Fictions of capital : the American novel from James to Mailer
著者
書誌事項
Fictions of capital : the American novel from James to Mailer
（Cambridge studies in American literature and culture）
Cambridge University Press, 2008
- : pbk
大学図書館所蔵 全9件
注記
"This digitally printed version (with corrections) 2008"-- T.p. verso
Includes index
内容説明・目次
内容説明
Fictions of Capital situates manners and writing about manners in the context of American capitalism between 1880 and 1960, a period that runs from the onset of the sales culture to its war-prompted crisis point in the 1960s. The work of various economic theorists and historians is used to establish two of capitalism's deeper narratives: the plot to accumulate and expand resources (1880 to the First World War), and the plot to ensure reproduction of the expanded resources (preoccupying late capitalism, but already an issue for market leaders in the 1920s). James and Fitzgerald are read as the key novelists of bourgeois affluence, their juxtaposition covers the scope of Incorporation, from the initial accumulation to the problems of how accumulations are to be reproduced. The relation between Fitzgerald and Mailer is explored as a way into new tensions in the growth imperative, resolved though the linking of Destruction, or the permanent arms economy, to Desire, or the ubiquitous shop-window, as a capitalist incentive.
目次
- Acknowledgements
- Introduction
- 1. Some slight shifts in the manner of the novel of manners
- 2. 'You've got to see it, feel it, smell it, hear it', buy it: Hemingway's commercial forms
- 3. The Great Gatsby, glamour on the turn
- 4. Money makes manners make man make woman: Tender is the Night, a familiar romance? 5. Iconic narratives: or, how three Southerners fought the second Civil War
- 6. Fordism: from desire to destruction (an historical interlude)
- 7. Why are we in Vietnam?: because the buck mustn't stop
- 8. Fordism, voiced and unvoiced: Mailer's vocalism and Armies of the Night
- 9. Armies of the Night: a familiar romance? Conclusion
- Notes
- Index.
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