Untitled - Sexey's School Moodle

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Untitled - Sexey's School

  • Page 2: ABSTRACT
  • Page 4: TABLE OF CONTENTS
  • Page 6: INTRODUCTION
  • Page 8: …Achilles slit open his liver,
  • Page 10: following centuries due to the chan
  • Page 12: favorably by its contemporaries on
  • Page 14: REVIEW OF SECONDARY SOURCES
  • Page 16: Whereas these historical accounts a
  • Page 18: a framework under which transgressi
  • Page 20: Chapter 1
  • Page 22: amongst so-called “minorities”
  • Page 24: elonged to—these works were at on
  • Page 26: that person “is driven over the g
  • Page 28: the third century. At Yavneh the sc
  • Page 30: especially at the dawn of the twent
  • Page 32: theater-goers (Stallybras et al. 84
  • Page 34: emergence of new genres in literatu
  • Page 36: have been produced to please the ma
  • Page 38: Literature remained a favored means
  • Page 40: poet lies in his powerful and beaut
  • Page 42: specifically, it rebelled against t
  • Page 44: according to Johnson, “discolored
  • Page 46: while at the same time, establishin
  • Page 48: There is no reason to assume that t
  • Page 50: isolated case in the reception of l
  • Page 52:

    During the period of revision of th

  • Page 54:

    Henry Louis Gates Jr. It is only by

  • Page 56:

    that remain canonical throughout th

  • Page 58:

    academia, and thus participate acti

  • Page 60:

    Chapter 2

  • Page 62:

    As is the case with canonical disco

  • Page 64:

    Although in this excerpt Foucault

  • Page 66:

    eplaces language, where language be

  • Page 68:

    that one distinguishable characteri

  • Page 70:

    Enlightenment period. In the case o

  • Page 72:

    transgressive artworks and their re

  • Page 74:

    sport of them. Nevertheless, it mai

  • Page 76:

    a practice or belief, or a set ther

  • Page 78:

    epressed instinctual drives stored

  • Page 80:

    Within the perspective enunciated a

  • Page 82:

    and high culture as did the Marquis

  • Page 84:

    “interrogators,” those who subv

  • Page 86:

    (sometimes, of the state itself),

  • Page 88:

    taking action. In other words, by b

  • Page 90:

    consequently, loses its transgressi

  • Page 92:

    Chapter 3

  • Page 94:

    sub-genre of literature that was co

  • Page 96:

    case of the late eighteenth century

  • Page 98:

    As a reaction to this “democratiz

  • Page 100:

    To a certain extent, the Gothic is

  • Page 102:

    101 To understand the controversy s

  • Page 104:

    historical value was intensively sc

  • Page 106:

    “dialogue,” rather a unilateral

  • Page 108:

    egarding cultural and political ide

  • Page 110:

    Watt argues that the latter conside

  • Page 112:

    and the name of its author was reve

  • Page 114:

    contextualization of their work and

  • Page 116:

    critical acclaim by following the p

  • Page 118:

    Radcliffe’s novels (245), a trans

  • Page 120:

    efficiency of the legal system. As

  • Page 122:

    controversy is finally dispelled, t

  • Page 124:

    123 The distinction between Radclif

  • Page 126:

    125 Even though The Monk was immens

  • Page 128:

    ejection of inherited dogma. This i

  • Page 130:

    that with regard to such material a

  • Page 132:

    they represented wanted to diffuse

  • Page 134:

    different generations of readers th

  • Page 136:

    elements—and its Preface, where t

  • Page 138:

    the unfavorable conditions under wh

  • Page 140:

    addition, following Michelle A. Mas

  • Page 142:

    suppress his passionate nature resu

  • Page 144:

    its tenure as a work of transgressi

  • Page 146:

    145 In recent history, no book has

  • Page 148:

    147 Bret Easton Ellis’ American P

  • Page 150:

    depend on the individual, on his or

  • Page 152:

    transgressions. Ironically, even th

  • Page 154:

    While this episode can be perceived

  • Page 156:

    which he/she participates as well.

  • Page 158:

    In American Psycho, Ellis makes sim

  • Page 160:

    are responsible for provoking the m

  • Page 162:

    161 Even so, as outlined earlier, t

  • Page 164:

    ecome inescapably appealing. The st

  • Page 166:

    overwhelming, or, in more extreme c

  • Page 168:

    Although Murphet’s appraisal of t

  • Page 170:

    argued above, the latter produces q

  • Page 172:

    “civilized” man is indeed no st

  • Page 174:

    males 25 . Such interrogations only

  • Page 176:

    liberal capitalism, two trends that

  • Page 178:

    type of laughter that would lead ho

  • Page 180:

    outburst that characterized the rel

  • Page 182:

    she chooses to be atypical by censu

  • Page 184:

    consumption, no matter how perverte

  • Page 186:

    asic material satisfaction but for

  • Page 188:

    to be “committed.” The question

  • Page 190:

    “serious” literature as prescri

  • Page 192:

    191 As a satire, American Psycho do

  • Page 194:

    Batailles, Georges. Le Bleu du ciel

  • Page 196:

    Fortier, Frances. “L’esthétiqu

  • Page 198:

    Johnson, Samuel. “From Lives of t

  • Page 200:

    Poe, Edgar Allan. “The Philosophy

  • Page 202:

    Thoré. Théophile. “New Tendenci

  • Page 3: RESUMEN
  • Page 5: ACKNOWLEDGMENTS
  • Page 7: works by the likes of the Marquis d
  • Page 9: While the rationale for de-emphasiz
  • Page 11: The concept of transgression in lit
  • Page 13: power of art as articulated in the
  • Page 15: The notion of literary canons has b
  • Page 17: in order to build a didactic founda
  • Page 19: explores the various unsettling eff
  • Page 21: doubt as to her standing in the can
  • Page 23: canons representing the various ide
  • Page 25: evolution through the first three m
  • Page 27: threat posed by the work. For The I
  • Page 29: while English progressively emerged
  • Page 31: perceived theatrical venues to be t
  • Page 33: the “Homer of the English traditi
  • Page 35: guarantee the longevity of an autho
  • Page 37: the literary canon, and critics and
  • Page 39: as a canonical author whose work sh
  • Page 41: The historical sense compels a man
  • Page 43: of present ideas, there is nothing
  • Page 45: and the beautiful over the moral an
  • Page 47: he outlines in his concept of tradi
  • Page 49: To illustrate the interactions betw
  • Page 51: In the late twentieth century, with
  • Page 53:

    of people: “since not everyone’

  • Page 55:

    fiction is a mere “image” of th

  • Page 57:

    To reconcile the emphasis placed on

  • Page 59:

    the most part by white European mal

  • Page 61:

    transgress the norms and convention

  • Page 63:

    injurious actions directed towards

  • Page 65:

    “pure” transgression, a concept

  • Page 67:

    automatic reaction to the law (17).

  • Page 69:

    For instance, Madame Bovary was put

  • Page 71:

    framework of crime and punishment,

  • Page 73:

    While the first category pertains m

  • Page 75:

    These considerations of the texts o

  • Page 77:

    fulfillment. This relationship can

  • Page 79:

    takes place at the same instant, bu

  • Page 81:

    physical pleasure, some type of ins

  • Page 83:

    not only a prime example regarding

  • Page 85:

    Hence, according to Lauter, literat

  • Page 87:

    “ontologically subversive,” apo

  • Page 89:

    By violating taboos, transgressive

  • Page 91:

    demonstrate how similar processes h

  • Page 93:

    wave of fear across governments and

  • Page 95:

    publication was regulated by the do

  • Page 97:

    considering the novel as a social c

  • Page 99:

    Boccaccio, Sidney, Dryden, and John

  • Page 101:

    style of medieval architecture, par

  • Page 103:

    degree that it encourages socially

  • Page 105:

    and moral function. As mentioned in

  • Page 107:

    formation are typically marshaled b

  • Page 109:

    Lyrical Ballads, Wordsworth critici

  • Page 111:

    aesthetics—here, elegy, Horatian

  • Page 113:

    distinct transgressions: the author

  • Page 115:

    come under attack from the institut

  • Page 117:

    and in particular the concept of

  • Page 119:

    Ambosio was in full vigour of his M

  • Page 121:

    The second excerpt is from Radcliff

  • Page 123:

    that the author is a man of rank an

  • Page 125:

    confer on her work an authoritative

  • Page 127:

    look into the darkest confines of h

  • Page 129:

    Nominal Anglicanism or Protestantis

  • Page 131:

    criticism also shows how the transg

  • Page 133:

    addressees” (Norton 1551). Nevert

  • Page 135:

    described exclusively “as a genre

  • Page 137:

    is depicted as a tangible possibili

  • Page 139:

    only adds to its value as cultural

  • Page 141:

    ecalls Bataille’s emphasis on cre

  • Page 143:

    seems to align herself with earlier

  • Page 145:

    Chapter 4

  • Page 147:

    the aftermath of the “culture war

  • Page 149:

    een leaked from the publishing comp

  • Page 151:

    Christie finishes coming she resume

  • Page 153:

    pleasure from displays of suggestiv

  • Page 155:

    “I” in the text and the persona

  • Page 157:

    capitalism present throughout the e

  • Page 159:

    304-5, 328); a child (298), and a s

  • Page 161:

    physical reactions, which stand in

  • Page 163:

    one so fast that she stays alive lo

  • Page 165:

    unconscious are of a sexual or viol

  • Page 167:

    constantly being mistaken 23 . Yet,

  • Page 169:

    and that in the face of the extensi

  • Page 171:

    unaffected voice is that they releg

  • Page 173:

    oycott the novel based on her perce

  • Page 175:

    and contrary to other transgressive

  • Page 177:

    measures of success, where identity

  • Page 179:

    epresentative of thought vs. instin

  • Page 181:

    dimension of criticism in reflectin

  • Page 183:

    182 In her essay on Ellis’ hyperr

  • Page 185:

    to determine the exact transgressiv

  • Page 187:

    point that Freccero, Murphet, and P

  • Page 189:

    violence to our inner selves, are w

  • Page 191:

    threatening only to those who see i

  • Page 193:

    WORKS CITED AND CONSULTED

  • Page 195:

    Coleridge, Taylor. “Review of Ann

  • Page 197:

    Gautier, Théophile. “Preface to

  • Page 199:

    “Literary Gothicism: Overview.”

  • Page 201:

    Sahni, Archna. “Religion and Erot

  • Page 203:

    Wilde, Oscar. “The Critc as Artis

coombe house end of year.pdf - Sexey's School Moodle

coombe house end of year.pdf - Sexey's School Moodle

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