Titlebook: Bret Easton Ellis; Underwriting the Con Georgina Colby Book 2011 Georgina Colby 2011 42624.America.critique.culture.fiction.Narrative.novel

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书目名称Bret Easton Ellis影响因子(影响力)学科排名




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书目名称Bret Easton Ellis网络公开度学科排名




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书目名称Bret Easton Ellis被引频次学科排名




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书目名称Bret Easton Ellis年度引用学科排名




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书目名称Bret Easton Ellis读者反馈学科排名

Foment

dowagers-hump

figure

Missing Persons: Melancholy as Symptom in , and , “essentially a media-made package: all fake flash and punk and menace” (., 8). The media objectification of Ellis, Jay McInerney, and Tama Janowitz; ironically mirrored in reality the reification of the human subject into celebrity culture that preoccupies much of Ellis’s fiction. He parodies his status as a young celebrity author in .:

NIB

2634-579X ng contemporary culture, which offers new paths of understanding and ways of critiquing the contemporary author‘s place in the relations of production.978-1-349-29776-4978-0-230-33916-3Series ISSN 2634-579X Series E-ISSN 2634-5803

类人猿

MAG

Management of Open Globe Injuries as “the impossibility of presenting the present.. The novel attests to this paradox in representing the present. However, despite the social conditions functioning to obstruct representation, there is nevertheless always a virtual space in which such representation takes place. Blanchot, Hartman observes, identified it with literature.

aggravate

brother

An Inner Critique: Commodity Fetishism, Systemic Violence, and the Abstract Mutilated Subject in ,,he novel disinters how this subject-apparatus merger resulted in the liquidation of subjectivity. On a more micro and culturally specific level, the book critiques the cultural milieu of New York in the 1980s through subverting the icon of the city’s prosperity: the Wall Street banker.

领先

Twenty-First-Century Gothic (or post-9/11 Fatalism): Self-Parody, Reification, and the Becoming Rea as “the impossibility of presenting the present.. The novel attests to this paradox in representing the present. However, despite the social conditions functioning to obstruct representation, there is nevertheless always a virtual space in which such representation takes place. Blanchot, Hartman observes, identified it with literature.