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Flying Man and Falling Man: Remembering and Forgetting 9/11 Graley Herren Xavier University - Cincinnati
Xavier University Exhibit Faculty Scholarship English 2014 Flying Man and Falling Man: Remembering and Forgetting 9/11 Graley Herren Xavier University - Cincinnati Follow this and additional works at: http://www.exhibit.xavier.edu/english_faculty Part of the English Language and Literature Commons Recommended Citation Herren, Graley, "Flying Man and Falling Man: Remembering and Forgetting 9/11" (2014). Faculty Scholarship. Paper 3. http://www.exhibit.xavier.edu/english_faculty/3 This Book Chapter/Essay is brought to you for free and open access by the English at Exhibit. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Exhibit. For more information, please contact [email protected]. 9 Flying Man and Falling Man Remembering and Forgetting 9 /11 Graley Herren More than a decade after the September 11 attacks, Ame~cans continue struggling to assimilate what happened on that day. This chapter consi ders how key icons, performances, and spectacles have intersected with narrative reconstructions to mediate collective memories of 9/11, within New York City, throughout the United States, and around the globe. In Cloning Tenvr: The War of Images, 9/11 to the Present, W. J. T. Mitchell starts from this sound historiographical premise: "Every history is really two histories. There is the history of what actually happened, and there is the history of the perception of what happened. The first kind of history focuses on the facts and figures; the second concentrates on the images and words that define the framework within which those facts and figures make sense" (xi). What follows is an examination of that second kind of history: the perceptual frameworks for making sense of 9/11, frameworks forged by New Yorkers at Ground Zero, Americans removed from the attacks, and cultural creators and commentators from abroad. -
(Im)Mortality in Don Delillo's White Noise, Cosmopolis and Zero K
LITERATURE Journal of 21st-century Writings Article How to Cite: Maffey, R., and Teo, Y., 2018. “Changing Channels of Techno- logy: Disaster and (Im)mortality in Don DeLillo’s White Noise, Cosmopolis and Zero K.” C21 Literature: Journal of 21st-century Writings, 6(2): 6, pp. 1–23, DOI: https://doi.org/10.16995/c21.74 Published: 16 April 2018 Peer Review: This article has been peer reviewed through the double-blind process of C21 Literature: Journal of 21st-century Writings, which is a journal of the Open Library of Humanities. Copyright: © 2018 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distri- bution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: C21 Literature: Journal of 21st-century Writings is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Maffey, R., and Teo, Y., 2018. “Changing Channels of Technology: Disaster and (Im)mortality in Don DeLillo’s White Noise, Cosmopolis LITERATURE Journal of 21st-century Writings and Zero K.” C21 Literature: Journal of 21st-century Writings, 6(2): 6, pp. 1–23, DOI: https://doi.org/10.16995/c21.74 ARTICLE Changing Channels of Technology: Disaster and (Im)mortality in Don DeLillo’s White Noise, Cosmopolis and Zero K Ross Maffey and Yugin Teo Bournemouth University, GB Corresponding author: Yugin Teo ([email protected]) This article examines the changing representation of technology in three of DeLillo’s novels, White Noise, Cosmopolis and Zero K, and traces the con- ceptual and philosophical developments in his writing concerning the two key themes of disaster and mortality. -
Stark Realities of End Zone
CORE Metadata, citation and similar papers at core.ac.uk Provided by Cardinal Scholar Stark Realities of End Zone An Honors Thesis (HONRS 499) by Ryan K. Hilton Patti White, Ph.D. Ball State University Muncie, Indiana Submitted: April 1996 Graduation: May 1996 LV ~)lr~" ? • 7.:,'f : :"t~ .455 - We are speaking on this occaSIOn, not as members of this or that nation, continent, or creed, but as human beings, members of the species man, whose continued existence is in doubt. The world is full of conflicts, and overshadowing all conflicts is the titanic struggle between communism and anti-communism. Almost everybody who is politically conscious has strong feelings about these issues. But we want you, if you can, to set aside such feelings and consider yourselves only as members of a biological species which has had a remarkable history, and whose disappearance none of us can desire. We shall try to say no single word which shall appeal to one group rather than to another. All, equally, are in peril, and if the peril is understood there is hope that we may collectively avert it. --Bertrand Russell and Albert Einstein September 1955 - %esis Statement End Zone (1972), by Don DeLillo, is about nuclear war and college football; here, metaphor is used to show the interchangeability between the two. Gary Harkness is the narrator, a man obsessed with nuclear war. Preparation and escalation are key concepts used to describe the winning season Harkness and his teammates are having at Logos College in Texas, until they lose the "big game." Then a sense of the unspeakable permeates Logos, as no one wants to discuss the results of the game. -
