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Journal articles on the topic 'DeLillo'

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Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Luo, Xiaoxia. "Cultural Trauma in DeLillo’s Falling Man." Journal of Education and Culture Studies 4, no. 3 (July 20, 2020): p53. http://dx.doi.org/10.22158/jecs.v4n3p53.

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Don DeLillo’s Falling Man concentrates on the 9/11 catastrophe with its grand historical background, complex language, changing spaces and complicated narrative structure. This article tries to put Falling Man under the perspective of trauma and examine Don DeLillo’s exploration of the cultural trauma, the relations between the Western world and the Islamic world. In the novel, DeLillo uses individual trauma to represent the cultural trauma experienced by the nation as a whole. In the meantime, DeLillo juxtaposes two cultures in the novel by narrating from two perspectives to show the long-standing misunderstanding and conflict between two different cultures and discusses the possibility of dialogue between them.

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2

Alvarez Trigo, Laura. "Don DeLillo’s Adapted Novels: The Treatment of Language, Space, and Time on Screen." Miscelánea: A Journal of English and American Studies 66 (December 13, 2022): 151–69. http://dx.doi.org/10.26754/ojs_misc/mj.20227359.

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Don DeLillo is an author who pays special attention to language, time, and space when constructing characters’ identity as well as their milieu. Considering this aspect of his fiction, the present article looks at how cinematic adaptations of his novels translate time, space, and the use of language onto the screen. Two of DeLillo’s novels have been adapted so far: Cosmopolis (DeLillo 2003) by David Cronenberg in a 2012 movie of the same name, and The Body Artist (DeLillo 2001) by Benoît Jacquot under the title À Jamais (2016). In light of the importance that the aforementioned elements play in the author’s works, this article delves into how they are represented in the two adaptations and analyzes the role that they play in the movies compared to the novels.

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3

Abel, Marco. "Don DeLillo's “In the Ruins of the Future”: Literature, Images, and the Rhetoric of Seeing 9/11." PMLA/Publications of the Modern Language Association of America 118, no. 5 (October 2003): 1236–50. http://dx.doi.org/10.1632/003081203x68027.

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This essay explores the rhetorical strategies deployed by Don DeLillo in his essay on 9/11. What distinguishes the essay is less what it says about 9/11 than how, in responding to the event, it puts the question of response at stake. Resisting the demand to speak with moral clarity and declare what 9/11 means, he instead shows that response is always a question of response-ability, or the ethical “how.” To image 9/11, DeLillo rhetorically activates a neorealist mode of seeing that differs ethically from other accounts of perception, such as those of (neo)phenomenology. Whereas the latter locate the perceiving subject's perspective outside an event, DeLillo insists that point of view—the act of seeing—is immanent in the event. Responding to this immanence, DeLillo's rhetoric of seeing suspends and questions any representational judgment of 9/11.

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4

Carson, Jordan. "Transcendence in an Age of Tabloids and Terror." Religion and the Arts 23, no. 1-2 (March 25, 2019): 50–75. http://dx.doi.org/10.1163/15685292-02301003.

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Abstract This essay examines how Don DeLillo employs the apophatic tradition as a means of approaching the transcendent while resisting media absorption and extremist cooptation. Apophatic discourse—discourse that points toward that which is beyond language—honors the dynamic nature of truth, making it well suited to a postmodern, pluralistic era. Yet, apophasis is not just a recognition of the limits of language but a way of approaching the Ultimate that results in personal transformation. DeLillo’s invocation of mystery is often noted but rarely connected to spiritual formation. Yet his work is full of pilgrims disaffected by traditional religion who unavailingly seek spiritual fulfillment elsewhere. I demonstrate that DeLillo offers a standard for discriminating among religious mysteries by chronicling the spiritual etiolation of misguided pilgrims. I then identify apophatic discourse in his work, arguing that DeLillo upholds apophasis as a way of engaging mystery that is self-realizing and redemptive.

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5

Allen, Glen Scott. "The DeLillo Dilemma." MFS Modern Fiction Studies 53, no. 3 (2007): 584–93. http://dx.doi.org/10.1353/mfs.2007.0062.

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6

Porter, Chris. "Don DeLillo (review)." symploke 13, no. 1 (2005): 366–67. http://dx.doi.org/10.1353/sym.2006.0033.

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7

Dufournaud, Daniel. ""Reduced to Near Nothingness": Don DeLillo's Ethico-Political Project in Cosmopolis." Journal of Modern Literature 47, no. 2 (January 2024): 115–32. http://dx.doi.org/10.2979/jml.00022.

