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Готові списки джерел за темами / Bret Easton Ellis

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Добірка наукової літератури з теми "Bret Easton Ellis"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 20 лютого 2023

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Статті в журналах з теми "Bret Easton Ellis"

1

Fortier, Frances. "L’esthétique hyperréaliste de Bret Easton Ellis." Tangence, no. 44 (1994): 94. http://dx.doi.org/10.7202/025816ar.

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2

John Conley. "The Poverty of Bret Easton Ellis." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 65, no. 3 (2009): 117–37. http://dx.doi.org/10.1353/arq.0.0043.

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3

Molnár, Bálint. "Intermedialitás Bret Easton Ellis Glamoráma című regényében." Eruditio-Educatio 16., no. 2 (2021): 067–80. http://dx.doi.org/10.36007/eruedu.2021.2.67-80.

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4

Tardi, Mark. "Review of "White" by Bret Easton Ellis." Text Matters, no. 9 (December 30, 2019): 403–7. http://dx.doi.org/10.18778/2083-2931.09.25.

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5

Olah, Nathalie, and Isabelle Lauze. "Bret Easton Ellis : « Tant mieux si c’est offensant ! »." Books N° 100, no. 9 (September 2, 2019): 36–40. http://dx.doi.org/10.3917/books.100.0036.

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6

Silva, Filipa Basílio Valente da. "“A maelstrom of lying”: Bret Easton Ellis and himself." Cadernos de Literatura Comparada, no. 38 (2018): 375–90. http://dx.doi.org/10.21747/21832242/litcomp38v4.

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7

Molnár, Bálint. "Álruhában a semmi közepén Megközelítési szempontok Bret Easton Ellis regényeihez." Eruditio-Educatio 16., no. 1 (2021): 056–71. http://dx.doi.org/10.36007/eruedu.2021.1.056-071.

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8

Olsen, Birgit. "Et amerikansk mareridt." K&K - Kultur og Klasse 20, no. 73 (March 17, 1993): 117–34. http://dx.doi.org/10.7146/kok.v20i73.20567.

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9

Nielsen, Henrik Skov. "Sex og vold: Modeller og terrorister i Bret Easton Ellis’ Glamorama." K&K - Kultur og Klasse 36, no. 105 (August 22, 2008): 146–65. http://dx.doi.org/10.7146/kok.v36i105.22043.

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Анотація:

Sex and Violence:Literary critics have paid very little attention to Bret Easton Ellis’s book Glamorama. In fact no-one I know of has even undertaken the seemingly simple task of finding out what actually happens in the course of the narrative. In this article I will do just that and analyse the book by considering such basic parts of the book as its title, the first and last page and the plot. I will pay special attention to the multilayered violence. Using the distinctions by Slavoj Žižek, to whom I will turn at the end of the article, I will argue that the violence in Glamorama takes place at a subjective, a symbolic and a systemic level at the same time.

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10

Roche, David. "Bret Easton Ellis: American Psycho/Glamorama/Lunar Park (review)." Studies in the Novel 44, no. 2 (2012): 256–59. http://dx.doi.org/10.1353/sdn.2012.0029.

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Дисертації з теми "Bret Easton Ellis"

1

Weissenberg, Clare. "This is not an exit : reading Bret Easton Ellis." Thesis, University of Essex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361020.

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2

Helm, Kimberly Anne. "Is everything disposable? Bret Easton Ellis, abortion, and consumer culture." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0004643.

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3

von, Seth Oscar. "Psykopaten i garderoben : En queer läsning av Bret Easton Ellis American Psycho." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-21456.

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Анотація:

