Departure acts: anonymous authorship in the late twentieth century

Resource type
Thesis type
(Thesis) Ph.D.
Date created
2011-03-11
Authors/Contributors
Abstract
This dissertation explores mid to late twentieth century manifestations of anonymous authorship as both an aesthetic and material site that is co-existent with the textual issues of originality and ownership contained within their fiction. Working out of, among others, Michel Foucault's insights on the institutional function of authorship, Gilles Deleuze and Felix Guattari's notion of rhizomatic production and Pierre Bourdieu's understanding of the field of cultural production, I examine how self-reflexive anonymous authorship becomes a textual construction that must be read alongside the privatizing effects of copyright on textual production in the economic-juridical order of neoliberalism through a specific look at the relation between materiality and aesthetics in such figures as J.D. Salinger, Thomas Pynchon and Wu Ming. In so doing, I contend that the institutional function authorship reveals a provocative collusion of aesthetics, copyright and corporatization in the late twentieth century. Arguing that self-reflexive anonymous authorship—in its emphasis on its own mediated status and dissembling—acts as a dissident form of cultural production in the economic-juridical order of neoliberalism.
Document
Identifier
etd6550
Copyright statement
Copyright is held by the author.
Permissions
The author granted permission for the file to be printed and for the text to be copied and pasted.
Scholarly level
Supervisor or Senior Supervisor
Thesis advisor: Collis, Stephen
Member of collection
Attachment Size
etd6550_SDrake.pdf 1.56 MB