標題: Titlebook: Bret Easton Ellis; Underwriting the Con Georgina Colby Book 2011 Georgina Colby 2011 42624.America.critique.culture.fiction.Narrative.novel [打印本頁] 作者: 滲漏 時間: 2025-3-21 19:22
書目名稱Bret Easton Ellis影響因子(影響力)
書目名稱Bret Easton Ellis影響因子(影響力)學(xué)科排名
書目名稱Bret Easton Ellis網(wǎng)絡(luò)公開度
書目名稱Bret Easton Ellis網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Bret Easton Ellis被引頻次
書目名稱Bret Easton Ellis被引頻次學(xué)科排名
書目名稱Bret Easton Ellis年度引用
書目名稱Bret Easton Ellis年度引用學(xué)科排名
書目名稱Bret Easton Ellis讀者反饋
書目名稱Bret Easton Ellis讀者反饋學(xué)科排名
作者: Foment 時間: 2025-3-21 20:54 作者: dowagers-hump 時間: 2025-3-22 00:54 作者: figure 時間: 2025-3-22 06:38
Missing Persons: Melancholy as Symptom in , and , “essentially a media-made package: all fake flash and punk and menace” (., 8). The media objectification of Ellis, Jay McInerney, and Tama Janowitz; ironically mirrored in reality the reification of the human subject into celebrity culture that preoccupies much of Ellis’s fiction. He parodies his status as a young celebrity author in .:作者: NIB 時間: 2025-3-22 11:45
2634-579X ng contemporary culture, which offers new paths of understanding and ways of critiquing the contemporary author‘s place in the relations of production.978-1-349-29776-4978-0-230-33916-3Series ISSN 2634-579X Series E-ISSN 2634-5803 作者: 類人猿 時間: 2025-3-22 14:53 作者: MAG 時間: 2025-3-22 17:47
Management of Open Globe Injuries as “the impossibility of presenting the present.. The novel attests to this paradox in representing the present. However, despite the social conditions functioning to obstruct representation, there is nevertheless always a virtual space in which such representation takes place. Blanchot, Hartman observes, identified it with literature.作者: aggravate 時間: 2025-3-22 23:08 作者: brother 時間: 2025-3-23 02:36
An Inner Critique: Commodity Fetishism, Systemic Violence, and the Abstract Mutilated Subject in ,,he novel disinters how this subject-apparatus merger resulted in the liquidation of subjectivity. On a more micro and culturally specific level, the book critiques the cultural milieu of New York in the 1980s through subverting the icon of the city’s prosperity: the Wall Street banker.作者: 領(lǐng)先 時間: 2025-3-23 06:03
Twenty-First-Century Gothic (or post-9/11 Fatalism): Self-Parody, Reification, and the Becoming Rea as “the impossibility of presenting the present.. The novel attests to this paradox in representing the present. However, despite the social conditions functioning to obstruct representation, there is nevertheless always a virtual space in which such representation takes place. Blanchot, Hartman observes, identified it with literature.作者: 微枝末節(jié) 時間: 2025-3-23 12:24
CODA: The Politics of Exposure: Unsafe Lines and Narratives of Conflict in ,, be a self-reflexive echo of . The architecture of the novel constitutes a reconstructive narratological framework. For Ellis, this reconstructive technique is one aspect of the novel that is fundamental to his act of underwriting the politics of America in the period 2003 to 2009.作者: 退出可食用 時間: 2025-3-23 14:31
Management of Oesophageal Carcinomamany ways been the source of his celebrity. In the twenty-first century, that is now changing, and a body of criticism is emerging that recognizes Ellis’s literary merit. This book is part of the ground-swell in recent criticism that aims to reevaluate Bret Easton Ellis’s reputation. Many early read作者: Leisureliness 時間: 2025-3-23 21:59
Radiotherapy and Cytotoxic Therapy,literary establishment by another member of the “l(fā)iterary Brat Pack,” a pop culture brand created by . in 1987, that Ellis laconically defines in . as “essentially a media-made package: all fake flash and punk and menace” (., 8). The media objectification of Ellis, Jay McInerney, and Tama Janowitz; 作者: CRANK 時間: 2025-3-24 00:48 作者: Spina-Bifida 時間: 2025-3-24 02:50 作者: Psa617 時間: 2025-3-24 07:31
