Locating George Herriman's Krazy Kat in American Modernism

乔治·赫尔曼（George Herriman）的《疯狂的卡特》（crazy Kat1）（1913-1944）被广泛认为是美国最有成就的连环漫画之一，e.e.卡明斯（e.e. cummings）和巴勃罗·毕加索（Pablo Picasso）都是它的粉丝，杰克·凯鲁亚克（Jack Kerouac）认为它是“垮掉的一代的直接祖先”该项目将评估《疯狂》作为美国现代主义文本，通过阅读漫画的背景、内容、形式、发行和接受，将其置于艺术和文学影响的渠道中，与同时代的现代主义作品密切相关。这篇论文将有助于讨论与当前全球现代主义和期刊研究相关的问题：美国现代性、高雅与低俗文化、大众出版和种族。漫画和现代主义似乎不太可能同床共枕。很少有学术研究倾向于把它们联系起来，通常是参考吉尔伯特·塞尔德斯的《七种活泼的艺术》，这是一本1924年的论文集，适用于《此后，疯狂》。马丁·斯基德莫尔的《疯狂凯特：现代主义和影响》（2011），FA：漫画杂志——对流行艺术形式的知识批判，往往很少注意到它们形式的特殊性。2016年的一个期刊群开始更深入地探索这一领域，其贡献涵盖了漫画的史前、20世纪30年代末以来超级英雄漫画书的现代性，以及埃兹拉·庞德和艾伦·摩尔的知识产权之间的相似之处然而，像《疯狂》这样的实验性连环漫画与正统现代主义文本的共存却被粉饰了。虽然疯狂和现代主义之间的一些联系之前已经被注意到并短暂地争论过，但这是在没有系统的、以文本为中心的方法的基础上发生的。目前，有两本关于赫里曼的书：《疯狂的凯特：乔治·赫里曼的漫画艺术》，它把传记和历史放在了细读之前，还有迈克尔·蒂瑟兰2016年的传记《疯狂：乔治·赫里曼，黑白生活》。除此之外，尽管它被权威现代主义者（e.e.卡明斯、格特鲁德·斯坦和欧内斯特·海明威等人）视为文化资本；31年来的连环画，充满了实验、颠覆、讽刺和借鉴；虽然呼吁漫画界给予更广泛的批判性关注，但《疯狂》的特殊性仍有待探索因此，我的问题是：如何将乔治·赫尔曼的《疯狂猫》有效地解读为美国现代主义文本？

George Herriman's Krazy Kat1 (1913-1944) is widely regarded as one of the most accomplished American comic strips, counting e.e. cummings and Pablo Picasso among its fans, and credited by Jack Kerouac as an 'immediateprogenitor to the Beat Generation'.2 This project will assess Krazy as an American modernist text, siting it within channels of artistic and literary influence by reading the strips' contexts, content, form, distribution and receptionclosely alongside contemporaneous modernist productions. This thesis will contribute to discussions pertinent to current global modernist and periodical studies: American modernities, high vs. low culture, mass publication, andrace. Comics and modernism may seem unlikely bedfellows. What little scholarship there is tends to link them in passing, usually with reference to Gilbert Seldes' The Seven Lively Arts, a 1924 collection of essays applying1 Hereafter, Krazy. 2 Martin Skidmore, 'Krazy Kat: Modernism and Influence' (2011), FA: The Comiczine - intellectual critique to popular artforms, and often with little attention paid to their particularities of form. A 2016 journal cluster began to probe the field in more depth, with contributions covering comics' pre-history, modernity insuperhero comic books from the late 1930s onwards, and parallels between Ezra Pound and Alan Moore's intellectual property rights.3 However, the coexistence of experimental comic strips such as Krazy with canonicalmodernist texts was glossed.While some connections between Krazy and modernism have previously been noted and briefly contested, this has taken place without the grounding of a systematic, text-centred approach. 4 Currently, there are two books on Herriman: Krazy Kat: The Comic Art of George Herriman, which privileges biography and history over closereadings, and Michael Tisserand's 2016 biography, Krazy: George Herriman, a Life in Black and White. 5Otherwise, despite its perceived cultural capital by canonical modernists (e.e. cummings, Gertrude Stein and Ernest Hemingway, among others); 31 years' worth of strips, densely layered with experimentation, subversion,irony and reference; and calls for extended critical attention from the comics' community, the particularities of Krazy are still to be explored.6 Thus, my question is: how can George Herriman's Krazy Kat be effectively readas an American modernist text?