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Bibliografie tematiche / Bonfire of the vanities (Wolfe, Tom)

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Letteratura scientifica selezionata sul tema "Bonfire of the vanities (Wolfe, Tom)"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Bonfire of the vanities (Wolfe, Tom)"

1

Christol, Hélène. "Une société en quête de son centre : "The Bonfire of the Vanities de Tom Wolfe"". Revue Française d'Etudes Américaines 47, n. 1 (1991): 83–89. http://dx.doi.org/10.3406/rfea.1991.1419.

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Torjusen, Henrik. "Wealth and Virtue: Utopian Republicanism in Tom Wolfe’s The Bonfire of the Vanities". American Studies in Scandinavia 47, n. 1 (1 marzo 2015): 22–39. http://dx.doi.org/10.22439/asca.v47i1.5159.

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Tom Wolfe’s first novel, The Bonfire of the Vanities, has often been viewed as a satirical attack on Wall Street and the mentality of a city torn to pieces by ethnic strife. Wolfe’s reaction was to deny that his novel was a satire. This article argues not only that the pursuit of status and freedom has a serious and non-serious side in Wolfe’s works, but also that in Bonfire Wolfe’s actual ideal takes the shape of a utopian republicanism and leads back to a notion of a society consisting of unique and free individuals united in a common pursuit for a just society in light of the common good—not in the shape of equality, but in light of virtue and freedom.

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Smith, James F. "Tom Wolfe's Bonfire of the Vanities: A Dreiser Novel for the 1980s". Journal of American Culture 14, n. 3 (settembre 1991): 43–50. http://dx.doi.org/10.1111/j.1542-734x.1991.1403_43.x.

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4

Viswamohan, Aysha Iqbal. "Fashioning masculine anxieties: Clothes and style in The Bonfire of the Vanities". European Journal of American Culture 40, n. 3 (1 settembre 2021): 215–31. http://dx.doi.org/10.1386/ejac_00054_1.

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This article is a broad-spectrum exploration of the reconciliations between fashion choices and masculine anxieties in Tom Wolfe’s The Bonfire of the Vanities. It traces the complex processes where the socially stratified worlds of the male characters are configured, especially through the tropes of clothes and lifestyle. The American 1980s, in times of Reaganomics, are understood as a period of excess, social mores and ‘bigness’. This is reflected in the operatic style of Bonfire, which offers a social critique of New York City in the 1980s. Wolfe’s dispassionate gaze takes in the excesses of the Reagan era, all the time exploring the relationship between men’s clothing and New York City. The central premise of the article pivots on performing masculinity through the 1980s menswear, where garments and lifestyle choices acquire specific meanings as indexes of class, vanity, individuality, identity and social mobility. The focus is on the three masculine protagonists at the forefront, but there are also glancing references to other secondary characters. Fashion, within the scope of this article, is based on the explorations of dress, clothes and style, rather than catwalk.

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Joshua J. Masters. "Race and the Infernal City in Tom Wolfe's Bonfire of the Vanities". Journal of Narrative Theory 29, n. 2 (1999): 208–27. http://dx.doi.org/10.1353/jnt.2011.0015.

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Porsdam, Helle. "In the Age of Lawspeak: Tom Wolfe's The Bonfire of the Vanities and American Litigiousness". Journal of American Studies 25, n. 1 (aprile 1991): 39–57. http://dx.doi.org/10.1017/s0021875800028103.