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Abstract: A drama of personal failure lies at the heart of Don DeLillo's novel Cosmopolis (2003), as currency trader Eric Packer's misguided strategy of borrowing enormous sums of yen backfires when the currency fails to depreciate. DeLillo treats Packer as a point of contact between the concrete world and abstract value, and Packer desires, accordingly, to become a piece of abstract data. Yet failure undermines Packer's fantasies of abstraction and forces upon him an awareness of his constitutive openness to alterity. It is through Packer's failure that DeLillo weaves into Cosmopolis an ethico-political project that aligns his novelistic art with Emmanuel Levinas's philosophy—a project that plays out on both a narrative and a formal level.

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8

Pritchard, Simon. "Sounding an Idol: The Television as Imagetext in Don DeLillo’s White Noise." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 30 (December 24, 2021): 69–95. http://dx.doi.org/10.35869/afial.v0i30.3703.

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The response of critics to Don DeLillo’s seminal novel White Noise has centred on the connections that can be drawn between this work and the critical context that surrounded it upon its publication in 1984, namely the climate of radical scepticism ushered in by critics like Jean Baudrillard. This article attempts to argue that the relationship between the novel and this critical climate is far more antagonistic than has been acknowledged previously. Drawing upon the critic W.J.T. Mitchell’s reading of Friedrich Nietzsche’s concept of the “sounding”, as opposed to the iconoclastic smashing, of idols, the article will “sound” the idol which is at the centre of DeLillo’s novel: the television. This will show the critical distance that DeLillo deliberately established between his text and the texts of postmodern theory that were fashionable throughout the later twentieth century (particularly at the time White Noise was published) and will place DeLillo in a more contemporary context, his face turned not only to the past, but to the critical horizons ahead of him.

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9

Lentricchia, F. "Aristotle and/or DeLillo." South Atlantic Quarterly 99, no. 2-3 (April 1, 2000): 605–8. http://dx.doi.org/10.1215/00382876-99-2-3-605.

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10

McAuliffe, J. "Interview with Don DeLillo." South Atlantic Quarterly 99, no. 2-3 (April 1, 2000): 609–16. http://dx.doi.org/10.1215/00382876-99-2-3-609.

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11

Laist, Randy. "Apocalyptic Nostalgia in the Prologue of Don DeLillo’s Underworld." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 05 (December 12, 2007): 1–11. http://dx.doi.org/10.2218/forum.05.587.

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Characters in Don DeLillo's novels repeatedly grapple with the existential contradiction which Frank Kermode has called the "immanent apocalypse" and which Jean Baudrillard has identified as a nuclear "implosion." DeLillo's fictions commonly depict the post-apocalyptic sensibility Kermode and Baudrillard describe; a historical transition from the conventional kind of apocalypse - the end that will happen - to the postmodern variety - the end that is always already happening. DeLillo's most concise illustration of this condition is arguably the prologue to his 1997 opus, Underworld. Originally published in 1993 in Harper's as "Pafko at the Wall," this 50-page vignette tells the story of the famous Dodgers-Giants game in 1951, the game concluded by Bobby Thompson's three-run, game-winning, pennant-deciding homer that came to be known as "The Shot Heard 'Round the World." DeLillo evokes and manipulates the nostalgia inherent in this collective memory to dramatize the manner in which apocalypticism enters into the structure of Cold War perception. According to DeLillo's conceit in the prologue, the crack of Thompson's bat announces the postmodernizing of the apocalyptic imagination in the American psyche. This narrative device allows DeLillo to interrogate the apocalyptic shift from various points of view, as well as to induct the reader into a sense of his or her own situatedness within this historical reinscription.

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12

Grgas, Stipe. "CAPITALIST REALISM, FINANCE AND DON DELILLO." Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu 63, no. 3-4 (March 19, 2020): 197–209. http://dx.doi.org/10.22210/ur.2019.063.3_4.04.

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CAPITALIST REALISM, FINANCE AND DON DELILLO The author begins his paper by recalling his qualms about the fact that the Split conference subsumed capitalist realism under the overall conference topic of Words and Images. His first step is to engage with Fisher’s notion of capitalist realism. After a brief overview of what Fisher understands by this notion, the author argues that any discussion of capitalist realism has to take into consideration the changes that have taken place in the nature of money. It is only when these changes are taken into account, changes that have to do with the fact that we recognize money as a system if not the system of representation, that one recognizes how relevant words and images are to discussions of capital. After a discussion of the ascendancy of finance during the latest mutation of capitalism, the author proceeds to give a reading of Don DeLillo’s short story “Hammer and Sickle” in which he shows how the text deals with finance, how DeLillo thematizes the difficulty of understanding finance and how all of this has a bearing on the lack of an alternative to capitalism announced in Fisher’s explanation of capitalist realism.

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13

Strombeck, Andrew. "Art, Graffiti, and the Deskilled Work of the Novelist: The Forgotten 1970s in Don DeLillo’s Underworld." Twentieth Century Literature 69, no. 2 (June 1, 2023): 203–24. http://dx.doi.org/10.1215/0041462x-10580823.

