Untitled - Sexey's School Moodle

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academia, and thus participate actively in contributing to exchanges of cultural capital. Hence, this constant opposition guarantees a certain balance, or equilibrium, between the various political agendas presented by advocacy groups. Yet there is one particular category of text whose status and position across these series of polarizing forces remains ambiguous, for its purpose, some would argue, is specifically to provoke, shock, and discomfort. In other words, these texts transgress the boundaries of what is acceptable or permissible, even within the supposedly permissive culture of the university. Books that seek this distinction of “radical otherness” are usually ghettoized by the literary establishment, within the western tradition, however, there seems to be a genuine legacy of works that have been labeled as transgressive at various time periods. From Justine to the The Flowers of Evil, Ulysses to The Naked Lunch, or even Native Son, all stirred major public upheavals during their respective publications only to be canonized later, once the threat of their taboo-breaking properties had been assimilated through a series of negotiations regarding their cultural capital. The common denominator among most transgressive literature is that it stirs major public upheaval when first published and as a consequence is either condemned, banned, put to trial, simply ignored, and/or ghettoized by the establishment as an effective way of neutralizing its threat. Perhaps not surprisingly so, as the establishment changes—or, as Jacques Derrida would put it, as the center is decentered—so does the perception of these works, and consequently, as they are interpreted, and distributed, their exchange value as cultural capital is reappraised. Traditionally, following in the footsteps of Plato’s strict moral code of social righteousness, the institutional core of social, moral, and artistic mores was dictated for 57
the most part by white European males, but within the new hierarchies established by the multitude of cultural exchanges outlined above, this hegemony has progressively dissipated. Thus, there is a notion that transgressive art and more particularly, transgressive literature not only aims to challenge a specific establishment, but rather threatens all conventions, regardless of political or artistic affiliation. In doing so, a transgressive text engages in “free play” along the borders between high and low culture, the literary and the popular, the permissible and the prohibited, the respected and the disregarded. 58
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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
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
Page 56 and 57: that remain canonical throughout th
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
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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
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transgressions. Ironically, even th
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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
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
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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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