Berlin, Freie Universiẗat, Diss., 2002. / Dateiformat: zip, Dateien im PDF-Format.

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Thesis advisor: Christopher P. Wilson / Witnessing Empire is a cultural history of the American war correspondent. I trace the figure through various points of crisis in the making of U.S. sovereignty including the U.S.-Mexico War, the Civil War, and the Spanish-American War. Locating correspondents like Herman Melville, Richard Harding Davis, and Stephen Crane in what Mary Louise Pratt terms "contact zones"--areas of cross-cultural exchange and contest--I show in this interdisciplinary work how the figure emerged through confronting U.S. state power with "on the spot" visual and textual witness accounts of the violence entailed by that power in a period of territorial expansion across the hemisphere, mass media development, and renewed aesthetic challenges to representing war. Revising critical appraisals of U.S. empire, including those of Amy Kaplan, that argue that the war correspondent is simply an apologist for U.S. imperialism through a facile use of romance, realism, spectacle, and sensationalism, I argue that the figure carves out a unique vision via such familiar conventions to unveil the contradictions of U.S. imperialism--particularly, its reliance on a narrative of liberation and protection through conquest. The dissertation thus unveils the correspondent as ambivalent towards this narrative as his witnessed accounts reveal subjects less protected, than abandoned by the state. I argue that through exposing the violence of this abandonment, the correspondent develops a new literary convention that exposes the consequences of modern war. In Chapter 1, I historically situate war correspondence as an emergent form, comparing the writings of the New Orleans-based Picayune war correspondent George Wilkins Kendall, composed on the eve of the U.S.-Mexico War, with Herman Melville's Typee. An unorthodox travel narrative, Typee can be more effectively read as an inaugural work of war correspondence in its challenging of "race war" as a discourse employed to cement state power in the contact zone. Chapter 2 takes up the "on the spot" pencil line drawings of the Civil War "special artists." Comparing these artists' works with the published engravings in the newspapers at the time and the illustrated histories at the turn-of-the-century, I address the visual rhetoric by which war correspondents depicted the crisis of sovereignty entailed by the Civil War. The second half of the dissertation illustrates the emergence of war correspondence as a unique aesthetic form. Chapter 3 looks at how Richard Harding Davis crafts war correspondence as a critique of U.S. imperialism's spectacle-oriented "anti-imperialist" liberation narrative by opposing the production of an "imperial news apparatus" at the turn-of-the-century with the advent of the Spanish-American War. In Chapter 4, I show how Stephen Crane, like Davis, was inspired by the anti-statism and transnationalism of the antebellum filibuster. From his initial experiments in Red Badge of Courage, Crane was focused on the subjectivity of the witness in his correspondence and fiction, ultimately allegorizing the violence of U.S. imperial power and its abandonment of citizens and non-citizens alike in war zone. / Thesis (PhD) — Boston College, 2009. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

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The following essay discusses Herman Melville’s “I and My Chimney” (1856) as a text that engages architecture and writing as interrelated systems of signification. Fueled by a variety of historical developments, domestic architecture emerges as a powerful purveyor of meaning in the antebellum decades. Architecture, in this cultural context, is construed in analogy to writing (and, to some extent, vice versa), as creating houses-as-texts that tell stories about their inhabitants in terms of their individual, familial, and national identities. Thus conceived, domestic architecture is characteristically enlisted in the articulation and stabilization of hegemonic narratives of, e. g., gender and nationhood. Melville’s text invokes this cultural convention to cast the signifying function that architecture and writing perform as being vulnerable and in crisis. This crisis is narrated by an idiosyncratic narrator for whom the semiotic instability documented by his narrative resonates with the social and cultural vulnerability that he experiences—his authority as master of his house and family is challenged in the course of the tale, along with the structural integrity of his chimney with which he wants to symbolically reinforce his authority. I argue that this crisis of signification performs double work in the text. On the one hand, it serves to articulate the anxiety of mid-nineteenth-century cultural elites about what they perceive as a cultural decline. On the other hand, allegedly dysfunctional signification unfolds a critical potential, bringing to light things which ‘functional’ signification had worked to conceal and thereby unlocking hermetic narratives of self, family, and nation.

Diss. Univ. Köln, 2007.

The following essay discusses Herman Melville’s “I and My Chimney” (1856) as a text that engages architecture and writing as interrelated systems of signification. Fueled by a variety of historical developments, domestic architecture emerges as a powerful purveyor of meaning in the antebellum decades. Architecture, in this cultural context, is construed in analogy to writing (and, to some extent, vice versa), as creating houses-as-texts that tell stories about their inhabitants in terms of their individual, familial, and national identities. Thus conceived, domestic architecture is characteristically enlisted in the articulation and stabilization of hegemonic narratives of, e. g., gender and nationhood. Melville’s text invokes this cultural convention to cast the signifying function that architecture and writing perform as being vulnerable and in crisis. This crisis is narrated by an idiosyncratic narrator for whom the semiotic instability documented by his narrative resonates with the social and cultural vulnerability that he experiences—his authority as master of his house and family is challenged in the course of the tale, along with the structural integrity of his chimney with which he wants to symbolically reinforce his authority. I argue that this crisis of signification performs double work in the text. On the one hand, it serves to articulate the anxiety of mid-nineteenth-century cultural elites about what they perceive as a cultural decline. On the other hand, allegedly dysfunctional signification unfolds a critical potential, bringing to light things which ‘functional’ signification had worked to conceal and thereby unlocking hermetic narratives of self, family, and nation.