FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1965904980> ?p ?o ?g. }

• W1965904980 endingPage "42" @default.
• W1965904980 startingPage "23" @default.
• W1965904980 abstract "The Pleasures of Conspiracy in Henry James's The Princess Casamassima Alex Beringer (bio) Shouldn't I find [a defense of my 'artistic position'] in the happy contention that the value I wished most to render and the effect I wished most to produce were precisely those of our not knowing, of society's not knowing, but only guessing and suspecting and trying to ignore, what 'goes on' irreconcilably, subversively, beneath the vast smug surface? —Henry James, Preface to The Princess Casamassima1 Over the last twenty years, critics including Ross Posnock and John Carlos Rowe have helped us rediscover Henry James as an author who harbors a certain relish for feelings of overwhelming surprise and alienation. Works such as What Maisie Knew (1897), The Turn of the Screw (1898), The American Scene (1907), and the novels of James's major phase, are all characterized by an approach to consciousness, which finds exhilarating forms of pleasure at having one's expectations about the world overturned. James's writings reveal, as Posnock puts it, a desire to experience contemplation as action through the rendering of subjects striving to achieve certainty in the face of realities that only yield further uncertainty and estrangement. This reading tends to place James not as the master formalist but as a peripatetic cultural critic attuned to the rhythms and sensations of public culture.2 This other side of James typically has been observed as a feature of his late works. In this essay, I would like to pull on this thread by exploring this side of the Jamesian oeuvre in one of his earliest and most significant [End Page 23] experiments with the aesthetics of the modern public sphere, The Princess Casamassima (1885), James's tale of anarchist terror and conspiratorial intrigue. Critics have often regarded The Princess Casamassima as an anomaly or a brief, abortive experiment within James's body of work. After all, the world of terrorist violence and radical politics depicted in The Princess Casamassima would initially seem far afield from the fine psychological interiors, aristocratic manners, and transatlantic travels that James explores in most of his other fiction. But to see it this way is to misunderstand both this novel and its importance within James's larger body of work. In The Princess Casamassima James explores the manner in which conspiracy narratives offer a quintessentially modern form of pleasure—a relief from the doldrums of everyday life through irrationalist forms of speculation and wonder. While this may not initially seem like a typical Jamesian theme, it coheres closely to his longstanding project of exploring the psychology of uncertainty. Rather than directly representing the inner sanctums of a terrorist conspiracy, The Princess Casamassima focuses on recreating the eerie sensation of not knowing, but only guessing and trying to ignore how a conspiracy might be underfoot and underway. James's novel pursues this task by submerging its reader's perspective in the active imagination of the sensitive protagonist, Hyacinth Robinson, a character whose impressions of anarchist conspiracy simultaneously delight and threaten to asphyxiate him.3 Far from a detour, James's encounter with conspiracy narratives marked a stylistic turning point towards the experiments with perspective that would come to define his work years afterwards. James wrote The Princess Casamassima while he was in London during an intense period of terrorist activity in Britain and the United States. The years of 1883-86 witnessed a rash of bombings and assassination attempts that prompted many observers to speak of a new sense of immediacy between the calm façade of daily life and the fiery politics of class conflict. For instance, following a particularly spectacular series of bombings in 1883, the London Times called for the end of an era of self-deception, noting that readers need only look to the assassination literature of America for signs of an impending class war carried on with all the appliances of modern science.4 As the passage from the Times suggests, many saw incidents of terrorism as clues of a criminal underworld, containing elements wanting to wipe out the existing cultural and social establishment.5 On one hand, these terrorist incidents seemed to give credence to fin-de..." @default.
• W1965904980 created "2016-06-24" @default.
• W1965904980 creator A5084680027 @default.
• W1965904980 date "2012-01-01" @default.
• W1965904980 modified "2023-10-17" @default.
• W1965904980 title "The Pleasures of Conspiracy in Henry James's <i>The Princess Casamassima</i>" @default.
• W1965904980 cites W1494353698 @default.
• W1965904980 cites W1495053472 @default.
• W1965904980 cites W1508608122 @default.
• W1965904980 cites W1549678369 @default.
• W1965904980 cites W1604022833 @default.
• W1965904980 cites W1991536743 @default.
• W1965904980 cites W1995430337 @default.
• W1965904980 cites W2019232190 @default.
• W1965904980 cites W2026733433 @default.
• W1965904980 cites W2034047201 @default.
• W1965904980 cites W2062706216 @default.
• W1965904980 cites W2073767726 @default.
• W1965904980 cites W2084914939 @default.
• W1965904980 cites W2088878250 @default.
• W1965904980 cites W2103136022 @default.
