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Commentaire: Ships from the USA! Expected delivery 10-21 days. Fine. Cloth, D-j. 2008. Originally published at $55.00.
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Grotesque Relations: Modernist Domestic Fiction and the U.S. Welfare State (Anglais) Relié – 14 août 2008

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Descriptions du produit

Revue de presse

a thought-provoking study that is a must-read for anyone with serious literary interests in the home-market-state nexus... the argument is meticulously historicised... simply a stunning book (Judie Newman, Times Higher Education)

Présentation de l'éditeur

In this book, Susan Edmunds explores he relationship between modernist domestic fiction and the rise of the U.S. welfare state. This relationship, which began in the Progressive era, emerged as maternalist reformers developed an inverted discourse of social housekeeping in order to call for state protection and regulation of the home. Modernists followed suit, turning the genre of domestic fiction inside out in order to represent new struggles on the border between home, market and state. dmunds uses the work of Djuna Barnes, Jean Toomer, Tillie Olsen, Edna Ferber, Nathanael West, and Flannery O'Connor to trace the significance of modernists' radical reconstitution of the genre of domestic fiction. Using a grotesque aesthetic of revolutionary inversion, these writers looped their depictions of the domestic sphere through revolutionary discourses associated with socialism, consumerism and the avant-garde. These authors used their grotesque discourses to deal with issues of social conflict ranging from domestic abuse and racial violence to educational reform, public health care, eugenics, and social security. With the New Deal, the U.S. welfare state realized maternalist ambitions to disseminate a modern sentimental version of the home to all white citizens, successfully translating radical bids for collective social security into a racialized order of selective and detached domestic security. The book argues that modernists engaged and contested this historical trajectory from the start. In the process, they forged an enduring set of terms for understanding and negotiating the systemic forms of ambivalence, alienation and conflict that accompany Americans' contemporary investments in "family values."

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1 internautes sur 1 ont trouvé ce commentaire utile 
Well done 23 janvier 2014
Par Budas Root - Publié sur Amazon.com
Format: Relié Achat vérifié
Did you ever wonder why "welfare" has come to be associated with scaremongering and shaming, with welfare recipients being made to feel like criminals or second-class citizens? This well-researched and well-written book makes the claim that it was always like this. Welfare was designed to promote a specific image of the U.S. family as white and headed by a male. I was naive about the history, here. Welfare has its roots in the 19th century, in the first indemnity policies and pension programs. Even the New Deal had been around ten or so years in the making, planned by policy advisors long before the Depression struck and FDR was elected. For the government, it was a way of supplementing the spending income of families where the father was still employed, so the wife could stay at home and care for the children.

Scholar Susan Edmunds considers how the pro's and con's of these social reforms played out in early 20th century modernist fiction. I'm a fan of two of the authors she considers in depth, Nathanael West and Djuna Barnes, and I was interested in the others as well. For Edmunds, these authors wrote grotesque satires on the sentimentally idealized vision of family which was meant to be upheld by the conditions of welfare. Edmunds refers to what she calls "the domestic exterior," a space at the intersection of home, marketplace and state.

Splendid and fascinating.
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