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Thoré. Théophile. “New Tendencies in Art.” Art in Theory: 1815-1900. Eds. Charles Harrison and Paul Wood. Blackwell, 1998: 378-387. Tompkins, J.M.S. The Popular Novel in England, 1770-1800. London: Constable, 1969. Trevor, Ross. The Making of the English Literary Canon: From the Middle Ages to the Late Eighteenth Century. Montreal & Kingston: McGIll-Queen’s University Press, 1998. Tuite. Carla. “Cloistered Closets: Enlightenment Pornography, the Confessional State, Homosexual Persecution and The Monk.” Romanticism on the Net 8 (November 1997). June 20, 2004. Underhill, Ruth. “Stage and State: The Censorship of Richard II.” Shakespeare: Background Resources. February 26, 1996. December 1, 2003. Vargas Llosa, Mario. The Perpetual Orgy: Flaubert and Madame Bovary. Trans. Helen Lane. NY: Farrar Straus Giroux: 1986. Walker, Ben. “Extremes and Radicalism in the Postmodern and the Popular: A Study of Transgression in Bret Easton Ellis’ American Psycho.” The Bakhtin Centre. September 9, 1998. October 15, 2003. Watt, James. Contesting the Gothic: Fiction, Genre and Cultural Conflict, 1764–1832. Cambridge: Cambridge University Press, 1999. 201
Wilde, Oscar. “The Critc as Artist.” The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch. New York, NY: Norton, 2001: 900-913. Wittmann, Anna M. “Gothic Trivialliteratur: From Popular Gothicism to Romanticism.” Crosscurrents, Modes, and Models. Ed. Gerhart Hoffmeister. Detroit: Wayne State University Press, 1990. Wordsworth, William. “Preface to Lyrical Ballads, with Pastoral and Other Poems (1802).” The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch. New York, NY: Norton, 2001: 648-668. Woosley, John M. “The Monumental Decision of the United States District Court Rendered December 6, 1993, by Hon. John M. Woosley Lifting the Ban on “Ulysses.”” Ulysses. Random house: 1961: vii-xii. Young, Elizabeth. “The Beast in the Jungle, the Figure in the Carpet.” Shopping Space: Essays on American “Blank Generation Fiction.” Eds. Elizabeth Young and Graham Caveney. New York: Atlantic Monthly Press, 1992: 85-129. 202
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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
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suppress his passionate nature resu
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its tenure as a work of transgressi
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145 In recent history, no book has
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147 Bret Easton Ellis’ American P
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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
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