Thesis (M.A.) in English--University of Maine, 2006. / Includes vita. Includes bibliographical references (leaves 156-159).

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La poète et artiste anglo-américaine Mina Loy (1882-1966) resta longtemps une figure marginale dans le canon moderniste. Adoptant une double approche poéticienne et culturelle, cette thèse étudie son esthétique hybride qui crée toujours une tension irrésolue entre des éléments disparates. Bien qu’influencée par le symbolisme, le décadentisme, le futurisme, l’imagisme, le dadaïsme et le surréalisme, Loy ne s’inscrit complètement dans aucun de ces mouvements, introduisant une tension entre plusieurs modernismes par ce changement constant de paradigme esthétique. On peut comprendre le projet artistique de Loy comme un atlas des turbulents phénomènes artistiques de son temps, qui trace des itinéraires entre des esthétiques disparates, voire opposées, cartographiant une constellation moderniste en pleine formation. La notion de constellation s’avère ainsi particulièrement fructueuse pour penser à la fois les dialogues artistiques modernistes et la dynamique formelle du poème en vers libre. En outre, on peut aborder l’oscillation permanente de son idiome entre le futur et le passé, l’avant-garde et l’obsolète, par le prisme de l’« image dialectique » définie par Walter Benjamin: « Une image [...] est ce en quoi l’Autrefois rencontre le Maintenant dans un éclair pour former une constellation ». L’oeuvre de Loy cherche à développer un « idiome météorique », qui reste brièvement en orbite autour d’une constellation artistique et s’approprie son esthétique pour rebondir ensuite dans une direction différente. L’enjeu de ce travail est d’explorer la dynamique de cette errance géographique, culturelle et artistique en quête d’une voix poétique hybride et polyphonique, qui résonne dans des cadres esthétiques multiples. / For a long time, the Anglo-American poet and artist Mina Loy remained marginal to the modernist canon.Adopting a twofold poetic and cultural approach, this dissertation focuses on her hybrid aesthetics whichcreates an unresolved tension between disparate elements. Although influenced by Symbolism,Decadence, Futurism, Imagism, Dada, and Surrealism, Loy’s work fully fits in none of these movements,introducing a tension between different modernisms through a constant shift of the aesthetic paradigm.One can understand Loy’s artistic project as an atlas of the turbulent artistic phenomena of her time,which traces itineraries between disparate and even opposed aesthetics, mapping a modernist constellationin the making. The notion of constellation thus becomes particularly far-reaching in thinking both aboutthe modernist artistic dialogues and about the formal dynamics of the free verse poem. The permanentoscillation of Loy’s idiom between the future and the past, the avant-garde and the obsolete, may betackled through Walter Benjamin’s definition of the “dialectical image”: “image is that wherein what hasbeen comes together in a flash with the now to form a constellation.” Loy’s oeuvre works towarddeveloping a “meteoric idiom,” which briefly revolves around each constellation before bouncing off in adifferent direction, introducing an ironic relativity between different loci, forms, and programs ofmodernist activity. This dissertation focuses on the dynamic of this roaming through modernist forms insearch of a unique, “polyharmonic” poetic voice which would resonate within multiple aestheticframeworks.

This thesis analyzes the long poem Anglo-Mongrels and the Rose by the modern poet Mina Loy according to its function as autobiography. Loy's intellectual environment prior to the poem's 1923 to 1925 publication and, in particular, the writing of the philosopher Henri Bergson shape her thinking about the self and consciousness. This intellectual background provides a foundation for a consideration of Loy's abstract poetic autobiography as what Loy called "auto-mythology." The abstraction of modern poetics provides a medium for Loy's expression of alienation as the hybrid offspring of an ethnically mixed marriage. Loy's long poem treats her heritage and upbringing in a mixed Jewish and Christian household; the effect of this intermingling of religion and ethnicity, or what was then considered race, is integral to understanding both her autobiographical expression of alienation and her optimism about the possibilities for Bergson's "creative evolution."

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This study examines Mina Loy's unpublished autobiographical writings and challenges the existing critical myth of Loy as the 'modern woman'. Between 1920 and the late 1940s Loy wrote four overlapping versions of her autobiography: 'The Child and the Parent', 'Goy Israels', 'Islands in the Air' and 'Insel'. This study develops a chronology for Loy's autobiographies and it examines each version's engagement with constructs of the 'modern' and of the 'modern writer'. Since the 1980s scholars have primarily focused on the 'modernist' techniques Loy employed in her early poetry. Often these critical surveys exclude texts that cannot be grouped under the heading 'modernism' in order to justify Loy's inclusion within the movement. Her poetry and her autobiographies written after the late 1920s suggest a shift in her aesthetics away from her earlier 'modernist' work. Till now her prose and her poetry written after 1925, about two-thirds of her total output, have been excluded from critical evaluations of her writing. Through readings of Loy's unpublished autobiographical manuscripts alongside her later, neglected poems this analysis argues for a broader and less exclusive understanding of Loy's entire oeuvre. In particular, it will address Loy's belief in modernism's 'prophetic' potential and how this relates to her autobiographical writings on consciousness and on loss. The study begins with a discussion of 'modernism', 'modernity' and the 'modern', and charts how these terms are defined in Loy's own essays on literature and art. It also examines Loy's depictions of Victorian femininity in the context of constructions, then and more recently, of the fin-de-siecle 'New Woman' and of the twentieth-century 'modern woman'. My analysis considers how Loy arrived at her current status, via editors, critics and her fellow poets. Ultimately I argue that Loy's autobiographies portray the inability of 'modernity' to exclude the past.

Texte remanié de: Thesis Ph. D.--Oxford, GB--Oxford Brookes university. / Bibliogr. p. 219-232. Index.

Thesis (M.A.)--North Carolina State University. / Includes vita. Includes bibliographical references (p. 70).

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