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University of Florida Thesis Or Dissertation Formatting RESISTANCE, REVOLUTION, REDEMPTION: MESSIANIC MODERNISM IN THE STATE OF EMERGENCY By CAMELIA RAGHINARU A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Camelia Raghinaru 2 To Alex, for whom all things are possible 3 ACKNOWLEDGMENTS I would like to thank my committee, Brandon Kershner, Phillip Wegner, Susan Hegeman, and Dragan Kujundžić for their guidance and support, and Galili Shahar, for putting me on this path. I would also like to thank my past and present mentors, Richard Gaughan and Daniel Erlanson, for their invaluable encouragement. I thank my husband, Dan, for his unwavering belief in me, and sweet little Alex for speeding me along. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 ABSTRACT ..................................................................................................................... 6 CHAPTER 1 MODERNISM AND MESSIANIC UTOPIA: THE DIALECTIC OF LAW AND JUSTICE ................................................................................................................... 8 2 HISTORY IN RUINS: READING JOSEPH CONRAD‟S NOSTROMO .................... 32 3 MODERNISM AND GENDER AS STATES OF EXCEPTION: READING VIRGINIA WOOLF .................................................................................................. 58 To the Lighthouse ................................................................................................... 60 A Room of One’s Own ............................................................................................ 86 The Waves .............................................................................................................. 95 4 MESSIANISM AND THE ABJECT: READING D. H. LAWRENCE‟S THE PLUMED SERPENT ............................................................................................. 124 5 MOLLY BLOOM AND THE COMEDY OF REMARRIAGE ................................... 151 6 CODA ................................................................................................................... 181 LIST OF REFERENCES ............................................................................................. 185 BIOGRAPHICAL SKETCH .......................................................................................... 191 5 Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy RESISTANCE, REVOLUTION, REDEMPTION: MESSIANIC MODERNISM IN THE STATE OF EMERGENCY By Camelia Raghinaru May 2012 Chair: Brandon Kershner Co-chair: Phillip Wegner Major: English In “Resistance, Revolution, Redemption: Messianic Modernism in the State of Emergency” I aim to reposition canonical high modernism in terms of Benjamin‟s concept of the state of emergency. Framed thus, modernism is suspended between its success—the emergency of the radical new, and its failure—the deferred actualization of this new project, a suspension that embodies Benjamin‟s dialectic of the messianic. The dissertation attempts to develop a narrative of periodization as well, marking the four phases of modernism in its four chapters: negative dialectic, reform, proto-fascism, and radical experimentation. In the first chapter, I posit modernism as a space of interruption and resistance that engenders a utopian disruption of the status quo, in the traditions of Walter Benjamin, Giorgio Agamben, and Alain Badiou. The second chapter discusses Joseph Conrad‟s Nostromo as a text representative of the first stage of modernism—the negative dialectic of history on the verge of catastrophe. The third chapter focuses on the second stage of modernism—reform. Virginia Woolf‟s texts, A Room of One’s Own, To the Lighthouse, and The Waves reveal the material, gendered and liminal nature of 6 the state of suspension. The idea of the female caught up in the dialectic of power and weakness resurfaces in the fourth chapter on D. H. Lawrence‟s The Plumed Serpent, which draws the dissertation into the third stage of modernism—the temptation to fascism. In a totalizing move, the text desires the actualization of its deferred messianism, falling into a proto-fascist tendency to obscure its own utopian event and turn it into a simulacrum. In the fifth chapter, Molly‟s monologue in Joyce‟s Ulysses initiates the last stage of modernism—radical experimentation. This chapter looks at the negative dialectic of weak messianism through Badiou‟s event and at the stylistic experiment that gives form to the impossibility of naming the love-event, lest one should betray it. 7 CHAPTER 1 MODERNISM AND MESSIANIC UTOPIA: THE DIALECTIC OF LAW AND JUSTICE A Klee painting named „Angelus Novus‟ shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in his wings with such a violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress. —Walter Benjamin, On the Concept of History This introductory chapter sets up the theoretical framework for my discussion of modernism under the sign of utopian messianism. As a starting point, I consider the dialectic between the imminent emergence of the messianic and its deferred actualization, and the way this state of suspension drives the modernist project of the British novel at the end of the nineteenth century and the beginning of the twentieth century. I argue that, throughout four forms of expression—negative dialectic, reform, proto-fascism, and radical experimentation— the modernisms of Joseph Conrad, D. H. Lawrence, Virginia Woolf and James Joyce bear the mark of messianic deferral. In various ways throughout my chapters, I posit that the modernist movement is bound up with a sense of its necessary failure, which, however, bears the potential for its success. In this respect, I employ Jameson‟s idea that the canonized works of classical modernism are not successes but failures, catastrophes that dereify the institutions they represent and maintain the promise of messianic rebirth in their quest for the New, while also sharing complicit ideologies with their systems of production. I look at the way modernity becomes the site of catastrophe, as it mirrors the double striving of 8 Benjamin‟s baroque: to be recognized as a process of restoration and reestablishment—the messianic as a positive form, but also as something imperfect and incomplete—the not-yet, a negative space which turns out to hold the only potential for the messianic. This vacuum becomes the site of the messianic, the new, but also, in its infinite deferral and radical suspension of the law of the old tradition, it becomes the site of anarchic, antinomian, nihilistic impulse. The radical new can irrupt without warning, revolutionary and restorative, but, as a negative category, it is stuck in the gap of its own impossibility: of imagining Utopia, of the failure of its representation, of the new that can only come through the seizure of the ruin. From the very beginning, I would like to establish the importance of Walter Benjamin‟s dialectic of law and justice for this project. Even though his dialectic can, and will, be found in various forms in the works of other theoreticians, as elaborated later in the chapter, his secular messianism is foundational to my understanding of modernism and my subsequent readings of the literature. Principally, I note that there is a theological dialectic between weakness and power at the core of the Benjaminian myth, which is unearthed when one looks beyond the text‟s canonization. Gershom Scholem, Jacques Derrida, and Giorgio Agamben note the theological in Benjamin. Benjamin‟s theology is employed, on one hand, to reconstruct a form of secular Judaism, and on the other, to deconstruct modernity, revealing its illusion of progress based on the myth of Enlightenment. Benjamin‟s myth empowers a type of revelation beyond reason. His early essays on language refer to something mystical, obscure, and in reconstructing myth, he uses concepts almost beyond rational criticism. Because myth for Benjamin functions both politically and theologically, communities are built on 9 its structures of belief, and thus, myth acquires redemptive power. For Benjamin, in a neo-romantic turn, the deconstruction of myth is the deconstruction of human existence, because communities are built on solidarity beyond reason. Benjamin‟s important contribution to Marxist dialectic, and a paradoxical endeavor in itself, is his attempt to find a way to save Marxist dialectics from secularism. Thus, his writings are condensations of the paradoxes of modernism, with its strands of the avant-garde, the socially progressive, the ultra-democratic, the secular, but also the anti-enlightenment. Though not a religious thinker himself, Benjamin uses theology to recharge secular
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