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Teaching American Literature: a Journal of Theory and Practice Summer 2013 (6:2) 13
Teaching American Literature: A Journal of Theory and Practice Summer 2013 (6:2) Who Is 'Us' and Who Is 'Them' in Don DeLillo's Cosmopolis? Hossein Pirnajmuddin, University of Isfahan, I. R. Iran Abbasali Borhan, Shiraz University, I. R. Iran Abstract Don DeLillo, in his first post-9/11 novel Cosmopolis, addresses the question of (terrorist) Other as occupying an infiltrating position within the American society as the host community. He purports to make a diagnosis of the deficiencies inherent in the West's global capitalist system which make it "vulnerable" and exposed to the terrorists' violence. Underlying DeLillo's approach toward terrorism in this novel is the discourse of American liberal cosmopolitanism in terms of which American society is portrayed as "the land of the free;" a "hybrid" society constituted by "heterogeneous" ethnicities with different systems of values and beliefs. This dynamic multiculturalism, so is claimed, brings about clashes, gaps, and cracks within the American community as a whole and accordingly jeopardizes the solidity of American culture. What is taken for granted is validity of the governmental account of terrorism. Adopting an ambiguous position toward this discourse, DeLillo both endorses it and subverts, through parody, some of its affiliated precepts. In this article, first DeLillo's insular representation of a "Cosmopolitan" America as a "superpower" is explored and then his subliminal registration of an Orientalized other evoking 9/11 "us/them" paradigm is brought to light. Keywords: Don DeLillo, Cosmopolis, American multiculturalism, us/them, Orientalism, 9/11. 1. Introduction The rippling impact of 9/11 "terrorist"1 events across American fiction has admittedly been far and wide. -
The Polis Artist: Don Delillo's Cosmopolis and the Politics of Literature
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Political Science Faculty Research and Scholarship Political Science 2016 The oliP s Artist: Don DeLillo’s Cosmopolis and the Politics of Literature Joel Alden Schlosser Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/polisci_pubs Part of the Philosophy Commons, and the Political Theory Commons Custom Citation J. Schlosser, “The oP lis Artist: Don DeLillo’s Cosmopolis and Politics of Literature.” Theory & Event 19.1 (2016). This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/polisci_pubs/32 For more information, please contact [email protected]. 1/30/2016 Project MUSE - Theory & Event - The Polis Artist: Don DeLillo’s Cosmopolis and the Politics of Literature Access provided by Bryn Mawr College [Change] Browse > Philosophy > Political Philosophy > Theory & Event > Volume 19, Issue 1, 2016 The Polis Artist: Don DeLillo’s Cosmopolis and the Politics of Literature Joel Alden Schlosser (bio) Abstract Recent work on literature and political theory has focused on reading literature as a reflection of the damaged conditions of contemporary political life. Examining Don DeLillo’s Cosmopolis, this essay develops an alternative approach to the politics of literature that attends to the style and form of the novel. The form and style of Cosmopolis emphasize the novel’s own dissonance with the world it criticizes; they moreover suggest a politics of poetic worldmaking intent on eliciting collective agency over the commonness of language. -
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. -
The Sublime in Don Delillo's Mao II
International Letters of Social and Humanistic Sciences Online: 2015-03-23 ISSN: 2300-2697, Vol. 50, pp 137-145 doi:10.18052/www.scipress.com/ILSHS.50.137 CC BY 4.0. Published by SciPress Ltd, Switzerland, 2015 The Sublime in Don DeLillo’s Mao II Niloufar Behrooz, Hossein Pirnajmuddin Department of English. University of Isfahan, Isfahan, Iran Email address: [email protected], [email protected] Keywords: Don DeLillo; postmodernism; the sublime; technology; violence; spirituality ABSTRACT 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. -
An Examination of Conspiracy and Terror in the Works of Don Delillo
