While the growing field of late modernist studies has established coherent geographic and temporal boundaries for its period in Britain, it has struggled to do the same for the United States. This essay proposes that ongoing critical efforts to establish an American late modernism have been organized and constrained less by national history than by a pair of aesthetic categories: style and autonomy. Scholars have deployed these categories in two competing ways: first, by defining late modernist style as a heroic escape from the reactionary autonomous art of “high” modernists like Ezra Pound and T.S. Eliot; second, by defining late modernism as an ideology of autonomous art established in the United States by critics like Cleanth Brooks and Clement Greenberg. Through a methodological critique of these two accounts, this essay argues for an American late modernism grounded upon a more dialectical understanding of the relationship between style and autonomy in modernist studies, one attuned to the political and cultural changes in the United States from the 1930s to the 1960s.

中文翻译：

---

风格，自主权和意识形态：为美国现代主义的后期发展腾出空间

尽管近代现代主义研究领域不断发展，为英国时期建立了连贯的地理和时间界限，但它在美国却努力做到这一点。本文提出，为建立美国晚期现代主义而进行的不懈努力已受到组织和约束，而不受国家历史的约束，而受到的是美学和风格两类的约束：风格和自治。学者们以两种相互竞争的方式来部署这些类别：首先，通过将晚期现代主义风格定义为对“高级”现代主义者如埃兹拉庞德和艾略特的反动自主艺术的英勇逃避；第二，将晚期现代主义定义为美国的自主艺术意识形态，这种思想是由Cleanth Brooks和Clement Greenberg等批评家在美国建立的。通过对这两个叙述的方法学评论，