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When, on his way back to Manhattan from Kennedy Airport where he has picked up his girlfriend Maria, Sherman McCoy, the protagonist of Tom Wolfe's The Bonfire of the Vanities, takes a wrong exit, he gets lost and ends up in the Bronx. This is Sherman's first meeting with the Bronx, and it turns out to be nothing less than a catastrophe. A wealthy Wall Street stockbroker with a very WASP background, Sherman McCoy has lived his life under conditions as remote from those of any child growing up in the Bronx as can possibly be. The distance between McCoy's Manhattan – that of his business address, Wall Street, as well as his private one, Fifth Avenue – and the Bronx may not be great in geographical terms; in economic and psychological terms, however, it is enormous. In the Bronx, McCoy encounters “the other” America, the poor, non-white, and violent America from which his sheltered background has successfully shielded him until he is well into his thirties. He, or rather his girlfriend Maria, runs down and mortally wounds a young black man – an accident for which later Sherman gets all the blame and is put to trial. Puzzled and frightened, Sherman does not quite know how to relate to the Bronx and to the accident, and it is Maria who finally has to enlighten and explain to him what it is all about:Sherman, let me tell you something. There's two kinds a jungles. Wall Street is a jungle. You've heard that, haven't you? You know how to handle yourself in that jungle…. And then there's the other jungle. That's the one we got lost in the other night, in the Bronx…. You don't live in that jungle, Sherman, and you never have. You know what's in that jungle? People who are all the time crossing back and forth, back and forth, from this side of the law to the other side…. You don't know what that's like. You had a good upbringing. Laws weren't any kind of a threat to you. They were your laws, Sherman, people like you and your family's…. And let me tell you something else. Right there on the line everyody's an animal – the police, the judges, the criminals, everybody (p. 275).

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Mustazza, Leonard. "The Limits of Narcissism: Self and Society in Tom Wolfe's The Bonfire of the Vanities". Popular Culture Review 3, n. 2 (agosto 1992): 3–18. http://dx.doi.org/10.1002/j.2831-865x.1992.tb00100.x.

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8

Ndao, Dr Souleymane. "Socio-cultural (re) presentations of Wall Street in Tom Wolfe’s The Bonfire of the Vanities (1987) and Michael Lewis’s Liar’s Poker (1989)". International Journal of English Literature and Social Sciences 9, n. 1 (2024): 014–26. http://dx.doi.org/10.22161/ijels.91.3.

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Abstract (sommario):

Wall Street's historical journey, from the Buttonwood Agreement to the Great Depression and the latter half of the 20th century, unfolds as a dynamic tale of growth and challenges. The Agreement of 1792 beneath a buttonwood tree marked a transformative moment, laying the foundation for organized trading and shaping Wall Street into a global financial hub. The 19th century saw the rise of diverse financial institutions, solidifying Wall Street's role in the American financial system. Despite facing challenges like the Panic of 1873, Wall Street demonstrated resilience, becoming instrumental in financing the nation's industrial expansion. The Gilded Age propelled Wall Street to global prominence, with the emergence of the New York Stock Exchange contributing to the myth of the "Master of the Universe." The Roaring Twenties brought both prosperity and societal flaws, as the pursuit of material wealth and excess sowed the seeds for moral decay. Understanding this historical context is crucial for exploring evolving cultural representations. Focusing on literature from the 1980s, specifically Tom Wolfe's The Bonfire of the Vanities (1987) and Michael Lewis's Liar's Poker (1989), this study adopts a structuralist approach. Through evaluating symbols, archetypes, and cultural codes, the analysis contributes to a nuanced understanding of the intricate relationship between finance and broader societal and cultural contexts.

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Abraham, Adam. "New York in Slices: The Victorian Origins of The Bonfire of the Vanities". English: Journal of the English Association, 23 febbraio 2022. http://dx.doi.org/10.1093/english/efab029.

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Abstract The Bonfire of the Vanities, Tom Wolfe’s first novel, was a bestseller in the 1980s, when it captured its historical moment of yuppie excess, urban corruption, and vanity. Less recognized today are the book’s origins as an experiment in reviving Victorian modes of publication. Taking Dickens and Thackeray, Balzac and Zola as his models, Wolfe planned to write what he conceived of as a new nineteenth-century novel—multiplot and multivalent—an anatomy of New York City. What is more, The Bonfire of the Vanities was first published serially, in Rolling Stone magazine, from 1984 to 1985. This article will explore the Victorian provenance of Wolfe’s novel, in particular by rereading the original serial parts.