Don Delillo and 9/11: a Question of Response
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 5-2010 Don DeLillo and 9/11: A Question of Response Michael Jamieson University of Nebraska at Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the English Language and Literature Commons Jamieson, Michael, "Don DeLillo and 9/11: A Question of Response" (2010). Dissertations, Theses, and Student Research: Department of English. 28. https://digitalcommons.unl.edu/englishdiss/28 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. DON DELILLO AND 9/11: A QUESTION OF RESPONSE by Michael A. Jamieson A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: English Under the Supervision of Professor Marco Abel Lincoln, Nebraska May, 2010 DON DELILLO AND 9/11: A QUESTION OF RESPONSE Michael Jamieson, M.A. University of Nebraska, 2010 Advisor: Marco Abel In the wake of the attacks of September 11th, many artists struggled with how to respond to the horror. In literature, Don DeLillo was one of the first authors to pose a significant, fictionalized investigation of the day. In this thesis, Michael Jamieson argues that DeLillo’s post-9/11 work constitutes a new form of response to the tragedy. -
'Little Terrors'
Don DeLillo’s Promiscuous Fictions: The Adulterous Triangle of Sex, Space, and Language Diana Marie Jenkins A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy The School of English University of NSW, December 2005 This thesis is dedicated to the loving memory of a wonderful grandfather, and a beautiful niece. I wish they were here to see me finish what both saw me start. Contents Acknowledgements 1 Introduction 2 Chapter One 26 The Space of the Hotel/Motel Room Chapter Two 81 Described Space and Sexual Transgression Chapter Three 124 The Reciprocal Space of the Journey and the Image Chapter Four 171 The Space of the Secret Conclusion 232 Reference List 238 Abstract This thesis takes up J. G. Ballard’s contention, that ‘the act of intercourse is now always a model for something else,’ to show that Don DeLillo uses a particular sexual, cultural economy of adultery, understood in its many loaded cultural and literary contexts, as a model for semantic reproduction. I contend that DeLillo’s fiction evinces a promiscuous model of language that structurally reflects the myth of the adulterous triangle. The thesis makes a significant intervention into DeLillo scholarship by challenging Paul Maltby’s suggestion that DeLillo’s linguistic model is Romantic and pure. My analysis of the narrative operations of adultery in his work reveals the alternative promiscuous model. I discuss ten DeLillo novels and one play – Americana, Players, The Names, White Noise, Libra, Mao II, Underworld, the play Valparaiso, The Body Artist, Cosmopolis, and the pseudonymous Amazons – that feature adultery narratives. -
Historicizing the Iraq War in Don Delillo's Point Omega
Journal of American Studies, (), , – © Cambridge University Press . This is an Open Access article, distributed unde r the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/ . 1 ), w h ic h p er m i t s u n re s t r ic t e d r e -u se , d is t r i/b u ti o n , and reproduction in any medium, provided the original work is properly cited. doi:./S First published online August “Too many goddamn echoes”: Historicizing the Iraq War in Don DeLillo’s Point Omega MARTIN PAUL EVE This piece provides a detailed engagement with Don DeLillo’s depiction of the Iraq War in his latest novel, Point Omega. Framed through both formal aesthetic signposting of the interrelations between modernist and postmodernist practice and also through explicit thematic comparison between the conflicts, I trace DeLillo’s treatment of Iraq in Point Omega back to his earlier writing on the Cold War in Underworld and focus upon the ways in which this comparative historical metaphor can be read with particular emphasis upon its implications for the nation-state. Wherever one’s political sensibilities lie in relation to the Iraq War there is a different mode of politics with which it seems imperative that all who value art must continue to engage: the politics of representation. Indeed, the act of representing war and individual, lived, real horror is intensely problematic and raises ethical issues that are well framed in Theodor Adorno’s widely known remark that “the aesthetic principle of stylization .. -
Transatlantica, 1 | 2002 Don Delillo : Une Bibliographie Sélective 2
