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

Panacea

American Literature Readings in the 21st Centuryhttp://image.papertrans.cn/b/image/190708.jpg

牛马之尿

INTRODUCTION: Underwriting the Contemporary,’s first-person narratives are vehicles for serious thought, reflections on the contemporary. I read Ellis’s work as a contemporary form of refusal. Through their roles as cultural products, Ellis’s books function to disclose the ways in which the contemporary political and cultural apparatus affect

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Bumptious

Management of Oesophageal Carcinoma’s first-person narratives are vehicles for serious thought, reflections on the contemporary. I read Ellis’s work as a contemporary form of refusal. Through their roles as cultural products, Ellis’s books function to disclose the ways in which the contemporary political and cultural apparatus affect

Flustered

Brachytherapy (Intracavitary Irradiation),ed “steadily invading or hoovering up its principal rival domains.—. It is in . that Ellis most sharply critiques the postmodernist renunciation of the philosophical discrimination between essence and appearance. I suggest in the first part of this chapter that Ellis’s move from the 1980s to the 199

有恶臭

humectant

Missing Persons: Melancholy as Symptom in , and ,literary establishment by another member of the “literary Brat Pack,” a pop culture brand created by . in 1987, that Ellis laconically defines in . as “essentially a media-made package: all fake flash and punk and menace” (., 8). The media objectification of Ellis, Jay McInerney, and Tama Janowitz;

分解

An Inner Critique: Commodity Fetishism, Systemic Violence, and the Abstract Mutilated Subject in ,,itics for its specific political and economic context, as both a cultural document and a prophetic allegory. The book functions at two levels, which are central to Ellis’s act of underwriting. It documents the repression at work in the commodity society of the 1980s, the merging of the subject with

正常

frenzy

Twenty-First-Century Gothic (or post-9/11 Fatalism): Self-Parody, Reification, and the Becoming Rea the twenty-first century, the question has been replaced with how to live, write, and speak in the contemporary? In Ellis’s work, the shift into a new millennium resounds with this concern and brings with it an unexpected change from the first person present tense to the past tense in . (2005). As