FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2086376484> ?p ?o ?g. }

• W2086376484 endingPage "369" @default.
• W2086376484 startingPage "367" @default.
• W2086376484 abstract "Reviewed by: Katherine Anne Porter's Artistic Development: Primitivism, Traditionalism, and Totalitarianism Janis P. Stout Robert H. Brinkmeyer, Jr. Katherine Anne Porter's Artistic Development: Primitivism, Traditionalism, and Totalitarianism. Baton Rouge: Louisiana State UP, 1993. xix + 237 pp. $27.50 paper. A shift has been evident in Porter studies in recent years from an emphasis on style and symbolic meaning to an interest in biographical and historical contexts. Robert Brinkmeyer's book contributes both to this accumulating body of revisionist scholarship and to the reassessment of Porter as a writer whose thinking was characterized by variation and tension, rather than by unity or internal consistency. Brinkmeyer posits three major transformative shifts in Porter's thinking, all profoundly reflected in her work: primitivism, referring to her experiences in Mexico; traditionalism, referring to her embrace of memory and regional origins and her choice to rewrite her Texas roots as Deep South tradition; and totalitarianism, referring to both her World War II and post-War fixation on totalitarian threats to the American republic and her own tendency to adopt social and political ideas that he terms totalitarian. After identifying and discussing each of the three themes, he summarizes and comments on pertinent stories, addressing primarily Ship of Fools as the example par excellence of her late hardening conservatism and paranoia. The strongest sections of the book are its discussions of Porter's turn toward the South and of her dissenting sensibility. The argument that she was at her best in the Miranda stories, especially The Grave, with its integration of memory and vision, is effective though scarcely surprising. The judgment of Ship of Fools as a failed work of virtuosity . . . forced and overwrought that reflects its author's negative preoccupations is, in my view, correct. It is unfortunate, then, that these and many other valid and valuable understandings are attached to an excessively rigid and abstract framework [End Page 367] that, by forcing Brinkmeyer's analysis into a tripartite structure of successive stages, oversimplifies and oversystematizes Porter's always unsystematic thinking and thereby distorts it. Her early years in Mexico were not driven by the lure of primitivism (a term that connotes more nearly the self-indulgent wish-fulfillment she saw in D. H. Lawrence than her own interest) but by political zeal joined to a lifelong restlessness. Her time in Mexico did not disrupt her intellectual continuity and security; she never had any. And when she left Mexico in 1931 she was not disenchanted with primitivism and its vitalizing potential but with official venality and what she saw as the failure of the revolution. The turn to traditionalism and a redefined sense of her regional roots that Brinkmeyer attributes to her friendship with Southerners like Allen Tate and Caroline Gordon was partly, odd though it may seem, a result of her time in Mexico, where she experienced the strength of an art rooted in a strong sense of place, tradition, and cultural distinctiveness. And even after that turn she was not by any means consistent in her regional loyalty. Most emphatically, she did not arrive at either a personal totalitarian view or an obsession with totalitarianism (it is not entirely clear which is Brinkmeyer's point) as a kind of terminus. Her political and religious views even after Ship of Fools continued to show at least some degree of variability. Regarding religion, Brinkmeyer finds that Porter made a dramatic and extreme turn from the Church in the 1940s and '50s, partly because of her linkage of Catholicism and fascism. It is worth noting that in making this linkage Porter was not alone; rightist Catholics were conspicuous in public discourse in the late '30s and on into the McCarthy years. Her anti-fascism did take on a strong coloration of anti-Catholicism after World War II, but one can also find expressions of loyalty to the Church in these years—just as one can find a strong strain of anticlericalism earlier. In 1962, the year Ship of Fools was published, she wrote to Allen Tate that of course she took a Catholic view of things, and in her closing years she took great comfort from the ministrations of the Church. The matter was..." @default.
• W2086376484 created "2016-06-24" @default.
• W2086376484 creator A5047337215 @default.
• W2086376484 date "1994-01-01" @default.
• W2086376484 modified "2023-10-17" @default.
• W2086376484 title "<i>Katherine Anne Porter's Artistic Development: Primitivism, Traditionalism, and Totalitarianism</i> (review)" @default.
• W2086376484 doi "https://doi.org/10.1353/mfs.0.0542" @default.
• W2086376484 hasPublicationYear "1994" @default.
• W2086376484 type Work @default.
• W2086376484 sameAs 2086376484 @default.
• W2086376484 citedByCount "9" @default.
• W2086376484 countsByYear W20863764842020 @default.
• W2086376484 crossrefType "journal-article" @default.
• W2086376484 hasAuthorship W2086376484A5047337215 @default.
• W2086376484 hasConcept C107038049 @default.
• W2086376484 hasConcept C111472728 @default.
• W2086376484 hasConcept C124952713 @default.
• W2086376484 hasConcept C138885662 @default.
• W2086376484 hasConcept C142362112 @default.
• W2086376484 hasConcept C144024400 @default.
• W2086376484 hasConcept C2777336010 @default.
• W2086376484 hasConcept C2780326160 @default.
• W2086376484 hasConceptScore W2086376484C107038049 @default.
• W2086376484 hasConceptScore W2086376484C111472728 @default.
• W2086376484 hasConceptScore W2086376484C124952713 @default.
• W2086376484 hasConceptScore W2086376484C138885662 @default.
• W2086376484 hasConceptScore W2086376484C142362112 @default.
• W2086376484 hasConceptScore W2086376484C144024400 @default.
• W2086376484 hasConceptScore W2086376484C2777336010 @default.
• W2086376484 hasConceptScore W2086376484C2780326160 @default.
• W2086376484 hasIssue "2" @default.
• W2086376484 hasLocation W20863764841 @default.
• W2086376484 hasOpenAccess W2086376484 @default.
• W2086376484 hasPrimaryLocation W20863764841 @default.
• W2086376484 hasRelatedWork W2011708931 @default.
• W2086376484 hasRelatedWork W2019937711 @default.
• W2086376484 hasRelatedWork W2028948246 @default.
• W2086376484 hasRelatedWork W2342959418 @default.
• W2086376484 hasRelatedWork W2361279411 @default.
• W2086376484 hasRelatedWork W2482633264 @default.
• W2086376484 hasRelatedWork W2748952813 @default.
• W2086376484 hasRelatedWork W2972662215 @default.
• W2086376484 hasRelatedWork W3113750098 @default.
• W2086376484 hasRelatedWork W3216826185 @default.
• W2086376484 hasVolume "40" @default.
• W2086376484 isParatext "false" @default.
• W2086376484 isRetracted "false" @default.
• W2086376484 magId "2086376484" @default.
• W2086376484 workType "article" @default.