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This article reads Don DeLillo’s Underworld (1997) as scrutinizing the relationship between art and deskilled labor in the period from 1973 through 1997. Examining a relatively understudied set of chapters set in the 1970s, it considers them in the context of theoretical work by Harry Braverman, Kathi Weeks, Luc Boltanski, Eve Chiapello, and John Roberts. Depicting artist Klara Sax’s project as rooted in her 1970s observations of the remnants of skilled labor, and her embrace of what she calls the “graffiti instinct,” DeLillo suggests, pace Roberts, that the vestiges of lost working-class skill appear in the art groups in the novel’s present. Such valorizations of the artist’s labor are offset both by the absorption of the former artist Jesse Detwiler into Nick Shay’s corporate workplace and by the novel’s neglect of gentrification. In turn, with Underworld’s representations of the Bronx in the 1950s, DeLillo scrutinizes his own working-class origins.

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14

Atchley, J. Heath. "The Loss of Language, The Language of Loss." Janus Head 7, no. 2 (2004): 333–54. http://dx.doi.org/10.5840/jh20047212.

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This essay is a philosophical reading of Don DeLillo’s novel, The Body Artist, and his essay, “In the Ruins of the Future.” Focusing on the issues of loss, mourning, and terror after the attacks of September the 11th, I argue that DeLillo gives a picture of mourning as something that occurs through a loss of language. This loss does not end language; instead, it occurs through language.

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15

Chénetier, Marc, and François Happe. "An Interview with Don DeLillo." Revue Française d Etudes Américaines 87, no. 1 (2001): 102. http://dx.doi.org/10.3917/rfea.087.0102.

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16

Rollins, J. B. "Point Omega by Don DeLillo." World Literature Today 84, no. 3 (2010): 64. http://dx.doi.org/10.1353/wlt.2010.0173.

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17

Walker, Joseph S. "Don DeLillo: A Selected Bibliography." MFS Modern Fiction Studies 45, no. 3 (1999): 837–51. http://dx.doi.org/10.1353/mfs.1999.0057.

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18

Gauthier, Marni J. "Conversations with Don DeLillo (review)." Modernism/modernity 13, no. 2 (2006): 410–12. http://dx.doi.org/10.1353/mod.2006.0041.

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19

Hoberek, Andrew. "Foreign Objects, or, DeLillo Minimalist." Studies in American Fiction 37, no. 1 (March 2010): 101–25. http://dx.doi.org/10.1353/saf.2010.a404109.

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20

Aaron, Daniel. "How to Read Don DeLillo." South Atlantic Quarterly 89, no. 2 (April 1, 1990): 305–19. http://dx.doi.org/10.1215/00382876-89-2-305.

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21

LeMahieu, Michael. "The Self-Erasing Word." Poetics Today 41, no. 1 (March 1, 2020): 117–39. http://dx.doi.org/10.1215/03335372-7974128.

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Don DeLillo’s early novels explore the relationship between formal logic and literary form. In End Zone, DeLillo uses tautology as a linguistic tactic of diminishment to advance a larger aesthetic strategy of repleteness. The novel says less to show more. As a result, End Zone, like many of DeLillo’s other early novels, frequently represents states of silence and unspeakability. DeLillo’s early fiction shares these concerns with Ludwig Wittgenstein’s early philosophy, particularly the remarks on tautology, silence, and the limits of language in Tractatus Logico-Philosophicus. In their conclusions, End Zone and the Tractatus analogously seek to undo themselves to overcome the inherent limitations of logic and language.

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22

M. al-Sharqi, Laila. "The Problem of Writing and Representations of Modernity, Postmodernism and Beyond: A Critical Reading in the Novel “Mao II” by Don DeLillo." Al-Dad Journal 5, no. 1 (November 8, 2021): 12–26. http://dx.doi.org/10.22452/aldad.vol5no1.2.

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The American novelist, Don DeLillo, wrote the novel, Mao II (1991), which uses selfhood and identity to foreground the modern/postmodern vision of human nature as a tabula rasa that is constructed by language, society, and culture. This study argues that while the novel’s protagonist, Bill Gray, represents DeLillo’s modernist tendencies, as the character desires to maintain authentic individualism during a fierce struggle with his culture’s collective mindlessness, DeLillo also describes an ambiguous character, whose life and works complexly exhibit and engage with postmodernist features. Jeffry Nealon’s approach to post-postmodernist literature and post-humanist scholarship are utilized in this analysis to provide a clearer understanding on the convergence of these components. Gray is examined as a manifestation of post-postmodernist tendencies, who ultimately reflects the emerging role of embodiment in contemporary cultural discourse. This study not only elucidates the fundamental changes that society currently faces but also provides a closer reading of the novel and its protagonist by incorporating forms of selfhood and identity that extend beyond reductive modernist and postmodernist conceptions to carry elements of post-postmodernist literature.

