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favorably by its contemporaries on two grounds: first, the Gothic genre was not an accepted form of “serious” literature, and second, The Monk was labeled as morally objectionable for the acts of human depravity it depicted. In that regard, Anna M. Wittmann has argued that because the Gothic typically blended components of high and low literature and relied extensively on the poetics of shock and horror, its acceptance as serious literature was precluded. The next section will deal exclusively with the transgressive characteristics of the novel, and how, through a series of cultural “negotiations” and “exchanges” in regard to evolving literary conventions and criticism, its value as cultural capital has been reevaluated. “Pornography and Violence: The Dialectics of Transgression in Bret Easton Ellis’ American Psycho,” the fourth and final chapter, deals exclusively with the reception, interpretation, and dissemination of Ellis’ 1991 highly publicized and highly controversial novel about a Wall Street serial-killer. The chapter analyzes various controversial passages and considers the ways in which various literary devices have been meticulously assembled to craft a satire of consumer capitalism. Next, a review of the uproar caused by the novel’s release will reveal that there is a polarized debate concerning American Psycho’s literary claims. Some, such as Roger Rosenblatt and Alberto Manguel, believe the novel to be worthless and despicable, while others like Elizabeth Young and Alan Murphet consider it to be an important novel, partly on the very same grounds the former find it contemptible. This chapter will consider to what extent the controversial content of American Psycho transgresses the accepted boundaries of contemporary society, a society that seems consistently to “push the envelope” in its representations of sex and violence. While taking into consideration the subversive 11
power of art as articulated in the second chapter, this section will conclude by asking what consequences the social critique contained in the novel might have for the coming era. 12
Page 2 and 3: ABSTRACT This thesis examines the r
Page 4 and 5: TABLE OF CONTENTS Acknowledgments 4
Page 6 and 7: INTRODUCTION If one looks at the mo
Page 8 and 9: …Achilles slit open his liver, th
Page 10 and 11: following centuries due to the chan
Page 14 and 15: REVIEW OF SECONDARY SOURCES This in
Page 16 and 17: Whereas these historical accounts a
Page 18 and 19: a framework under which transgressi
Page 20 and 21: Chapter 1 CANON-FORMATION, TRANSGRE
Page 22 and 23: amongst so-called “minorities”
Page 24 and 25: elonged to—these works were at on
Page 26 and 27: that person “is driven over the g
Page 28 and 29: the third century. At Yavneh the sc
Page 30 and 31: especially at the dawn of the twent
Page 32 and 33: theater-goers (Stallybras et al. 84
Page 34 and 35: emergence of new genres in literatu
Page 36 and 37: have been produced to please the ma
Page 38 and 39: Literature remained a favored means
Page 40 and 41: poet lies in his powerful and beaut
Page 42 and 43: specifically, it rebelled against t
Page 44 and 45: according to Johnson, “discolored
Page 46 and 47: while at the same time, establishin
Page 48 and 49: There is no reason to assume that t
Page 50 and 51: isolated case in the reception of l
Page 52 and 53: During the period of revision of th
Page 54 and 55: Henry Louis Gates Jr. It is only by
Page 56 and 57: that remain canonical throughout th
Page 58 and 59: academia, and thus participate acti
Page 60 and 61: Chapter 2 SHOCK, SCANDAL, AND SUBVE
Page 62 and 63:
As is the case with canonical disco
Page 64 and 65:
Although in this excerpt Foucault
Page 66 and 67:
eplaces language, where language be
Page 68 and 69:
that one distinguishable characteri
Page 70 and 71:
Enlightenment period. In the case o
Page 72 and 73:
transgressive artworks and their re
Page 74 and 75:
sport of them. Nevertheless, it mai
Page 76 and 77:
a practice or belief, or a set ther
Page 78 and 79:
epressed instinctual drives stored
Page 80 and 81:
Within the perspective enunciated a
Page 82 and 83:
and high culture as did the Marquis
Page 84 and 85:
“interrogators,” those who subv
Page 86 and 87:
(sometimes, of the state itself),
Page 88 and 89:
taking action. In other words, by b
Page 90 and 91:
consequently, loses its transgressi
Page 92 and 93:
Chapter 3 WORLDS COLLIDE: CULTURAL
Page 94 and 95:
sub-genre of literature that was co
Page 96 and 97:
case of the late eighteenth century
Page 98 and 99:
As a reaction to this “democratiz
Page 100 and 101:
To a certain extent, the Gothic is
Page 102 and 103:
101 To understand the controversy s
Page 104 and 105:
historical value was intensively sc
Page 106 and 107:
“dialogue,” rather a unilateral
Page 108 and 109:
egarding cultural and political ide
Page 110 and 111:
Watt argues that the latter conside
Page 112 and 113:
and the name of its author was reve
Page 114 and 115:
contextualization of their work and
Page 116 and 117:
critical acclaim by following the p
Page 118 and 119:
Radcliffe’s novels (245), a trans
Page 120 and 121:
efficiency of the legal system. As
Page 122 and 123:
controversy is finally dispelled, t
Page 124 and 125:
123 The distinction between Radclif
Page 126 and 127:
125 Even though The Monk was immens
Page 128 and 129:
ejection of inherited dogma. This i
Page 130 and 131:
that with regard to such material a
Page 132 and 133:
they represented wanted to diffuse
Page 134 and 135:
different generations of readers th
Page 136 and 137:
elements—and its Preface, where t
Page 138 and 139:
the unfavorable conditions under wh
Page 140 and 141:
addition, following Michelle A. Mas
Page 142 and 143:
suppress his passionate nature resu
Page 144 and 145:
its tenure as a work of transgressi
Page 146 and 147:
145 In recent history, no book has
Page 148 and 149:
147 Bret Easton Ellis’ American P
Page 150 and 151:
depend on the individual, on his or
Page 152 and 153:
transgressions. Ironically, even th
Page 154 and 155:
While this episode can be perceived
Page 156 and 157:
which he/she participates as well.
Page 158 and 159:
In American Psycho, Ellis makes sim
Page 160 and 161:
are responsible for provoking the m
Page 162 and 163:
161 Even so, as outlined earlier, t
Page 164 and 165:
ecome inescapably appealing. The st
Page 166 and 167:
overwhelming, or, in more extreme c
Page 168 and 169:
Although Murphet’s appraisal of t
Page 170 and 171:
argued above, the latter produces q
Page 172 and 173:
“civilized” man is indeed no st
Page 174 and 175:
males 25 . Such interrogations only
Page 176 and 177:
liberal capitalism, two trends that
Page 178 and 179:
type of laughter that would lead ho
Page 180 and 181:
outburst that characterized the rel
Page 182 and 183:
she chooses to be atypical by censu
Page 184 and 185:
consumption, no matter how perverte
Page 186 and 187:
asic material satisfaction but for
Page 188 and 189:
to be “committed.” The question
Page 190 and 191:
“serious” literature as prescri
Page 192 and 193:
191 As a satire, American Psycho do
Page 194 and 195:
Batailles, Georges. Le Bleu du ciel
Page 196 and 197:
Fortier, Frances. “L’esthétiqu
Page 198 and 199:
Johnson, Samuel. “From Lives of t
Page 200 and 201:
Poe, Edgar Allan. “The Philosophy
Page 202 and 203:
Thoré. Théophile. “New Tendenci
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