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consequently, loses its transgressive essence for it cannot be longer characterized as breaching boundaries or as being “limitless”: it becomes confined by finding its place within cultural and political discourse, and ultimately within canonical and social institutions represented in academia. The same authors also argue that once transgressive works are processed and accepted as cultural capital they are no longer perceived as transgressive; they either become the norm or reinstate the norm. This is why perhaps Foucault relies mostly on a “pure” definition of transgression, one which is neither scandalous nor subversive and is detached from any cultural, social, or political discourses. Perhaps transgression has indeed become the norm and, as a result, its potential to subvert has greatly been impoverished. But have transgressions ceased to exist, and are all transgressions created equal or treated equally? Considering that all subsequent negotiations of transgression—such as its power to subvert both the rules of art and the rule of the state—relies on the element of shock, transgression relies primarily on public reaction. How, specifically, does a transgressive text create shock and arouse controversy? And what are its possible immediate and/or far-reaching consequences on the literary canon and society in general? The next two chapters will attempt to answer these questions by taking a detailed look at two exemplary transgressive texts: Matthew Lewis’ The Monk and Bret Easton Ellis’ American Psycho. Through its history of distribution and consumption, The Monk’s value as cultural capital has gradually increased in academia. An analysis of its reception with regard to canonical and socio- political discourses will allow me to trace the operation of such exchanges since the date of its publication in 1796. The subsequent discussion of American Psycho will 89
demonstrate how similar processes have operated on a significantly more recent novel under evolving cultural, social, and political conditions. 90
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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
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 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
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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
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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
Page 188 and 189:
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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