MARC Record from marc_columbia

LEADER: 03829mam a2200457 a 4500
001 1808934
005 20220609001449.0
008 950707t19961996ncua b s001 0 eng
010 $a 95034701
020 $a0807822671 (cloth : alk. paper)
035 $a(OCoLC)ocm32853227
035 $9ALN8868CU
035 $a1808934
040 $aDLC$cDLC$dOrLoB-B
043 $an-us---
050 00 $aPS2127.B54$bC37 1996
082 00 $a810.9/004$220
100 1 $aCaramello, Charles.$0http://id.loc.gov/authorities/names/n77012833
245 10 $aHenry James, Gertrude Stein, and the biographical act /$cCharles Caramello.
260 $aChapel Hill :$bUniversity of North Carolina Press,$c[1996], ©1996.
300 $axii, 275 pages :$billustrations ;$c25 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references (p. [255]-267) and index.
505 00 $g1.$tPrecursors --$g2.$tThe Good American: Hawthorne --$g3.$tThe Bostonian Type: William Wetmore Story and His Friends --$g4.$tIn the Heroic Age of Cubism: The Autobiography of Alice B. Toklas --$g5.$tGenerals James and Stein: Four in America.
520 $aCharles Caramello argues that Henry James and Gertrude Stein performed biographical acts in two senses of the phrase: they wrote biography, but as a cover for autobiography. Constructing literary genealogies while creating original literary forms, they used their biographical portraits of precursors and contemporaries to portray themselves as exemplary modern artists.
520 8 $aIn doing so, they actually became exemplars, and Caramello treats them not only as artists, as developers of modernist portraiture, but also as types, as emblems in an ideal history of modernism.
520 8 $aCaramello advances his argument through close readings of four works that explore themes of artistry and influence and that experiment with forms of biographical portraiture: James's early biography of Nathaniel Hawthorne and his much later group biography, William Wetmore Story and his Friends, and Stein's celebrated Autobiography of Alice B. Toklas and her largely forgotten Four in America, which comprises biographies of Ulysses S. Grant, Wilbur Wright, Henry James, and George Washington.
520 8 $aAs Caramello shows, James and Stein portrayed artistic exemplarity in terms broader than the aesthetic. In Hawthorne, James linked his precursor's romantic art and his conservative politics, presented Hawthorne as uncritical in both arenas, and, implicity, proferred himself as a critical thinker of modern artistic principles and progressive social vision. He repeated the maneuver, with complex variations, in the more overtly political William Wetmore Story.
520 8 $aIn the Autobiography and in Four in America, Stein explored how patriarchy produces and enshrines masculine art, just as it produces and enshrines masculine cultural icons, and she proferred her art and herself, in counterpoint, as lesbian and feminist.
600 10 $aStein, Gertrude,$d1874-1946$xTechnique.
600 10 $aJames, Henry,$d1843-1916$xTechnique.
650 0 $aAmerican prose literature$y20th century$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh2007101039
651 0 $aUnited States$xBiography$xHistory and criticism.
650 0 $aBiography as a literary form.$0http://id.loc.gov/authorities/subjects/sh85014164
650 0 $aNarration (Rhetoric)$0http://id.loc.gov/authorities/subjects/sh85089833
650 0 $aSelf in literature.$0http://id.loc.gov/authorities/subjects/sh94009300
650 0 $aAutobiography.$0http://id.loc.gov/authorities/subjects/sh85010050
650 0 $aAuthorship.$0http://id.loc.gov/authorities/subjects/sh85010030
852 00 $bglx$hPS2127.B54$iC37 1996
852 00 $bbar$hPS2127.B54$iC37 1996