Hyperreality and Loss of Identity in American Psycho and Escape from Tomorrow by Tyler Crawford a Thesis
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Softball Bat List, July 17, 2021
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Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia Into New Dimensions on Cantos Invisíveis, a Global Tapestry That Transcends Place & Time
Bio information: SÃO PAULO UNDERGROUND Title: CANTOS INVISÍVEIS (Cuneiform Rune 423) Format: CD / DIGITAL Cuneiform Promotion Dept: (301) 589-8894 / Fax (301) 589-1819 Press and world radio: [email protected] | North American and world radio: [email protected] www.cuneiformrecords.com FILE UNDER: JAZZ / TROPICALIA / ELECTRONIC / WORLD / PSYCHEDELIC / POST-JAZZ RELEASE DATE: OCTOBER 14, 2016 Brazilian/American Trio São Paulo Underground Expands Psycho-Tropicalia into New Dimensions on Cantos Invisíveis, a Global Tapestry that Transcends Place & Time Cantos Invisíveis is a wondrous album, a startling slab of 21st century trans-global music that mesmerizes, exhilarates and transports the listener to surreal dreamlands astride the equator. Never before has the fearless post-jazz, trans-continental trio São Paulo Underground sounded more confident than here on their fifth album and third release for Cuneiform. Weaving together a borderless electro-acoustic tapestry of North and South American, African and Asian, traditional folk and modern jazz, rock and electronica, the trio create music at once intimate and universal. On Cantos Invisíveis, nine tracks celebrate humanity by evoking lost haunts, enduring love, and the sheer delirious joy of making music together. São Paulo Underground fully manifests its expansive vision of a universal global music, one that blurs edges, transcends genres, defies national and temporal borders, and embraces humankind in its myriad physical and spiritual dimensions. Featuring three multi-instrumentalists, São Paulo Underground is the creation of Chicago-reared polymath Rob Mazurek (cornet, Mellotron, modular synthesizer, Moog Paraphonic, OP-1, percussion and voice) and two Brazilian masters of modern psycho- Tropicalia -- Mauricio Takara (drums, cavaquinho, electronics, Moog Werkstatt, percussion and voice) and Guilherme Granado (keyboards, synthesizers, sampler, percussion and voice). -
Reading the Body in Bret Easton Ellis's American Psycho (1991): Confusing Signs and Signifiers
Reading the Body in Bret Easton Ellis’s American Psycho (1991) David Roche To cite this version: David Roche. Reading the Body in Bret Easton Ellis’s American Psycho (1991): Confusing Signs and Signifiers. Groupe de Recherches Anglo-Américaines de Tours, Groupe de recherches anglo-américaines de Tours, Université de Tours, 1984-2008, 2009, 5 (1), pp.124-38. halshs-00451731 HAL Id: halshs-00451731 https://halshs.archives-ouvertes.fr/halshs-00451731 Submitted on 6 Sep 2010 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 124 GRAAT On-Line issue #5.1 October 2009 Reading the Body in Bret Easton Ellis's American Psycho (1991): Confusing Signs and Signifiers David Roche Université de Bourgogne In Ellis’s scandalous end-of-the-eighties novel American Psycho , the tale of Patrick Bateman—a Wall Street yuppie who claims to be a part-time psychopath— the body is first conceived of as a visible surface which must conform to the norms of the yuppies’ etiquette. I use the word “etiquette,” which Patrick uses (231) and which I oppose to the word “ethics” which suggests moral depth, to stretch how superficial the yuppie’s concerns are and to underline, notably, that the yuppie’s sense of self is limited to his social self, his public appearance, his self-image, which I relate to D. -
Kant Borges Derrida
From Cosmopolitical Literature to Cosmo-panto-mimesis and ”this strange institution called ’literature”’: Kant, Borges, Derrida Thomas Dutoit To cite this version: Thomas Dutoit. From Cosmopolitical Literature to Cosmo-panto-mimesis and ”this strange institution called ’literature”’: Kant, Borges, Derrida. 2015. hal-01202389 HAL Id: hal-01202389 https://hal.univ-lille.fr/hal-01202389 Preprint submitted on 26 Sep 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 1 From Cosmopolitical Literature to Cosmo-panto-mimesis and "this strange institution called literature": Kant Borges Derrida THOMAS DUTOIT UNIVERSITÉ DE LILLE E.A. 4074 CECILLE "All of this would not have happened if we knew what literature is. None of this would have happened if we knew what the word 'literature' means." Jacques Derrida1 2 "Que serait une littérature qui ne serait que ce qu'elle est, littérature? Elle ne serait plus elle- même si elle était elle-même." Jacques Derrida3 "I like Fidel Castro and his beard." Bob Dylan4 In "Préjugés," Jacques Derrida takes Franz Kafka's "Devant la loi" ("Vor dem Gesetz") as the literary text with which he delivers a "Talmudic" reading meant to indicate, subtly, how "differance" would be the fulcrum by which Derrida could suspend the otherwise judgmental, critical, categorical and decisive nature of Jean- François Lyotard's work, in particular in the latter's turn to the work of Kant at the end of the 1970's and early 1980's. -
