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Journal articles on the topic 'Bret Easton Ellis'

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Published: 4 June 2021

Last updated: 20 February 2023

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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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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

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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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11

Watkiss, Joanne. "The horror of inheritance: poisonous lineage in Bret Easton Ellis' Lunar Park." Horror Studies 1, no. 2 (November 1, 2010): 241–52. http://dx.doi.org/10.1386/host.1.2.241_1.

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Lunar Park presents the reader with a revisiting of the classic themes of Shakespeare's Hamlet. In this text, the son is presented with the spectre of the father after he has ignored the wishes outlined in his last Will and Testament. Ellis deliberately alludes to issues inherent to the gothic the invalid Will; the castle; themes of inheritance manufacturing a textual space that is repeatedly disturbed. Through the return of the father and the dislocation of linearity, the notion of fatherson inheritance becomes impossible. Through the recurrent emblem of poison in Hamlet, inheritance can be u

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12

Martin, T. "The Privilege of Contemporary Life: Periodization in the Bret Easton Ellis Decades." Modern Language Quarterly 71, no. 2 (January 1, 2010): 153–74. http://dx.doi.org/10.1215/00267929-2010-003.

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13

Godden, R. "Bret Easton Ellis, Lunar Park, and the Exquisite Corpse of Deficit Finance." American Literary History 25, no. 3 (May 14, 2013): 588–606. http://dx.doi.org/10.1093/alh/ajt018.

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14

Sári, László B. "Transgression in the works of Bret Easton Ellis: the case of Imperial bedrooms." Neohelicon 42, no. 2 (October 12, 2015): 481–90. http://dx.doi.org/10.1007/s11059-015-0314-9.

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15

Dumas, Frédéric. "Copycat: Duplication and Creation in American Psycho and Lunar Park by Bret Easton Ellis." ELOPE: English Language Overseas Perspectives and Enquiries 5, no. 1-2 (June 16, 2008): 101–12. http://dx.doi.org/10.4312/elope.5.1-2.101-112.

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As the hypotext of Lunar Park (2005), American Psycho (1991) provides many interpretative keys to Bret Easton Ellis’s pseudo autobiographical work. In harmony with the playful spirit of postmodernism, the diegetic author behaves like the conjurers who disclose the tricks of their trade without destroying the essence of their magic. His universe is greatly identical to that of his fiction and the summaries of his preceding books duplicate the same text, thereby questioning the nature of creation. This paper starts by bringing to light Ellis’s conjuring tricks, before considering the relevance o

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16

Hein, Claudia. "Kannibalische Katharsis. Literarische und filmische Inszenierungen der Anthropophagie von James Cook bis Bret Easton Ellis." Poetica 38, no. 1-2 (December 20, 2006): 200–206. http://dx.doi.org/10.30965/25890530-038-01-02-90000011.

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17

Vincent-Arnaud, Nathalie. "Cartographie du vide : les "non-lieux" de l’espace américain dans The Informers de Bret Easton Ellis." Caliban, no. 19 (June 1, 2006): 107–16. http://dx.doi.org/10.4000/caliban.2407.

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18

Panova, Olga Yu. "American underground spirit: Dostoevsky’s Notes From Underground and the 20th century USA literature." Izvestiya of Saratov University. Philology. Journalism 21, no. 4 (November 22, 2021): 412–19. http://dx.doi.org/10.18500/1817-7115-2021-21-4-412-419.

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F. Dostoevsky’s Notes from Underground (1864) exerted a considerable influence on American literature since 1940s. The works by outstanding authors beginning with Saul Bellow (Dangling Man, 1944) or Jerome Salinger’s prose and up to Bret Easton Ellis (American Psycho, 1991), Percy Walker, David Foster Wallace, show a persistent fascination of American writers with the novella and are based on re-reading and re-interpreting Dostoevsky’s ideas, motives and imagery.

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19

Philipson, Lotte. "Kronik og publikationer." Magasin fra Det Kongelige Bibliotek 23, no. 4 (December 1, 2010): 52–75. http://dx.doi.org/10.7146/mag.v23i4.66689.