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2002 Jeune République Don DeLillo : une bibliographie sélective Aaron Smith Édition électronique URL : http://journals.openedition.org/transatlantica/523 DOI : 10.4000/transatlantica.523 ISSN : 1765-2766 Éditeur AFEA Référence électronique Aaron Smith, « Don DeLillo : une bibliographie sélective », Transatlantica [En ligne], 1 | 2002, mis en ligne le 23 mars 2006, consulté le 29 avril 2021. URL : http://journals.openedition.org/transatlantica/ 523 ; DOI : https://doi.org/10.4000/transatlantica.523 Ce document a été généré automatiquement le 29 avril 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Don DeLillo : une bibliographie sélective 1 Don DeLillo : une bibliographie sélective Aaron Smith Oeuvres de Don DeLilloRomans 1 Americana. 1971. London : Penguin, 1990. 2 End Zone. 1972. New York : Penguin, 1986. 3 Great Jones Street. 1973. New York : Penguin, 1994. 4 Ratner’s Star. 1976. London : Vintage, 1991. 5 Players. 1977. London : Vintage, 1991. 6 Running Dog. 1978. London : Picador, 1992. 7 The Names. 1982. New York : Vintage, 1989. 8 White Noise. 1984. London : Picador, 1985. 9 Libra. 1988. London : Penguin, 1989. 10 Mao II. 1991. London : Vintage, 1992. 11 Underworld. 1997. New York : Scribner, 1997. 12 The Body Artist. 2001. New York : Picador, 2001. 13 Cosmopolis. New York : Scribner, 2003 (à paraître) Théâtre 14 The Engineer of Moonlight. Cornell Review 1 (1979) : 21‑47. 15 The Day Room. 1986. New York : Penguin, 1989. 16 The Rapture of the Athlete Assumed into Heaven. -
Empathic Encounters: Negotiating Identity in 9/11 Fiction and Translation Kirsty A
The Quiet Corner Interdisciplinary Journal Volume 1 Issue 1 Translation across Arts, Culture and Theory March 2015 Empathic Encounters: Negotiating Identity in 9/11 Fiction and Translation Kirsty A. Hemsworth University of Sheffield Follow this and additional works at: https://opencommons.uconn.edu/tqc Part of the American Literature Commons, French and Francophone Language and Literature Commons, Literature in English, North America Commons, Modern Literature Commons, and the Translation Studies Commons Recommended Citation Hemsworth, Kirsty A.. "Empathic Encounters: Negotiating Identity in 9/11 Fiction and Translation." The Quiet Corner Interdisciplinary Journal, Vol. 1, Iss. 1, 2015. Available at: https://opencommons.uconn.edu/tqc/vol1/iss1/4 83 Empathic Encounters: Negotiating Identity in 9/11 Fiction and Translation In the wake of the unprecedented and totalizing, visual narrative of 9/11—the singularity of the event—the novels that chronicle the attacks on September 11 2001 are defined by their commitment to, and “engagement with, alterity” (DeRosa, 157). In literary translation, a pervasive form of this alterity divides source and target domains, establishing an irreconcilable difference that the polarized strategies of domestication and foreignization consolidate and exacerbate. This approach risks perpetuating a reductive view of 9/11 novels as nothing more than fictionalized accounts of a conflict between the fundamentally disparate binary of the American Self and Terrorist Other. These terms are here understood as the totalized forms of identity taken up in post-9/11 discourses on conflict and difference, particularly in the mediatized aftermath of the 9/11 attacks. American 9/11 fiction refigures this alterity. Don DeLillo’s 2007 novel Falling Man, and Marianne Véron’s French translation L’homme qui tombe, seek to secure a dislocation of the “nature of consciousness” (Sumner 1) from the stable, visual referents to which identity is tethered, and the jarring before and after that bookend the traumatic event. -
Staging Delillo
Staging DeLillo Rebecca Rey B.A. (Hons), The University of Western Australia, 2006 10322929 This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Social and Cultural Studies Discipline of English and Cultural Studies 2012 Abstract This thesis examines the plays of Don DeLillo. Although DeLillo‘s novels have received much critical discussion, his theatre works, with a few exceptions, have been largely ignored in literary circles. This thesis focuses on DeLillo‘s plays to rectify, in part, the lack of scholarship on this topic. In what follows I will examine each of DeLillo‘s six playtexts in chronological order, devoting a chapter to each of his main plays. Common themes emerging across the oeuvre are the centrality of language, the human fear of death, the elusiveness of truth, and the deception of personal identity. In order to provide a comprehensive critical analysis of DeLillo‘s plays, I will draw on a wide range of sources, including DeLillo‘s novels, personal notes and correspondence, interviews with the writer, and theatre performance reviews, in order to reach a better critical understanding of DeLillo‘s plays. This unprecedented examination of DeLillo‘s plays contributes not only to a deeper understanding of his other fictional works, but is rewarding in itself, as the plays can stand alone as being worthy of critical attention. In Chapter 1, I present an analysis of DeLillo‘s ‗The Engineer of Moonlight‘ (1979)—his first published, but as yet unperformed, playtext. ‗The Engineer‘ bears striking similarities in theme with DeLillo‘s earlier novel Ratner’s Star (1976). -
Transatlantica, 1 | 2020 Time-Images in Don Delillo’S Writing: a Reading of the Body Artist, Point Ome
