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Fawver, Kurt D. "Destruction in search of hope: Baudrillard, simulation, and Chuck Palahniuk's Choke." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1219269969.
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Thesis (M.A.)--Cleveland State University, 2008. Thesis (M.S.)--Cleveland State University, 2008.Abstract. Title from PDF t.p. (viewed on Jan. 13, 2009). Includes bibliographical references (p. 37). Available online via the OhioLINK ETD Center. Also available in print.
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Takehana, Elisabet 'Osk. "Chuck Palahniuk and Jean Baudrillard: The terminal state of human subjectivity." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3039.
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Examines Chuck Palahniuk's novel Invisible monsters using the theories of Jean Baudrillard as a lens through which to better understand Palahniuk's commentary on the effects mass media have on human subjectivity in the terminal state.
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Allison, Vanessa L. "Phantasies of a fractured identity unconscious resistance in committing to a pluralized identity in Nathanial [i.e.] Nathaniel Hawthorne's Blithedale romance and Chuck Palahniuk's Fight club /." View electronic thesis (PDF), 2009. http://dl.uncw.edu/etd/2009-1/allisonv/vanessaallison.pdf.
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Rabelo, Lorena Melo. "Transgressão e tradução : o elemento transgressivo no texto literário e o caso de Chuck Palahniuk." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/24203.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2017.Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-08-11T16:00:42Z No. of bitstreams: 1 2017_LorenaMeloRabelo.pdf: 1781459 bytes, checksum: 30c7c607489cb0ec52d4dbf538a49bea (MD5)
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A presente pesquisa aborda a Ficção Transgressiva, gênero ainda pouco estudado pela teoria e crítica literárias e menos ainda pelos Estudos de Tradução, mas que caracteriza um grande número de obras da literatura ocidental contemporânea. Pretende-se analisar o elemento transgressivo no texto literário a partir dos princípios de transgressão apresentados por Michel Foucault em seu ensaio “Prefácio à transgressão” (2009), chegando enfim às mais recentes reflexões teóricas, que veem a transgressão como um elemento inerente ao exercício literário, uma versão moderna da sátira (com função de incentivar e operar mudanças sociais), caso de M. Keith Booker (1991) e Robin Mookerjee (2013). Para tal, traçamos um panorama histórico do surgimento e amadurecimento da ficção transgressiva na literatura norte-americana, polissistema literário com o qual escolhemos trabalhar, a fim de tentar compreender de que forma esse gênero chegou às mãos dos leitores brasileiros e por qual motivo tem sido cada vez mais traduzida para o português. Em seguida, introduzimos o autor e a obra que selecionamos para a pesquisa: Chuck Palahniuk, escritor transgressivo norte-americano, e sua primeira coletânea de contos Make something up: stories you can’t unread (2015), que reúne um total de vinte e dois contos e uma novela, dentre os quais foram analisados e traduzidos “Knock-knock”, “How Monkey got married, bought a house and found happiness in Orlando”, “Zombies” e “Loser”. Tratam-se de textos sensíveis, vanguardistas e polêmicos também no que concerne o uso da língua e estrutura textual, que permitem uma grande variação de estilos, recursos linguísticos e literários, enredos, temas abordados, entre outros aspectos. A partir da tradução desses textos, tecemos comentários sobre como se dá a reescrita de textos transgressivos em português, de que forma ela pode se mostrar desafiadora para o tradutor e que estratégia de tradução desenvolvemos e aplicamos no processo tradutório.
This research study focuses on Transgressive Fiction, a genre seldom approached in literary criticism and theories, even more rarely so in Translation Studies, but one that accounts for a considerable number of works in contemporary Western literature. The transgressive element shall be herein analyzed according to the transgressive principles presented by Michel Foucault in his essay “A Preface to Transgression” (2009), finally covering some recent theoretical reflections that see transgression as an inherent element to the literary exercise - as a modern version of satire, it has the function of encouraging and operating social changes –, as do the works of M. Keith Booker (1991) and Robin Mookerjee (2013). In order to do so, we provide a historical overview regarding how transgressive fiction has come into being and grown in American literature, the literary polysystem we chose to work with, as a way of understanding how come Brazilian readers are now reading this gender and why it is being progressively more translated into Portuguese. The next step is to present the author and work of fiction chosen for the research: Chuck Palahniuk, American transgressive writer, and his first collection of short stories, Make something up: stories you can’t unread (2015). It gathers together twenty-two short stories and a novella, among which we have analysed and translated “Knock-knock”, “How Monkey got married, bought a house and found happiness in Orlando”, “Zombies” and “Loser. Those texts are also sensitive, innovative, and controversial regarding the language use and textual structure, which bring about a wide variety of styles, linguistic and literary resources, plots, themes, among other aspects. Finally, based on the translation and analysis of these texts, we have commented on how transgressive texts are rewritten in Portuguese, how they can present themselves as a challenge for translators and what we have developed and applied as translation strategies in the translation process.