A Critical Study of the Novels of John Fowles
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 1986 A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES KATHERINE M. TARBOX University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation TARBOX, KATHERINE M., "A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES" (1986). Doctoral Dissertations. 1486. https://scholars.unh.edu/dissertation/1486 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES BY KATHERINE M. TARBOX B.A., Bloomfield College, 1972 M.A., State University of New York at Binghamton, 1976 DISSERTATION Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English May, 1986 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This dissertation has been examined and approved. .a JL. Dissertation director, Carl Dawson Professor of English Michael DePorte, Professor of English Patroclnio Schwelckart, Professor of English Paul Brockelman, Professor of Philosophy Mara Wltzllng, of Art History Dd Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I ALL RIGHTS RESERVED c. 1986 Katherine M. Tarbox Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. to the memory of my brother, Byron Milliken and to JT, my magus IV Reproduced with permission of the copyright owner. -
Unreliable Narration in Bret Easton Ellis╎ American Psycho
Current Narratives Volume 1 Issue 1 Narrative Inquiry: Breathing Life into Article 6 Talk, Text and the Visual January 2009 Unreliable narration in Bret Easton Ellis’ American Psycho: Interaction between narrative form and thematic content Jennifer Phillips University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/currentnarratives Recommended Citation Phillips, Jennifer, Unreliable narration in Bret Easton Ellis’ American Psycho: Interaction between narrative form and thematic content, Current Narratives, 1, 2009, 60-68. Available at:https://ro.uow.edu.au/currentnarratives/vol1/iss1/6 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Unreliable narration in Bret Easton Ellis’ American Psycho: Interaction between narrative form and thematic content Abstract In this paper I analyse the narrative technique of unreliable narration in Bret Easton Ellis’ American Psycho (1991). Critics have been split about the reliability of Patrick Bateman, the novel’s gruesome narrator- protagonist. Using a new model for the detection of unreliable narration, I show that textual signs indicate that Patrick Bateman can be interpreted as an unreliable narrator. This paper reconciles two critical debates: (1) the aforementioned debate surrounding American Psycho, and (2) the debate surrounding the concept of unreliable narration itself. I show that my new model provides a solution to the weaknesses which have been identified in the rhetorical and cognitive models previously used to detect unreliable narration. Specifically, this new model reconciles the problematic reliance on the implied author in the rhetorical model, and the inconsistency of textual signs which is a weakness of the cognitive approach. -
Das Remake Als Fetischkunst Gus Van Sants »Psycho« Und Die Absonderlichen Serialitäten Des Hollywood-Kinos
FORSCHUNGSBEITRAG DAS REMAKE ALS FETISCHKUNST Gus Van Sants »Psycho« und die absonderlichen Serialitäten des Hollywood-Kinos Frank Kelleter 154 RKEMA ING ALS SERIELLE PRAXIS Film-Remakes und Film-Fortsetzungen verkörpern den kommerziellen Prag- matismus des Hollywood-Kinos in schamloser Manier. Kein Wunder, dass sich Feuilleton und Filmwissenschaft lange Zeit nicht mit ihnen anfreunden konnten. Noch heute muss jeder Film, der eine Zahl im Titel trägt, darauf gefasst sein, als Beispiel für die Einfallslosigkeit einer ganzen, eigentlich geldgeilen Industrie herzuhalten. Problematisch ist diese Haltung nicht, weil sie falsch wäre – Remakes und Fortsetzungen operieren tatsächlich als ›pre-sold com- modities‹ –, sondern weil Einfallsreichtum in der Geschichte des populären Films eigentlich immer schon an profitorientierte Produktionskulturen gebun- den war. Wie unbehaglich dieser Gedanke in