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23

Chang, Chi-Min. "Image Re-presentation in Don DeLillo’s Point Omega." Journal of English Language and Literature 9, no. 3 (June 30, 2018): 884–94. http://dx.doi.org/10.17722/jell.v9i3.368.

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While technological advancement and artistic creations have amazingly diversified the (re-)presentation of images, infinite image proliferation becomes an irresistible trend. To resist the subsuming power of the image-laden society, the renewed perceptions and interpretations of the image presentation are explored both in artistic presentation and in literary writing. Point Omega is a convergence of such an attempt. The paper explores how the time-featured image in Point Omega activates new idea, sensuous responses, and self-perception. Point Omega represents Douglas Gordon’s 24 Hour Psycho which is an adaptation of Hitchcock’s Psycho. By reframing the running speed to two frames a second, Gordon drastically challenges the familiar recognition and interpretation. Writing about Gordon’s work, DeLillo stresses the emergence of various perceptions, imaginations, and association in the video-watching process. No longer resting on the cultural critique on the media society as what has been done in his earlier works, DeLillo marks time as the prominent variable for the emergence of the new and the unknown. Moreover, DeLillo’s image representation highlights the physical condition which is both an essential feature of Gordon’s video installation and the hinge for DeLillo’s distinct writing. For one thing, the emergence of the new and the unthought lies in the interweaving between the spectator’s awareness and imagination of the physicality and his responses to the reframed image. For another, the physicality of the time-reframed image resonates with the desert underscored in the main story. In the story, DeLillo contends about the relation between the time-featured space and the transient self. The desert mirroring the time-featured image renders the distinctive conditions for different self-perception. Hence, the image representation in Point Omega proffers the condition for the unexpected and unthought, reconfigures the selfhood, and, significantly, enacts the alternative writing which trespasses from the filmic to the fictional, from the visual to the verbal.

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24

Behrooz, Niloufar, and Hossein Pirnajmuddin. "The Sublime in Don DeLillo’s Mao II." International Letters of Social and Humanistic Sciences 50 (March 2015): 137–45. http://dx.doi.org/10.18052/www.scipress.com/ilshs.50.137.

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The world that DeLillo’s characters live in is often portrayed with an inherent complexity beyond our comprehension, which ultimately leads to a quality of woe and wonder which is characteristic of the concept of the sublime. The inexpressibility of the events that emerge in DeLillo’s fiction has reintroduced into it what Lyotard calls “the unpresentable in presentation itself” (PC 81), or to put it in Jameson’s words, the “postmodern sublime” (38). The sublime, however, appears in DeLillo’s fiction in several forms and it is the aim of this study to examine these various forms of sublimity. It is attempted to read DeLillo’s Mao II in the light of theories of the sublime, drawing on figures like Burke, Kant, Lyotard, Jameson and Zizek. In DeLillo’s novel, it is no longer the divine and magnificent in nature that leads to a simultaneous fear and fascination in the viewers, but the power of technology and sublime violence among other things. The sublime in DeLillo takes many different names, ranging from the technological and violent to the hollow and nostalgic, but that does not undermine its essential effect of wonder; it just means that the sublime, like any other phenomenon, has adapted itself to the new conditions of representation. By drawing on the above mentioned theorists, therefore, the present paper attempts to trace the notion of sublimity in DeLillo's Mao II, to explore the transformation of the concept of the sublime under the current conditions of postmodernity as depicted in DeLillo’s fiction.

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25

BrittoJenobia, J., and Dr V. Sekar. "The Anxiety of Death in Don DeLillo’s White Noise." Think India 22, no. 3 (September 25, 2019): 212–18. http://dx.doi.org/10.26643/think-india.v22i3.8151.

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Anxiety is a human condition which prevails common in many people. Anxieties can be differentiated into ‘ Primal anxiety’, ‘ Ontological anxiety’, ‘ Reality anxiety’, Psychological anxiety’, ‘Social anxiety’, and so on. The real fact is all these anxieties are in some way existential.Paul Tillich, a Christian existentialist says that according to him anxiety can be of three forms: Anxiety of Death, Anxiety of meaninglessness and Anxiety of Condemnation. Paul Tillich declares, “The Anxiety of death is the permanent horizon within which the anxiety of fate is at work”. In the modern world anything that follows negativity triggers intense anxiety. A strong sense of psychological isolation also leads to anxiety. Incidents of guilt, fear, absurdity, alienation also lead to anxiety of death. Don DeLillo himself in an interview to William Goldstein in Publishers Weekly (August 19, 1988) explained anxiety as being “about danger, modern danger”. The main characters in Don DeLillo novels face some of the causes for anxieties such as the necessity of choice, terrorism, technological and scientific advancement, lack of freedom, fear of death, dissatisfaction in life, boredom and loneliness. This paper examines Don DeLillo’s White Noise based on the concept Anxiety of Death.