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2020 Conjunctions of the Literary and the Philosophical in Twentieth- and Twenty-First-Century American Writing Time-Images in Don DeLillo’s Writing: A Reading of The Body Artist, Point Omega and Zero K Andrea Pitozzi Electronic version URL: http://journals.openedition.org/transatlantica/15751 DOI: 10.4000/transatlantica.15751 ISSN: 1765-2766 Publisher AFEA Electronic reference Andrea Pitozzi, “Time-Images in Don DeLillo’s Writing: A Reading of The Body Artist, Point Omega and Zero K”, Transatlantica [Online], 1 | 2020, Online since 01 December 2020, connection on 29 April 2021. URL: http://journals.openedition.org/transatlantica/15751 ; DOI: https://doi.org/10.4000/ transatlantica.15751 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Time-Images in Don DeLillo’s Writing: A Reading of The Body Artist, Point Ome... 1 Time-Images in Don DeLillo’s Writing: A Reading of The Body Artist, Point Omega and Zero K Andrea Pitozzi Time is too difficult. Don DeLillo, Zero K (68) In the Realm of Images 1 In his writings Don DeLillo has always employed images as a powerful instrument providing an immediate access to post-World-War-II American culture. From the remarks on the world of media and cinema contained in his first novel Americana (1971) to the detailed descriptions of the video of Kennedy’s assassination in Libra (1988), from discussions on photography and television in White Noise (1985) or Mao II (1991) to the constellation of photographs, movies and video frames haunting the pages of Underworld (1997), the writer has frequently selected iconic images from the twentieth century as a narrative basis. -
Cultivated Tragedy: Art, Aesthetics, and Terrorism in Don Delillo's Falling
Bartlett 1 CULTIVATED TRAGEDY: ART, AESTHETICS, AND TERRORISM IN DON DELILLO’S FALLING MAN By Jen Bartlett “We are not free and the sky can still fall on our heads. Above all, theatre is meant to teach us this.” (The Theatre and Its Double, 60) On September 11th 2001, the sky did just that and the photogenic skyline of New York City came tumbling down. In a controversial New York Times article, Karl-Heinz Stockhausen termed these events “the greatest work of art in the whole cosmos” and although this outraged the nation at the time and was quickly suppressed, it does not make the theoretical approach any less valid. Don DeLillo’s works and his ongoing exploration of authorship and terrorism are an encapsulation of Frank Lentricchia and Jody McAuliffe’s observation that “the impulse to create transgressive art and the impulse to commit violence lie perilously close to each other.” Exponents of the 'Gesamtkunstwerk' or 'total art work' advocated an attack on all senses and emotions. Wagner and Runge, amongst others, believed that if one unified the visual, aural and textual arts into one completely integrated whole, the effect on the audience would be of such power that great personal, and consequently social, change or revolution could be effected (Grey 1995). Artaud developed these principles further in his 'Theatre of Cruelty' by moving from representations of an experience to providing the audience with the actual experience. Watching his play Plague, Anaïs Nin found that instead of “an objective conference on the theater [sic] and the plague” the audience members were forced to undergo the experience of “the plague itself” (192). -
Review of International American Studies
Review of International American Studies VOL. 3.3–4.1 WINTER 2008 / SPRING 2009 ISSN 1991–2773 EDITORS EDITOR -IN -CHIEF: Michael Boyden ASSOCIATE EDITOR : Paweł Jędrzejko and Cyraina Johnson-Roullier RIAS IT AND DTP TEAM IT ADVISORS: Tomasz Adamczewski and Wojciech Liber (SFH) GRAPHIC DESIGN AND DTP ADVISOR: Michał Derda-Nowakowski (ExMachina) EDITORIAL BOARD Theo D’haen, Anders Olsson, Liam Kennedy, Sieglinde Lemke, Giorgio Mariani, Ian Tyrrell, Helmbrecht Breinig, Rosario Faraudo, Djelal Kadir TYPESETTING ExMachina Academic Press / Wydawnictwo Naukowe ExMachina (Poland) www.exmachina.pl Review of International American Studies ( RIAS ), is the electronic journal of the International American Studies Association, the only worldwide, independent, non- governmental association of American Studies. RIAS serves as agora for the global network of international scholars, teachers, and students of America as hemispheric and global phenomenon. RIAS is published three times a year: in the Fall, Winter and Spring by IASA with the institutional support of the University of Silesia in Katowice lending server space to some of IASA websites and the electronic support of the Soft For Humans CMS Designers. Subscription rates or RIAS are included along with the Association’s annual dues as specified in the “Membership” section of the Association’s website (www.iasaweb.org). All topical manuscripts should be directed to the Editor via online submission forms available at RIAS website (www.iasa-rias.org). General correspondence and matters concerning the functioning of RIAS should be addressed to RIAS Editor-in-Chief: University College Ghent Department of Translation Studies Groot-Brittanniëlaan 45 B-9000 Ghent Belgium e-mail: [email protected] On the RIAS cover we used the fragment of “Security”, a work by CarbonNYC licensed under Creative Commons Attribution 2.0 Generic.