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Indhold: Bøger og bibliotek; Ny bog om Småtrykssamlingen i Det Kongelige Bibliotek; H.O. Lange-Prisen for stor H.C. Ørsted-biografi; H.C. Andersens livsrejse med vennerne; Det Kongelige Bibliotek på nettet; Danske bøger op til 1600 nu på nettet; Luftfoto over Danmark 1944; Udstillinger; Foredrag; International forfatterscene; Bret Easton Ellis; Philip Pullman; A.S. Byatt; Fay Weldon; Herta Müller; Kulturnat i Den Sorte Diaman; Slaget ved Als og Dybbøl; Forfatteren Tom Buk-Swienty; Musik; Erhvervelser; Kongeligt biblioteksbord hos Royal Copenhagen; Publikationer

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20

Poręba, Izabela. "Podmioty moralności. Studium porównawcze opowieści o mordercach („African Psycho’ Alaina Mabanckou i „American Psycho” Breta Eastona Ellisa)." Tematy i Konteksty 16, no. 11 (2021): 564–82. http://dx.doi.org/10.15584/tik.2021.35.

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The article is a comparative study of two stories about murderers, characters of the novels “African Psycho” (2003) by Alain Mabanckou and “American Psycho” (1991) by Bret Easton Ellis. The similarities in the construction of the main characters – fascination with popular culture, brutality and vulgarity, identity problems and interest in famous serial killers – are evidence of Mabanckou’s intertextual play with a popular American novel. The essence of this play, however, is rather the moments of distinguishing and negotiating with the original text, among them: cultural, social, economic and

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21

Mendes Baiao, Helder. "L'indice de l'horreur chez Bret Easton Ellis. Le Los Angeles ville morte de Moins que zéro et Suite(s) impériale(s)." A contrario 20, no. 1 (2014): 143. http://dx.doi.org/10.3917/aco.141.0143.

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22

Cain, Ruth. "“Imperfectly Incarnate”: Father Absence, Law and Lies in Bret Easton Ellis’ Lunar Park and John Burnside’s A Lie About My Father." Law, Culture and the Humanities 10, no. 1 (September 12, 2011): 130–54. http://dx.doi.org/10.1177/1743872111416924.

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23

Češčut, Romi. "Generation X in Slovenia(n)." Acta Neophilologica 43, no. 1-2 (December 31, 2010): 93–105. http://dx.doi.org/10.4312/an.43.1-2.93-105.

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Addressing themes of family, interpersonal relationships, historicity, jobs, religion, and apocalypse Generation X narrative includes works by young American writers in the 80s and 90s of the twentieth century. The search for oneʹs identity in urban landscape is heavily influenced by mass media, pop culture and consumerism. Slovenian press and professional literature provided only scarce response to Generation X fiction which is also influenced by the ambiguity of the term Generation X and the essence of its culture and literature, which is also true for American literary criticism. The paper

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24

Saraiva, Jefferson De Moura. "Painful Lust: Status and Consumerism in American Psycho." Anuário de Literatura 23, no. 2 (November 9, 2018): 109–19. http://dx.doi.org/10.5007/2175-7917.2018v23n2p109.

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Em um mundo de constante mudança e progresso material, a busca pelo conforto e conveniência leva a humanidade à produzir e consumir mais e mais. No entanto, o cenário ideal nunca é alcançado pois as mercadorias, bens e serviços são rapidamente substituídos por versões atualizadas. Esse processo causa ansiedade nos indivíduos, deixando-os estagnados em um mundo de luxúria, satisfação e insatisfação. No presente artigo, esse processo é analisado dentro do romance American Psycho de Bret Easton Ellis. Em um retrato da geração yuppie, vivendo na Nova Iorque dos anos 80, o romance oferece um intrig

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25

Díaz Gito, Manuel Antonio. "Shame (2011) de Steve McQueen. El cine en segundo grado: la hipertextualidad." Fotocinema. Revista científica de cine y fotografía 2, no. 19 (July 22, 2019): 213. http://dx.doi.org/10.24310/fotocinema.2019.v2i19.6653.

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El objetivo de este trabajo es proponer la existencia de una relación transtextual de hipertextualidad entre Shame (2011), película dirigida por el director británico Steve McQueen, y American Psycho de Mary Harron (2000), adaptación cinematográfica de la novela homónima de Bret Easton Ellis (1991). El fundamento de esta hipótesis descansa tanto en la similitud de los respectivos argumentos y de los recursos cinematográficos (estructurales, transtextuales y retóricos) empleados en las dos películas, como en la intención artística de los cineastas. En un trabajo subsiguiente, se identificará y

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26

Hein, Claudia. "Christian Moser: Kannibalische Katharsis. Literarische und filmische Inszenierungen der Anthropophagie von James Cook bis Bret Easton Ellis (Aisthesis Essay. 18). Bielefeld: Aisthesis Verlag, 2005. 124 S." Poetica 38, no. 1-2 (June 27, 2006): 200–206. http://dx.doi.org/10.30965/25890530-0380102010.

