{"id":{"repo_id":"buffalo","oai_identifier":"oai:ubir.buffalo.edu:10477/80631"},"canonical_url":"https://search.dev.ndltd.org/etd/buffalo/oai:ubir.buffalo.edu:10477/80631","repository":{"repo_id":"buffalo","name":"Buffalo","base_url":"https://ubir.buffalo.edu/oai/request"},"display":{"title":"Heteronomies of the Senses: The Empirical in Late American Modernism","abstract":"Ph.D.","abstract_html":"Ph.D.","abstract_has_math":false,"creators":["Miller, Todd"],"institution":"State University of New York at Buffalo","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Schmid, David","English"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019-10-28T20:31:43Z","date_published":"2019-10-28T20:31:43Z","updated_at":"2026-07-27T19:05:23Z","subjects":["American literature","modern literature"],"languages":["eng"],"rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10477/80631","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Schmid, David","English"]},{"key":"dc:creator","label":"Author","values":["Miller, Todd"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2019-10-28T20:31:43Z","2019","2019-08-08 20:07:45"]},{"key":"dc:publisher","label":"Institution","values":["State University of New York at Buffalo"]},{"key":"dc:type","label":"Dc Type","values":["Text","Dissertation"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["American literature","modern literature"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/10477/80631"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Ph.D.","This dissertation focuses on three modernist writers, William Faulkner, James Agee, and Richard Wright, in order to argue that the authors discussed in this study are united in their troubled relation to the empirical field. Specifically, I argue that their works challenge or destabilize narrative and conceptual frameworks through their representations of empirical experience. Each of these works sets a specific aesthetic or political ideal that it attempts to meet but never seems to actualize. This nevertheless makes for a rich ground for analysis because the criticism surrounding these authors and their works tend to struggle to accommodate their incongruities. In the case of Faulkner’s novel Sanctuary (1931), much of the critical discourse has focused on the text’s genetic assessment, thus obscuring ambivalences that resist categorization. Faulkner’s characters struggle to make sense of empirical experiences that oscillate in and out of recognizable entities, thereby throwing them into temporary crisis. Agee and Walker Evans’ Let Us Now Praise Famous Men (1936), originally intended as a magazine article, ballooned to a nearly 500 page pastiche of literary forms, largely owing to Agee’s sense of fidelity to his documentary subject. Writing against mass culture’s camera aesthetic, Agee crafts an aesthetic focused on the minutia of materiality in order to fortify an alterity that is resistant to its co-option. Lastly, Wright’s The Outsider (1953), his first novel after his much lauded Native Son, was chided for veering from the overt racial concerns of the earlier novel to the ostensibly more universal concerns of philosophy. However, attention to the empirical surface points to ways in which Wright brings these concerns into union."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Heteronomies of the Senses: The Empirical in Late American Modernism"]}]}],"canonical_facts":{"dc:contributor":["Schmid, David","English"],"dc:creator":["Miller, Todd"],"dc:date":["2019-10-28T20:31:43Z","2019","2019-08-08 20:07:45"],"dc:description":["Ph.D.","This dissertation focuses on three modernist writers, William Faulkner, James Agee, and Richard Wright, in order to argue that the authors discussed in this study are united in their troubled relation to the empirical field. Specifically, I argue that their works challenge or destabilize narrative and conceptual frameworks through their representations of empirical experience. Each of these works sets a specific aesthetic or political ideal that it attempts to meet but never seems to actualize. This nevertheless makes for a rich ground for analysis because the criticism surrounding these authors and their works tend to struggle to accommodate their incongruities. In the case of Faulkner’s novel Sanctuary (1931), much of the critical discourse has focused on the text’s genetic assessment, thus obscuring ambivalences that resist categorization. Faulkner’s characters struggle to make sense of empirical experiences that oscillate in and out of recognizable entities, thereby throwing them into temporary crisis. Agee and Walker Evans’ Let Us Now Praise Famous Men (1936), originally intended as a magazine article, ballooned to a nearly 500 page pastiche of literary forms, largely owing to Agee’s sense of fidelity to his documentary subject. Writing against mass culture’s camera aesthetic, Agee crafts an aesthetic focused on the minutia of materiality in order to fortify an alterity that is resistant to its co-option. Lastly, Wright’s The Outsider (1953), his first novel after his much lauded Native Son, was chided for veering from the overt racial concerns of the earlier novel to the ostensibly more universal concerns of philosophy. However, attention to the empirical surface points to ways in which Wright brings these concerns into union."],"dc:format":["application/pdf"],"dc:identifier":["http://hdl.handle.net/10477/80631"],"dc:language":["eng"],"dc:publisher":["State University of New York at Buffalo"],"dc:rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"dc:subject":["American literature","modern literature"],"dc:title":["Heteronomies of the Senses: The Empirical in Late American Modernism"],"dc:type":["Text","Dissertation"]},"updated_at":"2026-07-27T19:05:23Z"}