Identity-Shopping and Postwar Self-Improvement in Patricia Highsmith's "Strangers on a Train."
Patricia Highsmith's first novel, "Strangers on a Train" (1950), is part of a lineage of American novels that depict the perils of aestheticizing class difference, interclass contact and social mobility. Highsmith's protagonist, idealistic architect Guy Haines, is, like Dreiser's Carrie Meeber, a ru...
| Publicado en: | Journal of Modern Literature Vol. 33; no. 4; pp. 21 - 41 |
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| Formato: | Literary Criticism |
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Indiana University Press
Summer2010
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=53528126&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 53528126 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 0022281X JML jtl: Journal of Modern Literature issn: 0022281X maglogo: N pubinfo: dt: Summer2010 vid: 33 iid: 4 pid: 211 pub: Indiana University Press artinfo: ui: 53528126 10.2979/JML.2010.33.4.21 ppf: 21 ppct: 20 formats: fmt: @attributes: type: P size: 146KB tig: atl: Identity-Shopping and Postwar Self-Improvement in Patricia Highsmith's "Strangers on a Train." aug: au: Lukin, Josh affil: Temple University su: Highsmith, Patricia, 1921-1995 Strangers on a Train (Book) Modern literature Seguin, Robert Story plots Narrative inquiry (Research method) Literary form Storytelling Oral interpretation 20th century (Literary period) sug: subj: Highsmith, Patricia, 1921-1995 Strangers on a Train (Book) Modern literature Seguin, Robert Story plots Narrative inquiry (Research method) Literary form Storytelling Oral interpretation 20th century (Literary period) keyword: 1950s pastoral Patricia Highsmith Robert Seguin Strangers on a Train ab: Patricia Highsmith's first novel, "Strangers on a Train" (1950), is part of a lineage of American novels that depict the perils of aestheticizing class difference, interclass contact and social mobility. Highsmith's protagonist, idealistic architect Guy Haines, is, like Dreiser's Carrie Meeber, a rural naïf who imagines entering a world of beauty that transcends labor and exchange; he is also, like Nathanael West's Tod Hackett, a creative artist with a highly-developed feeling of disgust for mass culture and its admirers. But Guy is a product of post-World War II pressures on the professional-managerial class, pressures that tied that class's self-image to U.S. policy goals and severed its connection to the popular and proletarian. Guy's commitment to social climbing is sublimated into his beliefs in his classlessness and his investment in aesthetic purity. But the conviction with which he adheres to those beliefs makes him easy for a sociopathic killer to manipulate. pubtype: Academic Journal doctype: Literary Criticism src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of Modern Literature is the property of Indiana University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of Modern Literature holder: Indiana University Press dt: @attributes: year: 2010 holdings: @attributes: islocal: N |
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