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d'Hont, Coco. "Brutal bodies : exploring transgression through the fiction of Chuck Palahniuk, Poppy Z. Brite, and Bret Easton Ellis." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/59676/.
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This thesis explores how American transgressive fiction of the 1990s represents and interrogates transgressive processes in its extra-textual context. It shows in what ways transgressive fiction visualizes how transgression functions, not simply as a counter-cultural phenomenon, but more as a central social mechanism. The thesis makes four contributions. First, it critically assesses existing definitions of transgression as counter-cultural, instead conceptualizing transgression as a mechanism which (re)develops central social ideologies. The project traces how the transgression of ideological boundaries forms a cyclical process which (re)produces ideological frameworks. Second, the thesis uses this re-definition to explore 1990s transgressive fiction in its social context. The study investigates how the late 1980s, characterized by phenomena such as neoliberal politics and the HIV/AIDS epidemic, inspired transgressive fiction produced during the 1990s. Thirdly, the thesis constructs an interdisciplinary methodological approach to dissect how the body came to play a crucial role in this context as a site through which transgression occurred. Drawing from biopolitical and queer theory, the study deepens the understanding of transgression as both a literary phenomenon and a socio-political process. Finally, the thesis compares the work of three transgressive authors whose work has not yet been analysed together in depth. It analyses the fiction of Bret Easton Ellis and Chuck Palahniuk in combination with that of Poppy Z. Brite, an author who has, in comparison, been neglected by academia. The analysis results in an increased understanding of the dynamics of transgression in 1990s American fiction and society, showing that transgression is a cyclical process which reproduces and subsequently dissolves ideological boundaries, a practice which results in a temporary crisis which ultimately enables the (re)development of ideologies. The thesis concludes that transgressive fiction of the period represents, exaggerates and interrogates transgression as a cyclical process which (re)configures ideologies in its extra-textual context.
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Baker, James Andrew. "Necessary evil: rhetorical violence in 20th century American literature." Diss., Texas A&M University, 2003. http://hdl.handle.net/1969.1/5766.
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Wayne Booth and other rhetorical critics have developed methods for examining the rhetorical aspects of fiction. In this dissertation, I examine, specifically, the use of rhetorical violence in American fiction. It is my premise that authors use rhetorical violence and the irrationality of violence created mimetically to construct ironic metaphors that comment on the irrationality of the ideology behind the violence, pushing that ideology's maxims to its logical ends. The goal of rhetorical violence, therefore, is to create the conditions for a transfer of culpability so that the act becomes transitive-transferable-loosed from its moorings. Culpability, if indeed it reflects something intrinsically awry with an ideology, becomes the fault of the ideology-ÃÂÃÂit becomes the perpetrator of illogic and the condemnatory force associated with the act of violence gets transferred to it. Hence, if the author has created an effective metaphor, when he or she flips the violent scene'ÃÂÃÂs "ÃÂÃÂvalue," the audience is willing to follow along. The violence remains a great evil, but the culpability for the act is shifted to a representative of the ideology in question-as-victimizer; nonetheless, that transfer can only occur inasmuch as the audience is willing to force-fit the incongruities of the metaphor.I examine this rhetorical phenomenon in the works of three modern American writers: Flannery O'Connor, Toni Morrison, and Chuck Palahniuk. I seek to examine the ideologies questioned in these works, the contradictory beliefs expressed by the authors, and to explicate primary episodes in the works of fiction wherein rhetorical violence functions in a rhetorical fashion to promulgate the author's ideology by emotionally jarring the reader loose from commonly-held ideological assumptions in three specific appeals: first, to negate one socially-held ideology in order to promote a conflicting one (Wise Blood); second, to elicit compassion for victimized characters representing social ills (Beloved); third, to call into question the validity of social institutions and practices (Fight Club).
