By D. Konzett
This examine explores a brand new figuring out of modernism and ethnicity as recommend within the transnational and diasporic writings of Ania Yezierska, Zora Neale Hurston, and Jean Rhys. In its collection of 3 modernists from it seems that diverse cultural backgrounds, it really is intended to make us reconsider the position of modernism when it comes to ethnicity and displacement. Konzett opinions the conventional knowing of the monocultural “ethnic id” usually highlighted within the reports of those writers and argues that every one 3 writers are higher understood as ironic narrators of diaspora and circulate and as avant-garde modernists. consequently, they give an alternate aesthetics of modernism, that is headquartered round the cutting edge narration of displacement. Her research of the complexities of language and shape and effect of the advanced and ambiguous formal forms of the 3 writers at the heritage in their reception is a version of the potent integration of formalist, historicist, and theoretical views in literary feedback.
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This learn explores a brand new knowing of modernism and ethnicity as recommend within the transnational and diasporic writings of Ania Yezierska, Zora Neale Hurston, and Jean Rhys. In its collection of 3 modernists from it seems that diverse cultural backgrounds, it really is intended to make us reconsider the position of modernism by way of ethnicity and displacement.
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Extra info for Ethnic modernisms: Anzia Yezierska, Zora Neale Hurston, Jean Rhys, and the aesthetics of dislocation
41 While Brody correctly points to the inferior linguistic status of Yiddish, he is incorrect in his assessment of Yezierska. It is not the mother’s peculiar use of English at which the reader laughs, but the reform agents and their attempts to regulate and clean up ghetto life. In fact, the mother’s comical rendering of the vacation house rules works to critique the patronizing discourse of philanthropy and expose its claims of altruism. com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-04-19 34 35 cultures that occurs between the mother and teacher points to the ghetto as a hybrid and nonsynchronic site in which conflicting values and mores are to be negotiated.
The answer to this question lies in the overpowering narratives of Americanization and Anglo-conformity that have reduced the reception of Yezierska’s work entirely to a biography illustrating successful assimilation. The infatuation of readers and critics with her Cinderella story and their inability to absorb her work as legitimate literature attests to the power and dominance of such established narratives. It was not so much Yezierska’s work as Yezierska herself, the immigrant writer, which was the focus of attention.
26 American modernist writers, Michaels notes, no longer resort to outdated nineteenth century paradigms of race or class descent but instead construct narrower scenarios around the impenetrability of the classic American family. ”27 American nativism thus seemingly expands the tolerance for other cultures as long as they do not seek to contaminate the assumed purity of the dominant WASP culture. The seeming tolerance of pluralism, as Michaels notes, masks deep-seated racial practices of exclusion bent on preserving the status quo of American culture in the 1920s.
Ethnic modernisms: Anzia Yezierska, Zora Neale Hurston, Jean Rhys, and the aesthetics of dislocation by D. Konzett