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191 As a satire, American Psycho does not escape—in fact it perfectly abides by—the limitations of its genre. Bakhtin observes that the role of the Menippean satire is to be symptomatic, to reveal the defects of the subject it addresses without attempting to correct them (The Dialogic Imagination 26), a point that was precisely made by Young earlier regarding Ellis’ novel. “THIS IS NOT AN EXIT,” the novel concludes, because, quite simply, there is no way out. The novel’s cutting brand of criticism has not affected the prevailing ideology of mainstream culture because it is unfeasible. The ideology of consumerism is so deeply engrained in daily life that it is impossible for the public to renounce to it. At the dawn of the twenty-first century, consumer capitalism represents such a totalizing society that American Psycho is unlikely to carry deeper consequences than it already has.
WORKS CITED AND CONSULTED Abel, Marco. “Judgment is not an Exit: Toward an Affective Criticism of Violence with American Psycho.” Angelaki Vol. 6.1 (December 2001): 137-154. Arnold, Matthew. Essays in Criticism: First and Second Series. London: Dent, 1964: -- -- --. “The Function of Criticism at the Present Time.” The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch. New York, NY: Norton, 2001: 806-825. -- -- --. “From The Study of Poetry.” The Norton Anthology of English Literature. Ed. M. H. Abrams. 6 th ed. Vol. 2. New York, NY: Norton, 1993: 1418-1429. Artaud, Antonin. “Avertissement.” Le Moine (de Lewis). France : Editions Gallimard, 1966: 9-13. Baker, Ernest A. The Novel of Sentiment and the Gothic Romance. New York, NY: Barnes and Nobles, 1969. Vol. 5 of The History of the English Novel. 11 Vols. 175-227. Bakhtin, Mikhail. The Dialogic Imagination. Michael Holquist ed. Trans. by Caryl Emerson and Micheal Holquist. Austin, TX: University of Texas Press, 1988. -- -- --. Rabelais and his World. Trans. by Hélène Iswolsky. Bloomington, IN: Indiana University Press, 1984. Barthes, Roland. The Pleasure of the Text. Trans. by Richard Miller. London: Cape, 1976. 192
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ABSTRACT This thesis examines the r
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TABLE OF CONTENTS Acknowledgments 4
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INTRODUCTION If one looks at the mo
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…Achilles slit open his liver, th
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following centuries due to the chan
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favorably by its contemporaries on
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REVIEW OF SECONDARY SOURCES This in
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Whereas these historical accounts a
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a framework under which transgressi
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Chapter 1 CANON-FORMATION, TRANSGRE
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amongst so-called “minorities”
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elonged to—these works were at on
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that person “is driven over the g
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the third century. At Yavneh the sc
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especially at the dawn of the twent
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theater-goers (Stallybras et al. 84
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emergence of new genres in literatu
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have been produced to please the ma
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Literature remained a favored means
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poet lies in his powerful and beaut
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specifically, it rebelled against t
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according to Johnson, “discolored
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while at the same time, establishin
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There is no reason to assume that t
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isolated case in the reception of l
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During the period of revision of th
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Henry Louis Gates Jr. It is only by
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that remain canonical throughout th
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academia, and thus participate acti
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Chapter 2 SHOCK, SCANDAL, AND SUBVE
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As is the case with canonical disco
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Although in this excerpt Foucault
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eplaces language, where language be
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that one distinguishable characteri
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Enlightenment period. In the case o
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transgressive artworks and their re
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sport of them. Nevertheless, it mai
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a practice or belief, or a set ther
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epressed instinctual drives stored
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Within the perspective enunciated a
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and high culture as did the Marquis
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“interrogators,” those who subv
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(sometimes, of the state itself),
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taking action. In other words, by b
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consequently, loses its transgressi
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Chapter 3 WORLDS COLLIDE: CULTURAL
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sub-genre of literature that was co
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case of the late eighteenth century
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As a reaction to this “democratiz
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To a certain extent, the Gothic is
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101 To understand the controversy s
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historical value was intensively sc
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“dialogue,” rather a unilateral
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egarding cultural and political ide
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Watt argues that the latter conside
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and the name of its author was reve
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contextualization of their work and
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critical acclaim by following the p
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Radcliffe’s novels (245), a trans
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efficiency of the legal system. As
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controversy is finally dispelled, t
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123 The distinction between Radclif
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125 Even though The Monk was immens
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ejection of inherited dogma. This i
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that with regard to such material a
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they represented wanted to diffuse
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different generations of readers th
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elements—and its Preface, where t
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the unfavorable conditions under wh
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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 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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