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Woolridge, Robert E. "CONFRONTING MASCULINITY: THE GEN X NOVEL (1984-2000) AND THE SENTIMENTAL MAN." OpenSIUC, 2019. https://opensiuc.lib.siu.edu/dissertations/1670.
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Experimental novels written from 1984-2000 by authors associated with Generation X collectively struggle with common sense notions of masculinity in their various decades at the end of the twentieth century. Relying on confessional, first-person narration, first novels written by white men stage a critical engagement of outdated patriarchal norms in an effort to produce a more progressive masculinity based on sentimentality. In the 1980s, McInerney and Ellis novels, Bright Lights, Big City and Less Than Zero chronicle the struggles of empty, yuppie men who cannot make connections with their peers due to their emotionally devoid lives. By the 1990s, Douglas Coupland proposes a new, sentimental masculinity with his protagonist Andy who narrates Generation X: Tales for an Accelerated Culture. Andy creates sympathetic connections with his peers through the act of confessional storytelling. Chuck Palahniuk’s Fight Club does similar cultural work as Coupland’s novel by creating an anti-sentimental, nameless narrator so bereft of emotion that he creates a hypermasculine alter-ego and violent groups to avoid the emotional emptiness of his life. Finally, Dave Eggers’s A Heartbreaking Work of Staggering Genius (2000) produces the most progressive, evolved masculine narrator, Dave, who spends the entire novel coming to terms with the death of his parents while raising his brother as a son. The novels, in both content and form, become more complex and richer reflecting the development of their protagonists and their philosophical arguments for progressing into sentimental men.
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Wiker, Jacob Thomas. "Romance and Identity in Fight Club." Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1377205985.
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Zanini, Claudio Vescia. "The orgy is over : phantasies, fake realities and the loss of boundaries in Chuck Palahniuk's Haunted." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/36013.
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Este trabalho tem por objetivo apresentar o romance Assombro, de Chuck Palahniuk, como retrato e sintoma do comportamento da sociedade pós-moderna ocidental, cujos valores correspondem, de acordo com palavras do próprio autor, ao “inverso do sonho americano”. A principal característica de tal sociedade é a dificuldade dos indivíduos em lidar com as exigências e constantes mudanças nos âmbitos individual, social e psicológico, o que se configura na obra do escritor estadunidense através de personagens marginais em busca (na maioria das vezes, aparentemente inconsciente) de autoaceitação ou adaptação social. A leitura desenvolvida aqui se baseia principalmente nos escritos do teórico francês Jean Baudrillard, que apresenta o pressuposto de que o mundo contemporâneo encontra-se num estado de “pós-orgia”, assombrado por três fantasmas que o teórico chama de câncer, travesti e terrorismo, os quais simbolizam questões sociais contemporâneas relacionadas à política, sexualidade, comunicação e relacionamentos humanos, entre outros aspectos. Os conceitos de Baudrillard que norteiam a análise são: 'estado de pós-orgia', 'hiperrealidade', 'simulação', 'virulência' e 'sedução' e 'fantasmas'. O trabalho também apresenta as características da literatura de Chuck Palahniuk e sua recém-iniciada fortuna crítica, apontando os principais aspectos da sociedade pós-moderna presentes em suas obras e culminando em um cotejo de Assombro com o gótico e sua vertente pós-moderna, além de uma comparação entre a dinâmica estabelecida entre as personagens do romance e aquela percebida nos reality shows e falsos documentários (mock-documentaries). A conclusão retoma aspectos na estrutura, imaginário e conteúdo do romance, que permitem defini-lo como retrato e sintoma de uma nova configuração social, resultado das inevitáveis mudanças por que o mundo passa.This dissertation aims at presenting Chuck Palahniuk‟s novel Haunted as a portrait and symptom of the behavior perceived in the postmodern Western society, whose values, according to the author himself, correspond to “the opposite of the American Dream”. The main characteristic of such society is the individuals‟ difficulty in dealing with demands and constant changes in the individual, social and psychological spheres, a fact observed in the work of this American writer through the presence of marginal characters in a more often than not apparently unconscious search of self-acceptance or social adaptation. The reading proposed is mainly based on the writings of French theoretician Jean Baudrillard, who presents the assumption that the contemporary world is in a “post-orgy” state, haunted by three phantasies he denominates cancer, transvestitism and terrorism, which symbolize contemporary social issues related to politics, sexuality, communication and human relationships, among other aspects. The concepts by Baudrillard that underlie the analysis are: 'post-orgy state', 'hyperreality', 'simulation', 'virulence', 'seduction' and 'phantasies'. The work also presents the features of the literature produced by Chuck Palahniuk and its newly-started critical fortune, highlighting the main aspects of postmodern society present in his works, culminating with an approximation of Haunted to the postmodern variation of Gothic literature, besides a comparison between the dynamics established among the characters in the novel to the one perceived in reality shows and mock-documentaries. The conclusion strengthens aspects in the structure, imaginary and content of the novel that enable the definition of Haunted as portrait and symptom of a new social organization, resulting from the inevitable changes the world goes through.