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26

MORAN, JOE. "Don DeLillo and the Myth of the Author–Recluse." Journal of American Studies 34, no. 1 (April 2000): 137–52. http://dx.doi.org/10.1017/s0021875899006301.

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The subtly entrapping nature of celebrity has been a common theme of Don DeLillo's work since his third novel, Great Jones Street (1973), narrated by a twenty-six-year-old rock star, Bucky Wunderlick, who tires of fame in the middle of a national tour and goes to ground in a seedy New York bedsitter. This theme, however, finds its fullest expression in DeLillo's 1991 novel Mao II, where it is linked to a specific concern which may be closer to home for him – the paradoxical fascination with author–recluses in American celebrity culture. DeLillo, who came to reluctant terms with major league celebrity from the mid-1980s onwards after a long period of respectful reviews and polite notices, has praised reclusive authors for “refusing to become part of the all-incorporating treadmill of consumption and disposal,” in spite of the “automatic mechanism” of the media which tries “to absorb certain such reluctant entities into the weave.” Mao II is about what happens when this absorption takes place, and whether or not this wholly devalues the author's own tactics of silence and renunciation.

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27

Vukotić, Aleksandra C. "TAJNE UVEĆANjA: TEHNOLOGIJA I IMAGINACIJA U DELU DONA DELILA I MIKELANĐELA ANTONIONIJA." Nasledje Kragujevac XIX, no. 53 (2022): 247–65. http://dx.doi.org/10.46793/naskg2253.247v.

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The paper explores the relationship between technology and imagination in the poetics of Don DeLillo and Michelangelo Antonioni, as reflected in DeLillo’s Libra (1988), Underworld (1997), Falling Man (2007) and Antonioni’s Blow-Up (1966). The plot of Antonioni’s cult film, loosely based on Cortázar’s short story „Las babas del diablo,” is well-кnown: the protagonist, a professional fashion photographer, believes he has unwittingly captured a murder with his camera. The discovery is made in the scene in which he frantically maкes a series of blow-ups in the hope of finding clues to the mystery thus reclaiming the past. His belief in the power of photography borders on fantastic, and the paper sets out to revisit this phenomenon in the con- text of the worкs of Don DeLillo, who has acкnowledged his indebtedness to the European cin- ema, Antonioni included. In DeLillo’s novels characters repeatedly try to find the truth which escapes them in their everyday experience through the power of technology, principally the camera, which, as Walter Benjamin noted, has the paradoxical (and sublime) capacity to repre- sent the past as if it were „Here and Now”. Indeed, the photograph as „memento mori” (Sontag) or a „micro version of death” (Barthes) is a little more than a metaphor in both Antonioni and DeLillo’s murder mysteries, which abound in dead bodies, or bodies soon to be dead, captured in still photographs or sequences of images, enlarged and super-slowed, from the horrifying sight of Кennedy’s exploding head recorded by Abraham Zapruder to the „horrific beauty” of the „Falling Мan” shot by Richard Drew. Curiously enough, both Antonioni’s and DeLillo’s characters seem to call into question the nature of still and moving images, as the specters from these snapshots and videos haunt them, teetering between the real and the imaginary.

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28

Sári B., László. "Crisis and Literature: Future Imperfect, or the Case of Don DeLillo’s Cosmopolis." FOCUS: Papers in English Literary and Cultural Studies 11, no. 1 (January 12, 2023): 73–81. http://dx.doi.org/10.15170/focus.11.2018.5.73-80.

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In his afterword to The Cambridge Companion to Don DeLillo (2008), Joseph M. Comte makes a strong case for positioning the author as a writer of historical liminality, and citing DeLillo himself, he claims that Cosmopolis is a text “poised liminally ‘between the end of the Cold War and the beginning of the Age of Terror’” (183). Not yet aware of the shift taking place in the author’s interest from all matters historical to his previous preoccupation with corporeality and writing, Comte goes on to argue that DeLillo’s novel of 2003 stages how “[c]yber-capital and terrorism contend within the singularity of global power” (185), inasmuch as the text is preoccupied with what commentators usually identify as “the technological sublime” (186) in DeLillo’s oeuvre, in this case representing the “interaction between technology and capital, the inseparability” of the two (23). Comte and other scholarly commentators praise Cosmopolis exactly for what it was criticized for at the time of its publication, its witty handling of academically embedded ideas, thereby somewhat downplaying how the text, as I will argue, discusses, or indeed embodies, some of these ideas in relation to the white male body and terrorism in a curious temporal structure: written after 9/11, but presenting what one may call reverse déjà vu of the terror attacks. Comte’s estimation is, therefore, in line with the contemporary reviews of the book at the time of its publication, and stresses the intellectual achievement and poetic qualities of the text.