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27

Caracciolo, Marco. "Unknowable Protagonists and Narrative Delirium in American Psycho and Hotline Miami: A Case Study in Character Engagement Across the Media." Acta Universitatis Sapientiae, Film and Media Studies 9, no. 1 (December 1, 2014): 189–207. http://dx.doi.org/10.1515/ausfm-2015-0010.

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Abstract Empathetic perspective-taking is one of the main psychological mechanisms behind audiences’ engagement with narrative (Coplan 2004; Eder 2006). What happens, however, when a story confronts with a character whose emotions, motivations, and beliefs we fail to understand? This paper examines the phenomenon of “unreadable minds” (Abbott 2008) from a transmedial perspective: how do audiences relate to a character who defies all attempts at making sense of his or her identity despite being the main focus of a narrative? My case studies - the novel American Psycho (1991) by Bret Easton Elli

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28

Mora González, Lucía. "El narrador testigo en "Less than zero": la nueva novela norteamericana de los 80." Estudios Humanísticos. Filología, no. 10 (December 1, 1988): 187. http://dx.doi.org/10.18002/ehf.v0i10.4350.

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<p>Cuando Bret Easton Ellis publicó en el año 1985 «Less Than Zero», no se imaginó que su narración iba a tener éxito editorial. La acción de la novela se desarrolla en Los Angeles, constituyendo la obra de Ellis un retrato de una generación joven, que experimenta tempranamente con el sexo, las drogas y la desolación. "Less Than Zero" (título de una canción amarga de Elvis Costello) narra las vivencias de un joven estudiante que regresa a su casa de Los Angeles, para pasar las vacaciones de Navidad junto a sus padres. Clay relata cómo sus vacaciones se convierten en una vertiginosa espir

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29

Connolly, William E. "Fake News and the Complexity of Things." Zeitschrift für Medien- und Kulturforschung 9, no. 1 (2018): 49–54. http://dx.doi.org/10.28937/1000108091.

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Recently, the effort to counter Fake News faced a counter attack: academic »postmodernism « and »social constructivism« it was said—because they say that facts are soaked in prior interpretations—are either purveyors of Fake News or set the cultural context in which it flourishes. They do so by undermining confidence in inquiry governed by simple facts. That is erroneous, argues William E. Connolly, because postmodernism never said that facts or objectivity are ghostly, subjective or »fake«. However, that what was objective at one time may become less so at a later date through the combination

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30

Lang, Colin. "Garden-Variety Formalist." Zeitschrift für Medien- und Kulturforschung 9, no. 1 (2018): 55–60. http://dx.doi.org/10.28937/1000108092.

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Recently, the effort to counter Fake News faced a counter attack: academic »postmodernism « and »social constructivism« it was said—because they say that facts are soaked in prior interpretations—are either purveyors of Fake News or set the cultural context in which it flourishes. They do so by undermining confidence in inquiry governed by simple facts. That is erroneous, argues William E. Connolly, because postmodernism never said that facts or objectivity are ghostly, subjective or »fake«. However, that what was objective at one time may become less so at a later date through the combination

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31

Kobylin, Igor Igorevich. "Ellis Bret Easton." Общенациональный интерактивный энциклопедический портал "Знания", no. 4 (2022). http://dx.doi.org/10.54972/00000027_2022_4_27.

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32

"Bret Easton Ellis: American psycho, Glamorama, Lunar Park." Choice Reviews Online 49, no. 04 (December 1, 2011): 49–1905. http://dx.doi.org/10.5860/choice.49-1905.

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33

Phillips, Jennifer Anne. "Closure through Mock-Disclosure in Bret Easton Ellis’s Lunar Park." M/C Journal 12, no. 5 (December 13, 2009). http://dx.doi.org/10.5204/mcj.190.