• W1965904980 cites W2322884514 @default.
• W1965904980 cites W2323562941 @default.
• W1965904980 cites W2334830384 @default.
• W1965904980 cites W2800051971 @default.
• W1965904980 cites W3016007247 @default.
• W1965904980 cites W599707761 @default.
• W1965904980 cites W605596726 @default.
• W1965904980 cites W631949010 @default.
• W1965904980 cites W638016182 @default.
• W1965904980 doi "https://doi.org/10.1353/saf.2012.0006" @default.
• W1965904980 hasPublicationYear "2012" @default.
• W1965904980 type Work @default.
• W1965904980 sameAs 1965904980 @default.
• W1965904980 citedByCount "0" @default.
• W1965904980 crossrefType "journal-article" @default.
• W1965904980 hasAuthorship W1965904980A5084680027 @default.
• W1965904980 hasConcept C107038049 @default.
• W1965904980 hasConcept C111472728 @default.
• W1965904980 hasConcept C122980154 @default.
• W1965904980 hasConcept C124952713 @default.
• W1965904980 hasConcept C138885662 @default.
• W1965904980 hasConcept C142362112 @default.
• W1965904980 hasConcept C144024400 @default.
• W1965904980 hasConcept C144133560 @default.
• W1965904980 hasConcept C15744967 @default.
• W1965904980 hasConcept C162853370 @default.
• W1965904980 hasConcept C169760540 @default.
• W1965904980 hasConcept C171773132 @default.
• W1965904980 hasConcept C17744445 @default.
• W1965904980 hasConcept C178288346 @default.
• W1965904980 hasConcept C18296254 @default.
• W1965904980 hasConcept C186720457 @default.
• W1965904980 hasConcept C199539241 @default.
• W1965904980 hasConcept C27206212 @default.
• W1965904980 hasConcept C2777113389 @default.
• W1965904980 hasConcept C2779916396 @default.
• W1965904980 hasConcept C2780343955 @default.
• W1965904980 hasConcept C46312422 @default.
• W1965904980 hasConcept C7493553 @default.
• W1965904980 hasConceptScore W1965904980C107038049 @default.
• W1965904980 hasConceptScore W1965904980C111472728 @default.
• W1965904980 hasConceptScore W1965904980C122980154 @default.
• W1965904980 hasConceptScore W1965904980C124952713 @default.
• W1965904980 hasConceptScore W1965904980C138885662 @default.
• W1965904980 hasConceptScore W1965904980C142362112 @default.
• W1965904980 hasConceptScore W1965904980C144024400 @default.
• W1965904980 hasConceptScore W1965904980C144133560 @default.
• W1965904980 hasConceptScore W1965904980C15744967 @default.
• W1965904980 hasConceptScore W1965904980C162853370 @default.
• W1965904980 hasConceptScore W1965904980C169760540 @default.
• W1965904980 hasConceptScore W1965904980C171773132 @default.
• W1965904980 hasConceptScore W1965904980C17744445 @default.
• W1965904980 hasConceptScore W1965904980C178288346 @default.
• W1965904980 hasConceptScore W1965904980C18296254 @default.
• W1965904980 hasConceptScore W1965904980C186720457 @default.
• W1965904980 hasConceptScore W1965904980C199539241 @default.
• W1965904980 hasConceptScore W1965904980C27206212 @default.
• W1965904980 hasConceptScore W1965904980C2777113389 @default.
• W1965904980 hasConceptScore W1965904980C2779916396 @default.
• W1965904980 hasConceptScore W1965904980C2780343955 @default.
• W1965904980 hasConceptScore W1965904980C46312422 @default.
• W1965904980 hasConceptScore W1965904980C7493553 @default.
• W1965904980 hasIssue "1" @default.
• W1965904980 hasLocation W19659049801 @default.
• W1965904980 hasOpenAccess W1965904980 @default.
• W1965904980 hasPrimaryLocation W19659049801 @default.
• W1965904980 hasRelatedWork W1986004619 @default.
• W1965904980 hasRelatedWork W2052339126 @default.
• W1965904980 hasRelatedWork W2322579703 @default.
• W1965904980 hasRelatedWork W2361430318 @default.
• W1965904980 hasRelatedWork W2361735796 @default.
• W1965904980 hasRelatedWork W2361810876 @default.
• W1965904980 hasRelatedWork W2393848170 @default.
• W1965904980 hasRelatedWork W2748952813 @default.
• W1965904980 hasRelatedWork W3133866072 @default.
• W1965904980 hasRelatedWork W4243767148 @default.
• W1965904980 hasVolume "39" @default.

• next