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Lawrence, Patrick S. "The Erotic Fictions of Finance Capitalism in The Bonfire of the Vanities and American Psycho". American Literature, 6 dicembre 2023. http://dx.doi.org/10.1215/00029831-11092097.

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Abstract US economic policy in the late twentieth century privileged the financial sector by advancing generous tax breaks for wealthy Americans and traders, and prioritizing union-busting and cuts to social programs, producing a violence of deprivation against the poor and marginalized others. Simultaneously, the Reagan administration sought to shore up its political coalition in the post-Watergate era by appealing to a newly engaged Christian right with conservative social policies including pushback against the sexual revolution and the formation of the Meese Commission to study restrictions on pornography. These significant changes in culture found their way into a wealth of media including journalism, films, and novels that processed the seemingly contradictory moral claims underlying these policies: greed is good; sex is bad. This article draws on financial and literary theory to examine how two iconic novels from the era, Tom Wolfe’s The Bonfire of the Vanities (1987) and Bret Easton Ellis’s American Psycho (1991), exploit representations of sexualized violence to ramify and then explore the latent links among sex, violence, and finance. Each novel satirizes Wall Street’s violent indifference by embodying it in a figure of elite, white masculinity whose privilege is expressed through sex. The novels’ critiques, however, turn out to be self-contradictory, as their disavowal of the fictionality of finance is bound up with a concomitant investment in regressive sexual politics. In so doing, the novels demonstrate that culture-industry efforts to push back against economic deregulation may be allied with the cultural systems that support that deregulation or enable it.

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Tesi sul tema "Bonfire of the vanities (Wolfe, Tom)"

1

Zolezzi, Ibárcena Lorenzo. "The trial in literature. A study of the legal aspects in three emblematic novels: The Posthumous Papers of the Pickwick Club, by Dickens; Billy Budd, by Melville; and The Bonfire of the Vanities, by Tom Wolfe". Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/115948.

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The plots of Billy Budd and The Bonfire of the Vanities are organized entirely around a lawsuit. In The Pickwick Papers the trial is only a part, though an important one, of a series of related adventures in which the main characters of the novel participate. In the three novels there is a trial in which the accused is found guilty, although he is actually innocent. In The Posthumous Papers of the Club Pickwick, the author’s main purpose is to present the operation of the legal system, in which the modus operandi of unscrupulous lawyers, who rely only on cheating and deceiving methods, is atthe beginning of and determines the outcome of the lawsuit. In Billy Budd, an innocent is sentenced to death in order to preserve a supposed higher interest: the common good. In The Bonfire of the Vanities, political factors, personal interests, resentments and other worldly elements determine the outcome of the trial. In the three cases, the watchmaking mechanism that a lawsuit appears to be is completely overcome by factors outside it.
Las tramas de Billy Budd y La hoguera de las vanidades están organizadas íntegramente alrededor de un juicio. En Los papeles póstumos del Club Pickwick, el proceso es una parte importante de la obra, pero también existen aventuras relacionadas en las que participan los diversos personajes. En los tres juicios se juzga a un inocente. En Los papeles póstumos del Club Pickwick, el autor busca presentar el funcionamiento real del sistema legal, en el cual el modus operandi de abogados inescrupulosos, quienes emplean únicamente métodos tramposos y fraudulentos, determina el origen y el resultado del proceso. En Billy Budd, un inocente es condenado a muerte para preservar un supuesto interés mayor: el bien común. En La hoguera de las vanidades, factores políticos, intereses personales, resentimientos y otros elementos de carácter mundano determinan el resultado del proceso. En los tres casos, el mecanismo de relojería que parece ser el proceso es totalmente sobrepasado por factores externos al mismo.

