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TABLE OF CONTENTS Acknowledgments 4 Introduction 5 Review of Secondary Sources 13 Chapter 1 Canon-Fromation, Transgression and Cultural Capital: A Brief Historical Overview 19 Chapter 2 Shock, Scandal, and Subversion: A Deconstructive Analysis of Transgression 59 Chapter 3 Worlds Collide: Cultural Capital and Transgression in Matthew Lewis’ The Monk 91 Chapter 4 Pornography and Violence: The Dialectics of Transgression in Bret Easton Ellis’ American Psycho 144 Works Cited and Consulted 192 3
ACKNOWLEDGMENTS Special thanks to Nickolas Haydock, Nandita Batra, and José Irizarry for their guidance. I am also grateful to Michelle Magnin and Richard Stroik from the University of San Diego for having inspired part of this study. Last but not least, I thank my family for their support and Lluvia for putting up with me. Part of Chapter 4 appeared in Atenea (June 2004) vol. 24.1. I thank this journal for permission to reprint work here. 4
Page 2 and 3: ABSTRACT This thesis examines the r
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 12 and 13: favorably by its contemporaries on
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
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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
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
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that one distinguishable characteri
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Enlightenment period. In the case o
Page 72 and 73:
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
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
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historical value was intensively sc
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“dialogue,” rather a unilateral
Page 108 and 109:
egarding cultural and political ide
Page 110 and 111:
Watt argues that the latter conside
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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
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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
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transgressions. Ironically, even th
Page 154 and 155:
While this episode can be perceived
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which he/she participates as well.
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In American Psycho, Ellis makes sim
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are responsible for provoking the m
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161 Even so, as outlined earlier, t
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ecome inescapably appealing. The st
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overwhelming, or, in more extreme c
Page 168 and 169:
Although Murphet’s appraisal of t
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argued above, the latter produces q
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“civilized” man is indeed no st
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males 25 . Such interrogations only
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liberal capitalism, two trends that
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type of laughter that would lead ho
Page 180 and 181:
outburst that characterized the rel
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she chooses to be atypical by censu
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consumption, no matter how perverte
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asic material satisfaction but for
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to be “committed.” The question
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“serious” literature as prescri
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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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