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Hurtig, David. "Violent Discoveries : Three theories on the protagonist's journey towards self-discovery through the use of violence in Chuck Palahniuk‟s Fight Club." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-8297.
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The following essay analyzes the novel Fight Club by Chuck Palahniuk from three different perspectives; Marxism/capitalism, masculinity, and the Oedipal complex. The aim is to understand why the protagonist in the novel uses violence as a means of expression. In the end it is concluded that all three perspectives are important factors when trying to understand the character's violent behavior.
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Garcia, Jeanette. "Deconstructing Domesticity and the Advent of a Heterotopia in Chuck Palahniuk's Lullaby." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/581.
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Chuck Palahniuk’s Lullaby is a novel that evaluates modern spaces both abstract and physical, especially in regards to an individual’s experience in and attachment to domestic, regulated space as a source of identity, intimacy, and spatial representation. My thesis demonstrates how the destabilization of domestic space as a result of loss and grief led the characters of the novel to question their normative perceptions of space, and in turn, incited them to produce a new kind of space, a heterotopia, to compensate for their loss of identity and place in the world. The critical analysis of this text within this thesis demonstrates how Chuck Palahniuk employs his literary style, complex characters, and surreal plot to highlight the significance of how individuals interact and are affected by space, especially in regards to identity and relationships within society, particularly when confronting cognitive dissonance and uncanny affect. By assessing the haunting attributes of domestic space, the heterotopia that arises from cognitive dissonance, and the sentimental traits that anchor us to certain social spaces, readers will be able to value the influence of spatial practice, not only in the novel, but also in everyday life.
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Folio, Jessica Joëlle. "La poétique de l'abjection dans la littérature gothique américaine postmoderne : le cas de Stephen King (1947- ), Peter Straub (1943- ) et Chuck Palahniuk (1962- )." Phd thesis, Université de la Réunion, 2011. http://tel.archives-ouvertes.fr/tel-00716880.
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La littérature est une source d'où jaillissent les flots intarissables du paradoxe ; c'est dans cet entrelacement de dichotomies que nous nous sommes immergées pour percevoir l'unité sous-jacente derrière l'oxymore que constitue le titre de notre thèse : " une poétique de l'abjection dans la littérature gothique américaine postmoderne. " Si nous nous sommes tournées vers Stephen King, Peter Straub et Chuck Palahniuk et avons mis l'accent sur trois de leurs œuvres précises, notre démonstration se veut être transposable à l'ensemble de leurs écrits. Nous nous sommes interrogées sur la nature de l'abjection et sur sa prééminence dans une société américaine portant le sceau du puritanisme. Marqués par le Romantisme et le Gothique anglais, nos auteurs ont su donner aux thématiques caractérisant ces mouvements une voie nouvelle. Situer nos œuvres dans la lignée du gothique postmoderne nous permet d'osciller sur le paradigme de l'excès et de l'incomplétude, de la déconstruction et de l'unité. Le thème de la fragmentation apparaît comme l'un des fils d'Ariane permettant aux auteurs de tisser autour des lecteurs leur toile arachnéenne. Ce démantèlement qui affecte à la fois la dimension narrative et thématique des récits contribue à leur effet patchwork et subversif, nous liant à notre problématique postmoderne. Les paradoxes engendrés par nos récits leur donnent leur force et expliquent leur fascination sur le public. Nos pérégrinations menant à l'ouverture des différentes portes de l'interprétation révèlent que l'abjection devient source d'une nouvelle esthétique. Le laid peut véhiculer de la beauté et du sublime. L'harmonie qui existe dans le monde de la déchéance qui nous est dépeint explique l'emprise hypnotique de la littérature de l'abjection sur le lecteur. Source de poétique, celle-ci procure un plaisir de la lecture quasi jouissif pour ceux qui se laissent transporter par la magie créatrice de nos auteurs.