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29

LeClair, Tom. "Serious but not Dangerous Don DeLillo." American Book Review 42, no. 4 (2021): 10–11. http://dx.doi.org/10.1353/abr.2021.0060.

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30

Fernandes, Giséle Manganelli, and Maura Cristina Frigo. "FRONTEIRAS HUMANO-SOCIOTECNOLÓGICAS EM DON DELILLO." Revista Scripta Uniandrade 16, no. 3 (2018): 343–58. http://dx.doi.org/10.5935/1679-5520.20180062.

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31

Maltby, Paul. "The Romantic Metaphysics of Don DeLillo." Contemporary Literature 37, no. 2 (1996): 258. http://dx.doi.org/10.2307/1208875.

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32

Malik, Irfan Mohammad. "Subjectivity in flux: Contextualizing Don DeLillo’s White Noise." Technoetic Arts 20, no. 3 (October 1, 2022): 241–52. http://dx.doi.org/10.1386/tear_00093_1.

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The idea of the subject as a construct, of various external influences, was not new to the cultural and literary circles in the 1980s when DeLillo published White Noise. In the second half of the twentieth century, post-structuralist and postmodern theories unsettled the established ideas of the humanist tradition like the concept of the subject. The idea that the subject is constituted by external factors posed a challenge to the modernist notion of the subject as authentic and independent consciousness. Influenced by post-structuralist and postmodern theories, novelists in post-war America, especially during and after the 1980s, portrayed their protagonists (the subjects) as textual constructs rather than authentic heroic figures we often find in modernists’ works of art. DeLillo engages with technological developments and sociocultural changes in post-war America and explores how such developments/changes influence an individual’s subjectivity. Critics have described Jack Gladney, the protagonist of White Noise, as a late-modernist displaced to negotiate the postmodern landscape. This study, which is purely of scholarly interest, attempts to show how Gladney vacillates between the notions of modernist authentic subject and the de-centred postmodern subject created textually. This article also attempts to explore how DeLillo’s fiction engages with the idea of the subject during the 1980s.

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33

Bulatović, Vesna V., and Danijela M. Prošić Santovac. "MIRRORING CONTEMPORARY SOCIETY: CONSUMERIST SOCIETY, MEDIA AND SIMULATED REALITY IN DON DELILLO’S NOVEL WHITE NOISE." Филолог – часопис за језик књижевност и културу 14, no. 28 (December 31, 2023): 343–60. http://dx.doi.org/10.21618/fil2328343b.

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Don DeLillo's novel White Noise deals with the complex relationship between popular culture, media, and consumerism and the ways in which they shape the characters' perception of reality. The main character, Jack Gladney, is a consumerist academic who is heavily influenced by the mass media, and his obsession with images of disaster and death, which are constantly shown in the media, shapes his perception of the world. Similarly, his wife Babette becomes obsessed with consumer products and loses touch with the natural world around her. The novel also explores how constant consumption of television content can create a sense of disconnection from reality and how it can create a sense of hyperreality, where the lines between reality and simulation are blurred. Also, through the character of Jack Gladney, DeLillo emphasises a society in which individuals are defined by what they own and consume. Gladney’s preoccupation with consumer goods reflects a society in which consumption determines a person’s value, and the novel points to the dangers of this trend and the need to return to people’s connection with reality and nature. DeLillo emphasises the power of media images to shape individual understanding of the world and the need to be critical of the information people consume, as well as to reconnect with reality and nature.

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Radin Sabadoš, Mirna. "Zero-Oneness of the World: Geometries of Space and Time Between Subtext and Surface – Re-coding the Structures of Life." ELOPE: English Language Overseas Perspectives and Enquiries 8, no. 2 (October 10, 2011): 79–88. http://dx.doi.org/10.4312/elope.8.2.79-88.

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The proposal that the world is made of sequences of zeros and ones, overtly expressed in DeLillo’s early novel Ratner’s Star (1976), marks the first time in DeLillo’s fiction that he introduces the idea that the (creation of) reality is of mathematical nature. The “zero-oneness” of the world thirty odd years later, although it still may be an uncommon thought in literature, is ubiquitous in the visual arts, in film and in architecture, and binary code has become the basis of our digitally enhanced reality. Looking at DeLillo’s Millennial novels, this paper seeks to explore models of the space-time continuum of the fictional reality that DeLillo constructs; focusing on Ratner’s Star as a literary exploration of a three-dimensional space and on the novel Body Artist as an investigation of the fourth dimension, pondering time, we hope to register the “sum total of one’s data” (WN) as the only palpable texture of DeLillo’s reality.