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Player, Bailey Edwards Leigh H. ""The true male animals" changing representations of masculinity in Lonesome Dove, Bonfire of the Vanities, Fight Club, and A Man in Full /". 2006. http://etd.lib.fsu.edu/theses/available/etd-07102006-171913.

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Thesis (M.A.)--Florida State University, 2006.
Advisor: Leigh Edwards, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Sept. 22, 2006) Document formatted into pages; contains vi, 107 pages. Includes bibliographical references.

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Libri sul tema "Bonfire of the vanities (Wolfe, Tom)"

1

Today and tomorrow in Tom Wolfe's New York: A Lehrman/Manhattan roundtable. New York, N.Y: Manhattan Institute for Policy Research, 1988.

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2

McEneaney, Kevin T. Tom Wolfe’s America. Praeger, 2009. http://dx.doi.org/10.5040/9798216026365.

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While The Right Stuff and The Bonfire of the Vanities remain perhaps his best-known works, Tom Wolfe's journalism and fiction continues to enjoy a large audience, perhaps chiefly because of the variety of his subjects and his controversial approach to them. Here, McEneaney offers an account of the man and his works, explaining along the way Wolfe's use of irony, his obsessive themes, and even his use of pranks. More comprehensive in scope than any preceding book on Wolfe, it offers accurate and accessible commentary based upon what Wolfe admits about his own work. In this new book, Wolfe's work is put in journalistic and literary context. The reliability of Wolfe's journalism is discussed, especially when there are alternative narrations to events he has depicted. McEneaney also examines the Wolfe's use of pranks that he plays on readers at times, and uncovers the influences on Wolfe that have contributed to his unique style. Finally, the author discusses Wolfe's impact on other writers. Readers will gain access into Wolfe's world through this detailed and colorful work.

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3

Smollich, Martin. Tom Wolfe's the Bonfire of the Vanities As a Stylistic Triumph. GRIN Verlag GmbH, 2014.

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Capitoli di libri sul tema "Bonfire of the vanities (Wolfe, Tom)"

1

Erckenbrecht, Irmela. "Wolfe, Tom: The Bonfire of the Vanities". In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18956-1.

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De Boever, Arne. "Revisiting The Bonfire of the Vanities". In Finance Fictions. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279166.003.0002.

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Following other critics of the so-called “finance fiction” or “fi-fi” genre, the chapter begins by observing that finance doesn’t play a major role in Tom Wolfe’s The Bonfire of the Vanities: It is limited to the pages about a gold-backed bond and the neoliberalization of black power, an issue that Wolfe had already addressed in his earlier “Radical Chic.” Instead, the chapter identifies “psychosis” as a major theme in this contemporary finance fiction. While many critics have focused on racism in the novel, and in some cases on what they perceive to be the racism of the novel (which, in its avowedly all-inclusive representation of New York City privileges the upper-class white perspective), its revisionist reading lays bare what I consider to be the novel’s central drama: how both its white, upper-class protagonist Sherman McCoy and its black, lower-class protagonist Henry Lamb are caught up in psychotic situations created by money, politics, and the media—situations over which they have no control. The chapter ultimately turns to Cristina Alger’s The Darlings as an example of how this is borne out in post-2008 financial fiction.

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Roscoe, Philip. "Where Real Men Make Real Money". In How to Build a Stock Exchange, 76–86. Policy Press, 2023. http://dx.doi.org/10.1332/policypress/9781529224313.003.0008.

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Chapter 7 begins by examining another novel mode of financial operation: the leveraged buyout. Fact and fiction overlap in the discussion of this financial practice, and the chapter moves to consider fictional representations of finance and to explore the narrative construction of finance. It deals with the written underpinnings of finance, from Daniel Defoe onwards, and then examines contemporary financial print culture, epitomized by Tom Wolfe’s Bonfire of the Vanities, in more detail. It moves to a focus on gender, both in fiction and practice, and considers the changing performances and representations of gender in finance, exploring how elitism and exclusion can be reproduced in finance.

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