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English Spring 5-7-2011 For the Future: An Examination of Conspiracy and Terror in the Works of Don Delillo Ashleigh Whelan Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Whelan, Ashleigh, "For the Future: An Examination of Conspiracy and Terror in the Works of Don Delillo." Thesis, Georgia State University, 2011. https://scholarworks.gsu.edu/english_theses/104 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. FOR THE FUTURE: AN EXAMINATION OF CONSPIRACY AND TERROR IN THE WORKS OF DON DELILLO by ASHLEIGH WHELAN Under the Direction of Dr. Christopher Kocela ABSTRACT This thesis is divided into two chapters, the first being an examination of conspiracy and paranoia in Libra, while the second focuses on the relationship between art and terror in Mao II, “In the Ruins of the Future,” Falling Man, and Point Omega. The study traces how DeLillo’s works have evolved over the years, focusing on the creation of counternarratives. Readers are given a glimpse of American culture and shown the power of narrative, ultimately shedding light on the future of our collective consciousness. INDEX -
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). -
Negative Reviews of Falling Man
Schweighauser and Schneck 1 Do not cite. Schweighauser, Philipp and Peter Schneck. "Introduction: The American and the European DeLillo." Terrorism, Media, and the Ethics of Fiction: Transatlantic Perspectives on Don DeLillo. Ed. Schneck and Schweighauser. New York: Continuum, 2010. 1-15. The published version of this essay is available here: http://www.bloomsbury.com/us/terrorism-media-and-the-ethics-of-fiction- 9781441139931/ Prof. Dr. Philipp Schweighauser Assistant Professor and Head of American and General Literatures Department of English University of Basel Nadelberg 6 4051 Basel Switzerland Phone Office: +41 61 267 27 84 Phone Secretary: +41 61 267 27 90 Fax: +41 61 267 27 80 Email: [email protected] Schweighauser and Schneck 2 Prof. Dr. Peter Schneck Director of the Institute for English and American Studies University of Osnabrück Neuer Graben 40 Room 123 D-49069 Osnabrück Germany Phone: +49 541 969 44 12 or +49 541 969 60 42 Fax: +49 541 969 42 56 Email: [email protected] Introduction: The American and the European DeLillo Philipp Schweighauser and Peter Schneck In Mao II (1991), Don DeLillo lets his protagonist, the novelist Bill Gray, speak words that have been read as eerily prophetic in the aftermath of 9/11: "Years ago [...] I used to think it was possible for a novelist to alter the inner life of the culture. Now bomb-makers and gunmen have taken that territory. They make raids on human consciousness" (41). While the collective imagination of the past was guided, DeLillo seems to suggest, by the creative order and ethos of narrative fictions told by novelists, our contemporary fantasies and anxieties are completely controlled by the endless narratives of war and terror constantly relayed by the mass media. -
Counternarratives and Double Vision in Don Delillo's 'Falling Man'
"The days after" and "the ordinary run of hours": counternarratives and double vision in Don DeLillo's 'Falling Man' Article Published Version Brauner, D. (2009) "The days after" and "the ordinary run of hours": counternarratives and double vision in Don DeLillo's 'Falling Man'. Review of International America Studies, 3/4 (3/1). pp. 72-81. ISSN 1991-2773 Available at http://centaur.reading.ac.uk/22038/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.iasaweb.org/publications/rias.html Publisher: International American Studies Association All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Review of International American Studies ‘THE days after’ and ‘THE ordinary run of Hours’: counternarratives and double vision in Don DELillo’S FALLING MAN David Brauner The University of Reading The publication in 2007 of Don DeLillo’s fourteenth novel, Falling Man, was keenly anti- cipated and then indifferently received. As many reviewers observed, DeLillo had already dealt in previous novels with the issues that 9/11 seemed to crystallize: inter- national terrorism, the global impact of American politics and culture, the relationship between the media television—in particular—and the events on which it reports. Cit- ing a number of examples (the Happy Valley Farm Commune in Great Jones Street (1973), the Radical Matrix in Running Dog (1978), Ta Onómata in The Names (1982)), John Leon- ard points out that terrorist groups are ubiquitous in DeLillo and argues that ‘some kind of 9/11 was always implicit’ in his work (Leonard, 2007: 1). -
Convergence: the Meeting of Technology and Art in Don Delillo's Cosmopolis and Zero K