Management of Open Globe Injuries the twenty-first century, the question has been replaced with how to live, write, and speak in the contemporary? In Ellis’s work, the shift into a new millennium resounds with this concern and brings with it an unexpected change from the first person present tense to the past tense in . (2005). As 作者: creatine-kinase 時間: 2025-3-24 12:46
Management of Open Globe Injuriesst century was written and marketed as a sequel to his first novel, . does not, however, function straightforwardly as a literary continuation. Rather, it is a complex remake of the original book. Structural similarities to the first book point to this complicated fusion of sequel and remake. Set tw作者: 協(xié)迫 時間: 2025-3-24 18:00
Book 2011 read as critiquing the cultural moments of which they are a part. Ellis‘s work can be thought of as an enactment of a process of underwriting contemporary culture, which offers new paths of understanding and ways of critiquing the contemporary author‘s place in the relations of production.作者: Psychogenic 時間: 2025-3-24 19:13 作者: Cocker 時間: 2025-3-25 02:11 作者: Panacea 時間: 2025-3-25 05:27
American Literature Readings in the 21st Centuryhttp://image.papertrans.cn/b/image/190708.jpg作者: 牛馬之尿 時間: 2025-3-25 09:29
INTRODUCTION: Underwriting the Contemporary,’s first-person narratives are vehicles for serious thought, reflections on the contemporary. I read Ellis’s work as a contemporary form of refusal. Through their roles as cultural products, Ellis’s books function to disclose the ways in which the contemporary political and cultural apparatus affect作者: 軟膏 時間: 2025-3-25 13:57 作者: Bumptious 時間: 2025-3-25 18:09
Management of Oesophageal Carcinoma’s first-person narratives are vehicles for serious thought, reflections on the contemporary. I read Ellis’s work as a contemporary form of refusal. Through their roles as cultural products, Ellis’s books function to disclose the ways in which the contemporary political and cultural apparatus affect作者: Flustered 時間: 2025-3-25 23:06
Brachytherapy (Intracavitary Irradiation),ed “steadily invading or hoovering up its principal rival domains.—. It is in . that Ellis most sharply critiques the postmodernist renunciation of the philosophical discrimination between essence and appearance. I suggest in the first part of this chapter that Ellis’s move from the 1980s to the 199作者: 有惡臭 時間: 2025-3-26 03:14 作者: humectant 時間: 2025-3-26 05:08
Missing Persons: Melancholy as Symptom in , and ,literary establishment by another member of the “l(fā)iterary Brat Pack,” a pop culture brand created by . in 1987, that Ellis laconically defines in . as “essentially a media-made package: all fake flash and punk and menace” (., 8). The media objectification of Ellis, Jay McInerney, and Tama Janowitz; 作者: 分解 時間: 2025-3-26 08:35
An Inner Critique: Commodity Fetishism, Systemic Violence, and the Abstract Mutilated Subject in ,,itics for its specific political and economic context, as both a cultural document and a prophetic allegory. The book functions at two levels, which are central to Ellis’s act of underwriting. It documents the repression at work in the commodity society of the 1980s, the merging of the subject with 作者: 正常 時間: 2025-3-26 15:48 作者: frenzy 時間: 2025-3-26 16:58
Twenty-First-Century Gothic (or post-9/11 Fatalism): Self-Parody, Reification, and the Becoming Rea the twenty-first century, the question has been replaced with how to live, write, and speak in the contemporary? In Ellis’s work, the shift into a new millennium resounds with this concern and brings with it an unexpected change from the first person present tense to the past tense in . (2005). As 作者: 明確 時間: 2025-3-27 00:23 作者: 征兵 時間: 2025-3-27 01:43
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