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By Daniel Katz

This research takes as its aspect of departure a vital premise: that the common phenomenon of expatriation in American modernism is much less a flight from the native land than a dialectical go back to it, yet one that renders uncanny all tropes of familiarity and immediacy which 'fatherlands' and 'mother tongues' are generally visible as delivering. during this framework, equally totalizing notions of cultural authenticity are obvious to manipulate either exoticist mystification and 'nativist' obsessions with the purity of the 'mother tongue.' while, cosmopolitanism, translation, and multilingualism develop into usually eroticized tropes of violation of this version, and consequently, concurrently courted and abhorred, in a circulate which, if crystallized in expatriate modernism, persevered to make its presence felt beyond.Beginning with the overdue paintings of Henry James, this publication is going directly to research at size Ezra Pound and Gertrude Stein, to finish with the uncanny regionalism of mid-century San Francisco Renaissance poet Jack Spicer, and the deterritorialized aesthetic of Spicer's peer, John Ashbery. via an emphasis on modernism as an area of generalized interference, the perform and trope of translation emerges as critical to the entire writers involved, whereas the e-book continues to be in consistent discussion with key contemporary works on transnationalism, transatlanticism, and modernism.

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Extra info for American Modernism's Expatriate Scene: The Labour of Translation (Edinburgh Studies in Transatlantic Literatures)

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Her story is not only about the death of childhood, but about its killing. 12 In his work on “orginary seduction,” Laplanche seeks to restore to “seduction” the importance it had for the early Freud and for Ferenczi, but with crucial modifications. For Laplanche, the scene of seduction is not one occurring between a child and its parents, but more generally consists of the invitation proffered to the child by the entire adult world to enter into a signifying structure charged with unconscious meaning.

Entre séduction, 132). [In fact, the adult message, addressed to the child on the basis of dialogue, of the reciprocity of a relationship of autoconservation, finds itself inhabited and compromised by the adult’s unconscious sexuality . . ] For Laplanche, it is this originary situation which gives rise to elements such as the Oedipus and castration complex which, rather than being human universals, become historically and culturally contingent secondary attempts at translating the riddle of the enigmatic signifier: Loin d’être des éléments primordiaux du ça, Oedipe et Castration sont des instruments de mise en ordre.

For this implies not only the libidinal investment in exoticisms of all sorts, but also, if for all humans the “originary” affective situation is in fact one of translation, as Laplanche suggests, that the desire for the enigmatic novelty of the other––person, language, culture––becomes nothing so much as the desire to repeat archaic scenarios depicted as originary. In this light, exoticism is always in part a return, and translation always already constitutive of the construction of the native.

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