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Hetman, Jarosław. "Don DeLillo and the Ghost of Language." Theoria et Historia Scientiarum 14 (December 21, 2017): 87. http://dx.doi.org/10.12775/ths.2017.006.

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Brandt, Jenn. "Don DeLillo and Topologies of 9/11." Critique: Studies in Contemporary Fiction 55, no. 5 (October 13, 2014): 580–96. http://dx.doi.org/10.1080/00111619.2013.833496.

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Roger, Philippe. "Don DeLillo : la terreur et la pitié." Critique 675-676, no. 8 (2003): 554. http://dx.doi.org/10.3917/criti.675.0554.

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Carmichael, Thomas, David Cowart, and Mark Osteen. "Evanescence, Language, and Dread: Reading Don DeLillo." Contemporary Literature 44, no. 1 (2003): 176. http://dx.doi.org/10.2307/1209069.

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Hagan, Andrew Bowie. "The Bounds of Narrative in Don DeLillo’s Underworld: Action and the Ecology of Mimêsis." Humanities 10, no. 1 (February 27, 2021): 40. http://dx.doi.org/10.3390/h10010040.

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The interrelationship of natural and cultural history in Don DeLillo’s Underworld presents an ecology of mimesis. If, as Timothy Morton argues, ecological thought can be understood as a “mesh of interconnection,” DeLillo’s novel studies the interpretation of connection. Underworld situates its action in the Cold War era. DeLillo’s formal techniques examine the tropes of paranoia, containment, excess, and waste peculiar to the history of the Cold War. Parataxis and free-indirect discourse emphasize the contexts of reference in the novel, illustrating how hermeneutics informs the significance of boundaries. DeLillo’s use of parataxis exemplifies the conditions that propose and limit metaphor’s reference to reality, conditions that offer the terms for meaningful action. I utilize Paul Ricoeur’s hermeneutics to demonstrate how Underworld situates the reference to reality in its temporal and narrative condition. The historical situation of the novel’s narrative structure allows DeLillo to interrogate the role of discourse in producing and interpreting connection. Underworld offers layers of significance; the reader’s engagement with the novel’s discourse reaffirms the conditions of a meaningful relationship with reality in the pertinence of a metaphor.

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Jacobsen, Ronald. "The role of knowledge systems in the linguistic construction of action scenes in novels and their translations." HERMES - Journal of Language and Communication in Business 18, no. 34 (March 8, 2017): 199. http://dx.doi.org/10.7146/hjlcb.v18i34.25805.

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What makes one translation better than another? This paper argues that the best is the one that best mirrors the levels of organisation found in the source text while at the same time achieving coherence on as many of them as possible. For instance, in the English translation of Peter Hoeg’s novel Smilla’s Sense of Snow, the original Danish sentence which contains a BE-perfect, Med Esajas i sin kiste er kommet et følge [‘With Isaiah in his cofﬁn is come a procession’] (Høg 1993: 11) is translated as: A procession follows Isaiah in his cofﬁn (Hoeg 1993: 4). This translation may achieve grammatical and local coherence, but certainly not global coherence since it involves a re-construal of the preceding text as a dynamic, or evolving, scene thereby clashing with the static one constructed in the source text. Likewise, it disagrees with the propositional content of the source text on several levels. This may be as it is, but the real problem is: how do you model the relations between the several levels of organisation found in a text like this in order to qualify/support a particular translation? The answer to this problem, this paper argues, is mental space (MS) theory. Accordingly, an outline of a very detailed analysis of the action scene constructed in the beginning of Don DeLillo’s novel Underworld (DeLillo 1999a) is presented and compared with its Danish translation (DeLillo 1999b).

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Souza, Jefson Jesus de. "O TERROR EM ESTADO BRUTO." Revista Ibero-Americana de Humanidades, Ciências e Educação 8, no. 1 (January 31, 2022): 1390–91. http://dx.doi.org/10.51891/rease.v8i1.3959.

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O estilo de Don DeLillo é conhecido pela maioria de seus leitores, um amplo horizonte entrelaçado de figuras históricas com indivíduos ficcionais. Nesse romance, porém, o único ser nomeado é Mohamed Atta, um dos mentores da tragédia do 11 de Setembro. DeLillo mantém o foco numa família de classe média de Manhattan, oferece várias doses de silêncios e enigmas até a inesperada sequência final. O romance mantém-se, então, no que poderíamos chamar uma certa espiritualidade nouvelle vague. No entanto, ao invés de estabelecer com essa dicção a inércia, o efeito obtido é o de uma bomba devastadora revelando o terror em seu estado bruto.