cinephilen Kreisen weiterhin sein mag, lässt sich daran ablesen, dass die Figur des sich gegen ökonomische Zwänge behauptenden ›Auteurs‹ die Rede über Filme selbst dort noch orga- nisiert, wo die proklamierten filmtheoretischen Überzeugungen schon längst das Gegenteil behaupten. Das Problem filmischer Autorschaft steht im Zentrum von Gus Van Sants »Psycho« und vermengt sich dort in irritierender Weise mit Fragen medialer Selbstreflexion und narrativer Fortsetzungslogik. Um zu verstehen, was hier geschieht, bietet es sich an, das Format ›Neuverfilmung‹ zunächst einmal seri- alitätstheoretisch zu beschreiben. Auf den ersten Blick ist das eine kontrain- tuitive Perspektive: Remakes behaupten ja in aller Regel nicht, Episoden oder Fortsetzungen eines größeren Erzählganzen zu sein. Dennoch fällt es schwerer, POP. Kultur und Kritik ◆ Heft 7 Herbst 2015 ◆ S. 154–173 ◆ © transcript zwischen einer Neuverfilmung und einer Fortsetzung formal zu unterscheiden, als diese scheinbar eindeutigen Begriffe vermuten lassen (Verevis 2006a; siehe auch einzelne Beiträge in Heinze/Krämer 2015). -
James Dean Brown – Psychedelic Soul You Are
James Dean Brown – Psychedelic Soul You are about to enter a space where hardly any clubber has danced before… Feel well-absorbed into James Dean Brown's most extraordinary, emphatic and convincing DJ work so far. As soon as he is supposed to feel reasonably safe in terms of a conclusive music selection and respectable mixing skills, JDB starts (and keeps on) experimenting, merging and warping styles, leaving the comfort zone. Consequently, you will experience weirdness of epic dimensions here while listening to a story that pleads for a great diversity of sound cultures at parties. Surrounded by nature, outdoors vibes and the heavy, monsoon-like rain must have been a great inspiration. Otherwise one could hardly explain how JDB managed to mix some of these hazardous grooves in such a relaxed way. The trip becomes an audio drama: psychedelic Soul, Funk and Blues full of exotic magic and mystery, intoxicating Voodoo House, decelerated grooves, flexible shuffle modes, alien sound signatures, tripping hazards, spiritual vibes, enchanting incantations, ghost whispers, tribal percussion reverberating from the electrically vibrating rain forest, echoes from space, strange and unusual music not quite from this world, fluid fairytales, passion, temptation, ritual ecstasy, obscuration and revelation, and other oddities – it's all in here. Welcome to a subtle dislocation off the norm. mixed + recorded live under heavy rain at "Contour", ://about blank garden, Berlin, 29.07.12 between 5.00 and 8.00 a.m. Theo Parrish – Dusty Cabinets 12"EP: Pieces of a Paradox (Sound Signature SS004) http://www.discogs.com/release/4298 Theo Parrish – Dan Ryan 12"EP: Roots Revisited (Sound Signature SS005) http://www.discogs.com/release/6849 Electric Soul – Here Come One 12"EP: ANewSong / Here Come One (People PEOPLE 005) http://www.discogs.com/release/32449 Kenny Dixon Jr. -
Furious: Myth, Gender, and the Origins of Lady Macbeth
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Furious: Myth, Gender, and the Origins of Lady Macbeth Emma King The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3431 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FURIOUS: MYTH, GENDER, AND THE ORIGINS OF LADY MACBETH by EMMA KING A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 ii © 2019 EMMA KING All Rights Reserved iii Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Tanya Pollard Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This thesis attempts to understand the fabulously complex and poisonously unsettling Lady Macbeth as a product of classical reception and intertextuality in early modern England. Whence comes her “undaunted mettle” (1.7.73)? Why is she, like the regicide she helps commit, such a “bloody piece of work” (2.3.108)? How does her ability to be “bloody, bold, and resolute” (4.1.81), as Macbeth is commanded to be, reflect canonical literary ideas, early modern or otherwise, regarding women, gender, and violence? Approaching texts in the literary canon as the result of transformation and reception, this research analyzes the ways in which Lady Macbeth’s gender, motivations, and words can be understood as inherently intertextual. -
A Reader in Themed and Immersive Spaces