The novel American Psycho was first published in 1991. It recieved harsh criticism and was viewed as a work of heterosexism, misogyny and pointless violence. Despite the criticism, the protagonist, a wealthy serial killer yuppie namned Patrick Bateman, fascinated the readers. He hides his monstrosity behind a façade of heteronormativity, but this essay shows that the norms in American Psycho are fragile. Batemans relationships are shallow, his identity is constructed out of traditional masculinitynorms and even though he’s homophobic there’s a homoerotic undertone in the text, as well as gothic patterns that give the novel a fair amount of queerness too. This analysis shows that the fear of AIDS, imprinted in the text, works as a representation for Bateman’s discrepancy concerning his sexuality. It brings to light that Bateman’s feelings towards two of his collegues are charachterized by homoerotic yearnings, and that shallow readings, where the text is not interpreted, allows the brutal violence to divert attention from the novel’s queer meaning.
Romanen American Psycho publicerades 1991. Den fick hård kritik och sågs som ett heterosexistiskt, misogynt verk fullt av meningslöst våld. Trots kritiken fascinerade protagonisten, den förmögna seriemördaryuppien Patrick Bateman, läsarna. Bateman döljer sin monstrositet bakom en heteronormativ fasad men den här uppsatsen visar att textens heteronorm är bräcklig. Batemans relationer är ytliga, identiteten är konstruerad från traditionella maskulinitetsnormer, han är homofobisk, även då gotiska, homoerotiska undertoner präglar texten. Analysen visar att AIDS-skräcken som präglar boken är synonym med Batemans sexualitetsdiskrepans, att hans känslor för två av hans kollegor är av homoerotisk karaktär, samt att i ytliga läsningar av romanen, där texten inte tolkas, gör det explicita våldet att läsarens uppmärksamhet avleds från romanens queera innebörd.

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4

Ettler, Justine. "The Best Ellis For Business: A Re-Examination Of The Mass Media Feminist Critique Of American Psycho." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10020.

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The Best Ellis For Business analyses the mass media feminist critique of Bret Easton Ellis’s third novel, American Psycho (1991), and employs this to challenge the dominant modes of reading Ellis’s work. The thesis identifies the major shifts in literary criticism about American Psycho, both journalistic and scholarly, and discusses them in relation to the novel’s problematic sexualisation of misogynistic violence. In particular, the neutralisation of the mass media feminist critique in scholarly literary criticism is questioned, then contextualised in terms of the backlash, and finally linked to postmodern defences of the novel that ignore the important role played by the reader. The thesis employs a mixture of narratological and theoretical approaches to perform close readings of the sexually violent scenes. The thesis challenges dominant defences of American Psycho such as the ubiquitous defence of the novel as a satire, as well as the equally prevalent defence of the novel as a postmodern classic. The formalist qualities of the novel, which this thesis claims make it a postmodern parody, prevent the novel from ever being read as a straightforward satire. Further, analyses that focus on the novel’s form at the expense of its content tend to fail to account for the reader’s response to the sexualised violence. This thesis raises the oft-ignored but important issue of reader competence, particularly in relation to the marketing practices of Ellis’s corporate publishers. It will also be argued here that the novel’s excessive ambiguity leaves the reader no choice other than to resort to their biographical knowledge of the author in order to make sense of it. Thus, the thesis rereads the novel in relation to Ellis’s biography, as well as in relation to Ellis’s recent revelations about his sexuality and his interview practice.

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5

Roche, David. "L'imagination malsaine : Russell Banks, Raymond Carver, David Cronenberg, Bret Easton Ellis, David Lynch /." Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb412407868.

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6

Silva, Luciano Cabral da. "The fourfold serial killer in Bret Easton Elliss American Psycho." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8749.

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Анотація:

Conselho Nacional de Desenvolvimento Científico e Tecnológico
Patrick Bateman, o protagonista narrador do romance American Psycho (1991), de Bret Easton Ellis, confunde por ser rico, bonito e educado e, ao mesmo tempo, torturador, assassino e canibal. Mas esta personalidade antagônica não o torna singular. O que o particulariza são as quatro faces que ele apresenta ao longo de sua narrativa: (1) ele consome mercadorias e humanos, (2) compete para ter reconhecimento, (3) provoca horror por suas ações, e (4) não é um narrador confiável. Sendo um yuppie (termo popular usado nos Estados Unidos na década de 1980 para denominar jovens e bem sucedidos profissionais urbanos), Bateman é materialista e hedonista. Ele está imerso em uma sociedade de consumo, fato que o impossibilita de perceber diferenças entre produtos e pessoas. Sendo um narcisista, ele se torna um competidor em busca de admiração. No entanto, Bateman também é um serial killer e suas descrições detalhadas de torturas e assassinatos horrorizam. Por fim, nós leitores duvidamos de sua narrativa ao notarmos inconsistências e ambiguidades. Zygmunt Bauman (2009) afirma que uma sociedade extremamente capitalista transforma tudo que nela existe em algo consumível. Christopher Lasch (1991) afirma que o lendário Narciso deu lugar a um novo, controverso, dependente e menos confiante. A maioria das vítimas de Bateman são membros de grupos socialmente marginalizados, como mendigos, homossexuais, imigrantes e prostitutas, o que o torna uma identidade predatória, segundo Arjun Appadurai (2006). A voz autodiegética e a narrativa incongruente do protagonista, contudo, impedem que confiemos em suas palavras. Estas são as quatro faces que pretendo apresentar deste serial killer
The autodiegetic protagonist Patrick Bateman, in Bret Easton Elliss American Psycho (1991), is a troubling character, for he is highly-educated, wealthy and handsome as well as a torturer, a killer and a cannibal. This antagonistic behavior, nonetheless, does not make him a singular character. The four sides he presents throughout the novel are singular, though: (1) he consumes humans and commodities equally; (2) he competes for recognition and admiration; (3) his acts are horrific; and (4) his narration is unreliable. As a yuppie (a popular term from the 1980s used to define young urban U.S. professionals), Bateman is materialistic and hedonistic. As he lives off the excesses of a consumer society, he is incapable of distinguishing people from products. As a self-absorbed, narcissistic protagonist, he becomes a competitor struggling to get approval from his peers. Nevertheless, Bateman is a serial killer, and his detailed descriptions of tortures and murders are horrifying. Finally, we readers cannot rely on his narrative once we notice ambiguities and divergences. Zygmunt Bauman (2009) posits that an extremely capitalist society forces people to be commodified. Christopher Lasch (1991) asseverates that the old legendary Narcissus gave birth to a new one, paradoxical, dependent and less confident. Most of Batemans victims are socially-marginalized characters, members of minority groups, such as homeless people, homosexuals, immigrants, and prostitutes. As a matter of fact, Bateman may be regarded as having a predatory identity, as defined by Arjun Appadurai (2006). However, this autodiegetic narrator, together with his inconsistent narrative, cannot be entirely trusted. These are the points I want to debate regarding this fourfold serial killer

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7

Andersson, Jim. "Psykopatfabriken : Maskulinitetskonstruktioner i Iain Banks The Wasp Factory och Bret Easton Ellis American Psycho." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-302290.

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8

Alt, Constanze. "Zeitdiagnosen im Roman der Gegenwart Bret Easton Ellis' American Psycho, Michel Houellebecqs Elementarteilchen und die deutsche Gegenwartsliteratur." Berlin Trafo, 2009. http://d-nb.info/992353327/04.

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9

Weibels-Balthaus, Gregor. "The self in trouble: young adults in the urban consumer society of the 1980s in Janowitz, Ellis, and McInerney." [S.l. : s.n.], 2005. http://deposit.ddb.de/cgi-bin/dokserv?idn=976449706.

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10

Nabo, João Luís Brejo. "O escritor e o seu duplo em Bret Easton Ellis: uma contribuição para a análise do processo de auto-referencialidade no gótico norte-americano contemporâneo." Master's thesis, Universidade de Évora, 2008. http://hdl.handle.net/10174/18409.

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Анотація:

A presente dissertação tem como objectivo contribuir para o estudo do fenómeno do Duplo, inserido no género Gótico Americano, na obra do escritor norte-americano contemporâneo Bret Easton Ellis, na tradição de Stevenson, Poe e Hawthorne, os primeiros a lançar os fundamentos desta temática nas suas obras. Assim, foram estudados os motivos que conduzem ao desenvolvimento do tema do Duplo nas produções ficcionais do autor seleccionado, tendo sido fundamental o seu estudo à luz das teorias psicanalíticas de Sigmund Freud e Otto Rank. Analisámos alguns dos autores anglo- americanos, que mais colaboraram para a definição deste cânone literário, e cujas obras, temáticas e técnicas narrativas influenciaram o processo criativo de Bret Easton Ellis. Por fim, utilizámos toda a nossa pesquisa para encontrar no autor em estudo a necessidade da criação da figura do Duplo nas suas produções literárias como expressão de auto-reflexão e auto-referencialidade literária, com relevo para os seus romances American Psycho (1991) e Lunar Park (2004). ABSTRACT; The present dissertation aims to contribute to the study of the motif of the Double, in American Gothic genre, in the literary work by the contemporary North-American writer Bret Easton Ellis, who has been following the tradition of Stevenson, Poe and Hawthorne, the first writers to lay the foundations of this issue in their works. Thus, we studied the reasons that lead to the development of the theme of the Double in his fictional productions in the light of psychoanalytic theories of Sigmund Freud and Otto Rank. We examined some of the authors, classic and contemporary, who contributed to the definition of the literary canon, and whose works, themes and narrative techniques influenced the creative process of Bret Easton Ellis. Finally, we used our entire research to find in the author the need to create the figure of the Double in his literary productions as an expression of self-reflexivity, self-referentiality, namely in his novels American Psycho (1991) and Lunar Park (2004).