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 5-3-2017 CONVERGENCE: THE MEETING OF TECHNOLOGY AND ART IN DON DELILLO’S COSMOPOLIS AND ZERO K Jay Shelat Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Recommended Citation Shelat, Jay, "CONVERGENCE: THE MEETING OF TECHNOLOGY AND ART IN DON DELILLO’S COSMOPOLIS AND ZERO K." Thesis, Georgia State University, 2017. https://scholarworks.gsu.edu/english_theses/216 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONVERGENCE: THE MEETING OF TECHNOLOGY AND ART IN DON DELILLO’S COSMOPOLIS AND ZERO K by JAY SHELAT Under the Direction of Christopher Kocela, PhD ABSTRACT This thesis explores the roles of art and technology in Don DeLillo’s novels Cosmopolis and Zero K. DeLillo’s works combine art and technology through their depictions of protagonists whom I characterize as rogue capitalists. In Cosmopolis, Eric Packer is a rogue capitalist who yearns to escape the world of financial speculation after seeing a horrific event, while in Zero K, the rogue capitalist figure, Ross Lockhart, wishes to leave the contemporary era by freezing his body. Both characters become “rogues” because they seek to escape the capitalist environment that has made them, and -
Don Delillo and Tv Buddha: a Discourse on Filmic and Televisual
DON DELILLO AND TV BUDDHA: A DISCOURSE ON FILMIC AND TELEVISUAL MODELS OF CONSCIOUSNESS by JACOB WATSON (Under the Direction of Jed Rasula) ABSTRACT This thesis interprets Don DeLillo's more recent novels and video artist Nam June Paik's video installation TV Buddha as parallel critiques of the presentation of media and consciousness in Western thought. It argues that Western philosophy has used the dominant visual media technology of the given era as a conceptual model for understanding human cognition and perception since Plato. It then gives a thorough analysis of Paik's TV Buddha, leading to the conclusion that the work is a Buddhist deconstruction of Cartesian consciousness that reveals the vanity and circularity of the traditional Cartesian way of imagining human cognition. Finally, it attempts to show that a similar critique runs through DeLillo's work in the form of a career-long exploration of the relationship between media and consciousness that culminates in three works, Cosmopolis, Falling Man, and Point Omega, that strongly critique the use of technological media as models for consciousness. INDEX WORDS: Cartesian Theater, Consciousness, Don DeLillo, Film, Media Theory, Nam June Paik, Point Omega, Television, TV Buddha DON DELILLO AND TV BUDDHA: A DISCOURSE ON FILMIC AND TELEVISUAL MODELS OF CONSCIOUSNESS by JACOB WATSON B.A., The University of Georgia, 2009 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2011 © 2007 Jacob Watson All Rights Reserved DON DELILLO AND TV BUDDHA: A DISCOURSE ON FILMIC AND TELEVISUAL MODELS OF CONSCIOUSNESS by JACOB WATSON Major Professor: Jed Rasula Committee: Hugh Ruppersburg Christopher Pizzino Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2011 iv TABLE OF CONTENTS Page LIST OF FIGURES ........................................................................................................................v I. -
The Angel Esmeralda
Donald Richard "Don" DeLillo (born November 20, 1936) is an American nove- list, playwright and essayist. His works have covered subjects as diverse as television, nuclear war, sports, the complexities of language, performance art, the Cold War, mathematics, the advent of the digital age, politics, economics, and global terrorism. Initially a well-regarded cult writer, the publication in 1985 of White Noise brought him widespread recognition, and was followed in 1988 by Libra, a bestseller. DeLillo has twice been a Pulitzer Prize for Fiction finalist (for Mao II in 1992 and for Underworld in 1998), won the PEN/Faulkner Award for Mao II in 1992 (receiving a further PEN/Faulkner Award nomination for The Angel Esmeralda in 2012), was granted the PEN/Saul Bellow Award for Achie- vement in American Fiction in 2010, and won the inaugural Library of Congress Prize for American . Fiction in 2013. DeLillo has described his fiction as being concerned with "living in dangerous times", and in a 2005 interview declared, "Writers must oppose systems. It's important to write against power, corporations, the state, and the whole system of consumption and of debilitating entertainments. I think writers, by nature, must oppose things, oppose whatever power tries to impose on us. DeLillo's first collection of short stories, The Angel Esmeralda: Nine Stories, co- vering short stories published between 1979 and 2011, was published in No- vember 2011. It's impossible not to get a sense of déjà vu reading "The Angel Esmeralda," the first book of short stories in Don DeLillo's 40-year career.