studies __________June 24, 2011____________ Date RULES FOR THE USE OF DISSERTATIONS Unpublished dissertations submitted for the Doctor’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors. Bibliographical references may be noted, but quotations or summaries of parts may be published only with the permission of the author, and with the usual scholarly acknowledgments. Extensive copying or publication of the dissertation in whole or in part also requires the consent of the Dean of the Graduate School of the University of Kentucky. A library that borrows this dissertation for use by its patrons is expected to secure the signature of each user. Name Date ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ DISSERTATION George Micajah Phillips The Graduate School University of Kentucky 2011 SEEING SUBJECTS: RECOGNITION, IDENTITY, AND VISUAL CULTURES IN LITERARY MODERNISM ____________________________________ DISSERTATION ____________________________________ A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By George Micajah Phillips Lexington, Kentucky Director: Dr. Jonathan Allison, Associate Professor of English Lexington, Kentucky 2011 Copyright © George Micajah Phillips 2011 For Tiffany insieme per sempre ACKNOWLEDGEMENTS As with its close companion, recognition, one begins the process of acknowledgement aware that it may never be completed. So it is without the pretense of finality but in hope of a promising beginning that I take my first steps here in speaking the depths of my gratitude for the many teachers, formal and otherwise, who have made this project richer and better than I could have done alone. In small and innumerable ways, this dissertation can be traced back to those teachers who introduced me to many of the writers, works, and theorists that appear here. From Arthur Brown, Tony Cuda, Pat Cahill, Cathy Caruth, Bill Hemminger, Barbara Ladd, James Morey, Anne Padilla, Leigh Partington Tillman, and Hillary Smith, I have learned more than I can name, not least of which is that writing about literature begins with the attempt at capturing its complexities on its own terms. Over the course of this project, my director, Jonathan Allison, offered exacting readings, vibrant enthusiasm, an immense memory of literary history, and an open office door. For that, and much more, I am deeply grateful to him. Ellen Rosenman and Michael Trask made this project’s arguments and the research behind them better with their erudition, probing questions, and the graceful support with which they greeted my ungainly attempts to live up to their challenges. Wallis Miller’s interest in literature and enthusiasm for the study of visual material helped inspire a project that could reach across disciplines. Pearl James and Peter Kalliney have been irreproachable models for scholarship, teaching, and friendship to boot. I have been fortunate in cultivating many friendships while in graduate school which I hope will continue to flourish in the years to come. This project would have been unimaginable without the company and hospitality of Andrew Battista, Matt Feinberg, iii Colleen Glenn, Josh Reid, and Aparajita Sengupta. The same is true for Jonathan Sircy, who also went above the call of friendship to read and comment on more of this project than anyone outside my committee. Our homes are our first schools, and what I owe to the teachers I have found there is beyond words. Long before I learned to read critically, I had the great fortune to grow up surrounded by parents, grandparents, siblings, uncles, aunts, and cousins whose appreciation for stories—how to tell them, listen to them, and live with them—has been one of the great pleasures of my life. My parents, Faye and J. K., have been encouraging, loving, and singularly supportive in every imaginable way at every step of my education. They have been my first and my best teachers. Gary and Gayle Lauderdale have been a second set of parents, models of patience, kindness, and munificence on so many occasions. No one knows how to deflate a burden, or an ego, better than siblings, and Carson and James always had a kind word and a wry comment ready for both. My daughter, Auden, from whom I have learned so much already, is usually quick to remind me of two things: by telling me that God’s presence is always with me, even if I do not know or feel it, and by showing me again and again the powerful simplicity of being present with each another. With the rare and unspeakable joy she inspires in thousands of small ways, I am often breathless. And, at last, there is Tiffany, without whom I could not have come to know the best ways to celebrate, to parent, to take a photograph, to argue fairly, to read carefully, to live generously, to love unconditionally, to be kind, and, simply, to be. With love, gratitude, and ceaseless awe, this dissertation is dedicated to her. iv TABLE OF CONTENTS Acknowledgements ........................................................................................................... iii List of Figures ..................................................................................................................
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