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Alhwayan, Wasil Ali, and Nasaybah W. Awajan. "The Adaptation of the Western Perspective (Don DeLillo) on Terrorism in Fadia Faqir’s Willow Trees Don’t Weep." Journal of Language Teaching and Research 14, no. 1 (January 1, 2023): 181–89. http://dx.doi.org/10.17507/jltr.1401.19.

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The study aims to identify how the American author, Don DeLillo presents Arab Muslims in his novel Falling Man, likewise explores how the Jordanian-British, Fadia Faqir, presents Arab Muslims by adopting the Western Perspective of them in her novel Willow Trees Don’t Weep. To achieve the objectives of the study, the theory of Post-colonialism is used, and specifically the views of Edward Said on Orientalism are applied to both novels. The study concludes by presenting how both authors - Don DeLillo as a Westerner and Fadia Faqir as an Arab - present their Arab Muslim characters as terrorists in their respective works Falling Man and Willow Trees Don’t Weep.

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Mylo, Ingrid, and Don DeLillo. "Welt und alle Dinge darin." Literaturblatt für Baden-Württemberg, no. 2 (July 3, 2024): 16. http://dx.doi.org/10.53458/litbw.vi2.12838.

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Pritchard, Simon John. "PRACTICAL JOKES: DON DELILLO´S RATNER´S STAR AND LITERARY GAMES." ODISEA. Revista de estudios ingleses, no. 19 (September 30, 2019): 109. http://dx.doi.org/10.25115/odisea.v0i19.2119.

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Los “juegos literarios” son estrategias de escritura empleadas por los escritores para dirigir la atención hacia las convenciones de la producción literaria y de su lectura, alterándolas e incluso desmantelándolas por completo. Don DeLillo emplea estas estrategias en la que probablemente sea su novela más extraña, Ratner´s Star, dondeademás de proporcionar diversión al lector, tienen el efecto práctico de guiarle hacia modos alternativos (y desafiantes) de abordar un texto literario. Este artículo explora los juegos literarios utilizados por DeLillo en su novela Ratner´s Star y estudia algunas implicaciones prácticas que estos juegos, fruto de una revolución transcendental en la teoría lingüística y filosófica, tienen en el concepto mismo de lector.

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MARSHALL, ALAN. "From This Point on It's All about Loss: Attachment to Loss in the Novels of Don DeLillo, from Underworld to Falling Man." Journal of American Studies 47, no. 3 (August 31, 2012): 621–36. http://dx.doi.org/10.1017/s0021875812001296.

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Between 1997 and 2007, Don DeLillo published three novels concerned with loss and mourning. Two of these, Underworld (1997) and Falling Man (2007), revolve around unique historical events in which the question of American exceptionality is foregrounded, and both relate this question of exceptionality to the experience of loss. This essay argues that while DeLillo accepts the historical specificity of the events of 9/11, his novel Falling Man is wary of any claim to their exceptionality. It argues further that while Falling Man and Underworld both contain moving explorations of the vicissitudes of loss, Falling Man is more concerned with the loss of loss, the end of mourning, an idea which illuminates the novel's arresting juxtaposition of Søren Kierkegaard and T. S. Eliot. As the three novels appeared, DeLillo seemed increasingly concerned to explore the overcoming of grief, the loss of loss, in the context of female subjectivity, and to trace the failure to overcome it to the masculine psyche, and I draw upon the work of Julia Kristeva in order to address this. The pattern is at its starkest in The Body Artist (2001), with which the essay briefly concludes. We begin by looking at Underworld, where loss seems to be the presiding masculine emotion.

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Osganian, Patricia. "Cosmopolis de Don DeLillo : « ville corps » contre capitalisme." Mouvements 39-40, no. 3 (2005): 68. http://dx.doi.org/10.3917/mouv.039.0068.

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Bryant, Paula. "Extending the Fabulative Continuum: DeLillo, Mooney, and Federman." Extrapolation 30, no. 2 (July 1989): 156–65. http://dx.doi.org/10.3828/extr.1989.30.2.156.

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Zinman, Toby Silverman. "Gone Fission: The Holocaustic Wit of Don DeLillo." Modern Drama 34, no. 1 (March 1991): 74–87. http://dx.doi.org/10.3138/md.34.1.74.

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Johnston, John. "Generic Difficulties in the Novels of Don Delillo." Critique: Studies in Contemporary Fiction 30, no. 4 (July 1989): 261–75. http://dx.doi.org/10.1080/00111619.1989.9937877.

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Karnicky, Jeffrey. "Wallpaper Mao: Don DeLillo, Andy Warhol, and Seriality." Critique: Studies in Contemporary Fiction 42, no. 4 (January 2001): 339–56. http://dx.doi.org/10.1080/00111610109601149.

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