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Книги з теми "Bret Easton Ellis"

1

Colby, Georgina. Bret Easton Ellis. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339163.

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2

Bret Easton Ellis: Underwriting the contemporary. New York: Palgrave Macmillan, 2011.

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3

Bret Easton Ellis och de andra hundarna: Roman. Stockholm]: Albert Bonniers förlag, 2012.

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4

Párraga, Javier Martín. American provocateur: La literatura de Bret Easton Ellis. Granada (España): Grupo Editorial Universitario, 2008.

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5

Bret Easton Ellis: American psycho, Glamorama, Lunar Park. London: Continuum, 2011.

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6

Le roman transgressif contemporain: De Bret Easton Ellis à Michel Houellebecq. Paris: Harmattan, 2010.

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7

Steur, Horst. Der Schein und das Nichts: Bret Easton Ellis' Roman Less than zero. Essen: Die Blaue Eule, 1995.

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8

Roche, David. L'imagination malsaine: Russell Banks, Raymond Carver, David Cronenberg, Bret Easton Ellis, David Lynch. Paris: Harmattan, 2007.

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9

L'imagination malsaine: Russell Banks, Raymond Carver, David Cronenberg, Bret Easton Ellis, David Lynch. Paris: Harmattan, 2007.

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10

Roche, David. L'imagination malsaine: Russell Banks, Raymond Carver, David Cronenberg, Bret Easton Ellis, David Lynch. Paris: Harmattan, 2007.

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Частини книг з теми "Bret Easton Ellis"

1

Annesley, James. "Bret Easton Ellis." In A Companion to Twentieth-Century United States Fiction, 514–21. Oxford, UK: Wiley-Blackwell, 2009. http://dx.doi.org/10.1002/9781444310108.ch50.

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2

Leypoldt, Günter. "Ellis, Bret Easton." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5235-1.

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3

Kalkert, Bernadette. "Bret Easton Ellis." In Kindler Kompakt Amerikanische Literatur 20. Jahrhundert, 198–200. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05528-6_44.

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4

Colby, Georgina. "INTRODUCTION: Underwriting the Contemporary." In Bret Easton Ellis, 1–22. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339163_1.

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5

Colby, Georgina. "Missing Persons: Melancholy as Symptom in Less Than Zero, The Rules of Attraction and The Informers." In Bret Easton Ellis, 23–57. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339163_2.

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6

Colby, Georgina. "An Inner Critique: Commodity Fetishism, Systemic Violence, and the Abstract Mutilated Subject in American Psycho." In Bret Easton Ellis, 59–94. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339163_3.

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7

Colby, Georgina. "Cloning the Nineties: Cultural Amnesia, Terrorism, and Contemporary Iconoclasm in Glamorama." In Bret Easton Ellis, 95–129. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339163_4.

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8

Colby, Georgina. "Twenty-First-Century Gothic (or post-9/11 Fatalism): Self-Parody, Reification, and the Becoming Real of Cultural and Authorial Fictions in Lunar Park." In Bret Easton Ellis, 131–63. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339163_5.

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9

Colby, Georgina. "CODA: The Politics of Exposure: Unsafe Lines and Narratives of Conflict in Imperial Bedrooms." In Bret Easton Ellis, 165–88. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339163_6.

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Leypoldt, Günter. "Ellis, Bret Easton: Das Prosawerk." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5236-1.

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