Modernism Is the Literature of Celebrity

Index

[ 197 Abin, César, 57, 58 abjection, 133, 135, 140–141, 145. See also Rhys, Jean Adorno, Theodor W., 175n6 aesthetic movement, 23, 25, 26, 29 After Leaving Mr. Mackenzie (Rhys), 136, 146, 149, 185n7 After the Great Divide (Huyssen), 3, 57 “Again the Antilles” (Rhys), 148 Agee, James, 11 Age of Innocence, The (Wharton), 10 Alvarez, A., 157 Anderson, Sherwood, 91 “And Now” (Stein), 104 Angier, Carole, 132, 146, 184nn4–6, 185n8, 185n13, 185n15 Apollinaire, Guillaume, 86, 181–182n19 Arata, Stephen, 49 Arcades Project (Benjamin), 139 Armstrong, Nancy, 9, 53, 107 Armstrong, Philip, 153, 156 Armstrong, Tim, 163 Arnheim, Rudolph, 183n9 Atlantic Monthly, 181n8 Attridge, Derek, 60–61 Authors, Inc.: Literary Celebrity in the United States, 1880–1980 (Glass), 6 Autobiography of Alice B. Toklas, The (Stein), 145, 161, 180n8, 181n15, 186n4; accessible style of, 85, 109; and “aura” of the celebrity name, 88, 90, 145; and authorial genius, 102–104; and destabilization/ devaluation of celebrity name, 90–92, 94–97, 101–104; domestication/private vs. public in, 92–94, 97–98, 104, 108; and name-dropping, 14, 84, 85–90, 96–98; Stein and names in home and text, 89–90, 97–98, 109 Babbitt, Irving, 24 Babel and Babylon (Hansen), 9 Baker, Josephine, 11, 185n11 Ballad of Reading Gaol, The (Wilde), 52 Ballet Mécanique (Léger), 182n4 Barnacle, Nora, 74 Barnard, Rita, 182n2 Barnes, Djuna, 146 Barnum, P. T., 22, 30, 136 Barthes, Roland, 1, 13, 22; on Chaplin, 115; on Einstein, 25, 85; “Platonic Idea” of, 57, 133–134; and production of author, 70, 75–76, 80 Bass Ale, 19, 63–64 Beerbohm, Max, 10, 31, 56, 177n18 Being Geniuses Together (Boyle and McAlmon), 145 Benjamin, Walter, 31, 139; on Bildungsroman, 73–74; on celebrity, 175–176n6, 180n22; on Charlie Chaplin, 122, 123, 124, 182n4; on film promotion, 77; on relationship between image and temporality, 126–127 Benstock, Shari, 87, 94 Bergson, 117 Berman, Marshall, 3 Bernhardt, Sarah, 9 Berry, Ellen, 175n2, 181n14 Best of Times, The (Dos Passos), 165 Big Money, The (Dos Passos), 167. See also U.S.A. Bildungsroman, 179n15; challenges to, 73–74; example passage from, 69–70; replacement of, with authorial selffashioning , 13, 69, 142. See also Jane Eyre, David Copperfield Blake, David Haven, 6 Book of Kells, The, 63 Boorstin, Daniel, 10, 131, 173 Borgia, Lucretia, 106–107 Boscagli, Maurizia, 59 Bourdieu, Pierre, 26 Bowen, Stella, 145 Bradley, A. C., 178n7 Brandt, Bill, 159 Braque, Georges, 91, 97, 102 Braudy, Leo: on modern celebrity, 8, 56, 163, 175n4; on Wilde, 16 Bristow, Joseph, 21, 22; on Wilde’s epigrams, 26 Britzolakis, Christina, 149 Bromley and West Kent Mercury, 146 Index Page numbers in italics refer to illustrations. 198 ] Modernism Is the Literature of Celebrity Brontë, Charlotte, 142, 147, 151, 158, 179n15 Buckley, Jerome H., 29, 48–49 Buck-Morss, Susan, 139 Budgen, Frank, 178n6, 179n14 Byron’s Romantic Celebrity (Mole), 6 Calinescu, Matei, 99 Cantwell, Mary, 133 caricature, 28, 31–33, 35, 37–39, 57, 177n18 Carlyle, Thomas, 23–24, 25, 51 Carmen (Bizet), 71 Carte, Richard D’Oyly, 23 Casey, Janet Galligani, 169 celebrity: and audience, 1, 16, 180n22, 183n16; and caricature, 177n18; and comic book hero, 185n12; as commodity, 10, 20, 128, 175–176n6; development of modern, 8–10, 20–21, 56, 66; and diegesis , 87; image of, as sign of history, 127–128; as link between high and low culture, 2–3; and marriage, 180n1; in modernist literature (see modernism); in postcolonial literature, 158–159; promotional apparatus of, 77; reaffirmation of individual in, 2, 7, 9, 77, 173; and relationship between subject and object, 2, 7, 117, 118, 160, 175n5. See also cinema; and specific authors Champsaur, Félicien, 185n11 Chaplin, Charlie, 2, 82, 84, 112, 113, 114, 136, 176n7; author-production of, via celebrity , 14, 114–115, 119; career of, 116; celebrity of, 9, 111, 117; and close-up, 118, 183n7; critical reception of, 122–123; and dialogue, 119–120, 130, 183n10; and distinction between image and author, 115, 116, 120–123; and historical moment, 14–15, 16, 115, 125–128; as modernist, 111, 114, 115, 127; and music and sound, 128– 129; and narrative contradiction, 113–115; and Paris avant-garde, 11; politics and legal troubles of, 130–131; and slapstick, 118–119; technique of, 125–126. See also Modern Times; Tramp (character); and specific films cinema, 3; and authorship, 183n9; and close-up, 117–118, 183n6; and production of modern celebrity, 8, 9, 56, 80, 87; promotional apparatus of, 77 Circus, The (Chaplin...