A READER IN THEMED AND IMMERSIVE SPACES A READER IN THEMED AND IMMERSIVE SPACES Scott A. Lukas (Ed.) Carnegie Mellon: ETC Press Pittsburgh, PA Copyright © by Scott A. Lukas (Ed.), et al. and ETC Press 2016 http://press.etc.cmu.edu/ ISBN: 978-1-365-31814-6 (print) ISBN: 978-1-365-38774-6 (ebook) Library of Congress Control Number: 2016950928 TEXT: The text of this work is licensed under a Creative Commons Attribution-NonCommercial-NonDerivative 2.5 License (http://creativecommons.org/licenses/by-nc-nd/2.5/) IMAGES: All images appearing in this work are property of the respective copyright owners, and are not released into the Creative Commons. The respective owners reserve all rights. Contents Part I. 1. Introduction: The Meanings of Themed and Immersive Spaces 3 Part II. The Past, History, and Nostalgia 2. The Uses of History in Themed Spaces 19 By Filippo Carlà 3. Pastness in Themed Environments 31 By Cornelius Holtorf 4. Nostalgia as Litmus Test for Themed Spaces 39 By Susan Ingram Part III. The Constructs of Culture and Nature 5. “Wilderness” as Theme 47 Negotiating the Nature-Culture Divide in Zoological Gardens By Jan-Erik Steinkrüger 6. Flawed Theming 53 Center Parcs as a Commodified, Middle-Class Utopia By Steven Miles 7. The Cultures of Tiki 61 By Scott A. Lukas Part IV. The Ways of Design, Architecture, Technology, and Material Form 8. The Effects of a Million Volt Light and Sound Culture 77 By Stefan Al 9. Et in Chronotopia Ego 83 Main Street Architecture as a Rhetorical Device in Theme Parks and Outlet Villages By Per Strömberg 10. -
There Is an Idea of a Patrick Bateman, Some Kind of Abstraction, but There
1 “…there is an idea of a Patrick Bateman, some kind of abstraction, but there is no real me, only an entity, something illusory, and though I can hide my cold gaze and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable: I simply am not there.” Bret Easton Ellis, author of the controversial book American Psycho (1991) puts forward the thought that mind and body are distinct. The quote I shall be discussing is one of the protagonists’ (Patrick Bateman’s) key self-analysis, in which he believes that even though he physically exists, he is nothing more than an illusion and an abstraction. Bateman’s feelings of absence are reinforced by his numerous internal monologues, this quote being one of them. I will use Rene Descartes’ meditations along with the concept of the self in order to differentiate between mind and body, and to conclude whether Bateman is really not there. Firstly I will look at the concept of the self. Self-analysis is the first step to understand who you are, and self-conceptualization is a cognitive component of oneself. Once one is fully aware of oneself, that person then has a concept of himself/herself. This concept is usually broken down into two parts: The Existential Self and The Categorical Self. The existential self is the sense we get of being different from those around us, and the realization of the constancy of the self. The categorical self is when one realizes that he or she is distinct as well as an object in this world, thus having properties that may be experienced, just like any other object. -
Periodization in the Bret Easton Ellis Decades
The Privilege of Contemporary Life: Periodization in the Bret Easton Ellis Decades Theodore Martin Only the Utopian future is a place of truth in this sense, and the privilege of contemporary life and of the present lies not in its possession, but at best in the rigorous judgment it may be felt to pass on us. — Fredric Jameson, “Marxism and Historicism” He’s helping de!ne the decade, baby. — Bret Easton Ellis, Glamorama Presents and Absence Is it possible to orient the un!nished present in history? The widen- ing net of globalization and the consequent fragmentation of everyday life have made it increasingly dif!cult, as Fredric Jameson observes, to grasp the historical signi!cance of the present: “The sense people have of themselves and their own moment of history may ultimately have noth- ing whatsoever to do with its reality.”1 But it seems equally likely that this inaccurate or even impossible self-presentation has been there all along, not only under the global diffusion of postmodernity but for as long as we have divided history into past, present, and future. The ability to organize historical events into a narrative of successive epochs or ages — a process of historical retrospection generally called periodization — seems logically unavailable to the present: in the immediacy or the embeddedness of the day-to-day, there is no place from which to make the external, totalizing judgment of history. “The present,” Jameson explains, “is not yet a historical period: it ought not to be able to name 1 Fredric Jameson, Postmodernism; or, The Cultural Logic of Late Capitalism (Dur- ham, NC: Duke University Press, "##$), "%$.