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In a 1999 interview with the online magazine The AV Club, a subsidiary of satirical news website, The Onion, Bret Easton Ellis claimed: “I’ve never written a single scene that I can say took place, I’ve never written a line of dialogue that I’ve heard someone say or that I have said” (qtd. in Klein). Ten years later, in the same magazine, Ellis was reminded of this quote and asked why most of his novels have been perceived as veiled autobiographies. Ellis responded:Well, they are autobiographical in the sense that they reflect who I was at a particular moment in my life. There was talk of a me

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34

Giles, Todd. "“Of coyotes and werewolves: Bret Easton Ellis’ Less Than Zero”." Explicator, January 2, 2023, 1–4. http://dx.doi.org/10.1080/00144940.2022.2164168.

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35

ALLADAYE, René. "De Bateman à Bacon : surface et profondeur dans deux romans de Bret Easton Ellis." E-rea, no. 1.1 (June 19, 2003). http://dx.doi.org/10.4000/erea.140.

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36

BARRÈRE, Sophie. "Dans le creux de l’écrit se crée la créature. Le personnage récurrent dans l’œuvre de Bret Easton Ellis." E-rea, no. 13.1 (December 14, 2015). http://dx.doi.org/10.4000/erea.4668.

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37

Fulda, Daniel. "Christian Moser: Kannibalische Katharsis. Literarische und filmische Inszenierungen der Anthropophagie von James Cook bis Bret Easton Ellis (Aisthesis Essays, 18)." Archiv für das Studium der neueren Sprachen und Literaturen, no. 2 (October 1, 2006). http://dx.doi.org/10.37307/j.1866-5381.2006.02.40.

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38

Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (November 1, 2006). http://dx.doi.org/10.5204/mcj.2657.

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   1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the

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39

Ettler, Justine. "When I Met Kathy Acker." M/C Journal 21, no. 5 (December 6, 2018). http://dx.doi.org/10.5204/mcj.1483.

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I wake up early, questions buzzing through my mind. While I sip my morning cup of tea and read The Guardian online, the writer, restless because I’m ignoring her, walks around firing questions.“Expecting the patriarchy to want to share its enormous wealth and power with women is extremely naïve.”I nod. Outside the window pieces of sky are framed by trees, fluffy white clouds alternate with bright patches of blue. The sweet, heady first wafts of lavender and citrus drift in through the open window. Spring has come to Hvar. Time to get to work.The more I understand about narcissism, the more I u

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40

Hadley, Bree, and Rebecca Caines. "Negotiating Selves: Exploring Cultures of Disclosure." M/C Journal 12, no. 5 (December 13, 2009). http://dx.doi.org/10.5204/mcj.207.

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If identity is a construct—and, more critically, a construct defined and developed through relationships with others in public and private spheres—then an understanding of the processes, mechanisms and platforms by which individuals disclose information about themselves is crucial in understanding the way identity, community and culture function, and the way individuals can intervene in the functioning of culture.In this issue of M/C Journal, contributors from the U.S., U.K., and Australia consider the personal, professional and social consequences of disclosure in autobiographical art, commun

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41

King, Ben. "It's a Scream." M/C Journal 1, no. 5 (December 1, 1998). http://dx.doi.org/10.5204/mcj.1733.

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Why do so many horror films feature the young, pretty and prosperous at the business end of a carving knife? A few examples include Scream 2 (1998), I Know What You Did Last Summer (1997), Scream (1997), and The Hand That Rocks The Cradle (1992). In fact, the propensity for Hollywood to portray the narcissistic bourgeoisie being deprived of their pretensions has been around since Murnau sent a real estate agent to a vampire's house in 1922. But there are fundamental differences between horror films like Nosferatu (1922) or Psycho (1961) and the films mentioned above. The purpose of this essay

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42

Leggett, Andrew, and Donna Hancox. "filth." M/C Journal 9, no. 5 (November 1, 2006). http://dx.doi.org/10.5204/mcj.2655.

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   ‘Now if you take the ugly,’ he continued, ‘or the deformed, or the old, and transcend your natural revulsion by uniting with it aesthetically – sometimes even physically – a rare ecstasy results which generates great magical potential.’ – John Scott, ‘Preface’ In our editorial call for submissions we set the parameters for a discourse of ‘filth’ based in the creative work of Australian poet and novelist John Scott and the psychoanalytic theoretical frame of Julia Kristeva’s work on the aesthetics of abjection, as set out in Powers of Horror. Following Scott’s alchemical im

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