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Beaulieu, Pierre-Luc. "Transgressing the last frontier : media culture, consumerism, and crises of self-definition in the works of Allen Ginsberg, Don DeLillo, and Chuck Palahniuk." Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/26630.
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Ce mémoire de maîtrise démontre la continuité du mythe de la frontière dans la littérature américaine produite après la Seconde Guerre mondiale et il identifie le concept d'hyperréalité de Jean Baudrillard en tant que nouvelle frontière américaine. L’hyperréalité désigne un monde produit par la simulation et le simulacre que la population perçoit comme étant réel. J’analyserai les poèmes « Howl » (1955), « A Supermarket in California » (1955) et « America » (1956) d'Allen Ginsberg ainsi que les romans Mao II de Don DeLillo (1991) et Survivor (1999) de Chuck Palahniuk afin d’expliquer de quelles manières chacune de ces œuvres dénonce le climat socio-culturel qui produit l’hyperréalité et comment, du même coup, celles-ci récupèrent des éléments du mythe de la frontière. L’organisation chronologique des chapitres me permet d’établir que l’hyperréalité a joué le rôle de nouvelle frontière dans la psyché américaine à partir des années 50 jusqu’à la fin des années 90. L’opposition dialectique entre un Ancien Monde corrompu et un Nouveau Monde utopique, un élément fondamental du mythe de la frontière, est au cœur de chacune des œuvres étudiées. De plus, dans chacune d'elles, le ou la protagoniste parvient à redéfinir le sens de sa réalité en traversant la frontière entre l’Ancien et le Nouveau Monde ce qui évoque la fonction d’autodétermination attachée à la frontière. L’argumentaire de ce mémoire repose sur la notion que l'hyperréalité correspond à l’Ancien Monde et que celle-ci voile l’existence possible d’un Nouveau Monde. Dans les œuvres de Ginsberg, DeLillo et Palahniuk que j’ai choisi d’analyser, la société américaine est assujettie à une hyperréalité qui est omniprésente. Dans cet Ancien Monde, la population s’identifie et se définie par rapport à des images et des produits à la fois fabriqués et célébrés par les médias et la culture de masse. Les protagonistes de ces auteurs s’opposent tous à l’idéologie conformiste et déshumanisante de la société de consommation. Je définis ce rejet comme une réactualisation du mythe de la frontière puisqu’il symbolise le passage entre un Vieux Monde hyperréel et un Nouveau Monde. Dans ce nouveau paradigme, les protagonistes de Ginsberg, DeLillo et Palahniuk sont en mesure d’affirmer leur individualité.This thesis demonstrates the persistence of frontier mythology in post-WWII American literature and identifies Jean Baudrillard’s concept of hyperreality as the new American frontier. Hyperreality designates a world fabricated through simulation and simulacra that people have accepted as real. Through close-reading analyses of Allen Ginsberg’s poems “Howl” (1955), “A Supermarket in California” (1955), and “America” (1956) as well as Don DeLillo’s Mao II (1991) and Chuck Palahniuk`s Survivor (1999), I explain how the critiques of the socio-cultural climate that produces hyperreality present in each of these works recuperate elements of frontier mythology. My chapter organization allows me to establish the persistence of hyperreality as the new frontier in American consciousness from the 1950s to the late 1990s. The dialectical opposition between a corrupt Old World and a utopian New World, which is fundamental to frontier mythology, is central in each the studied works. Also, in each of them, crossing the frontier between the Old and the New World allows the protagonist to re-define the meaning of his/her reality according to his/her vision, which is evocative of the empowering function the frontier. This thesis is founded upon the idea that hyperreality corresponds to the Old World and, as such, that it veils the existence of a possible New World. The American society depicted in Ginsberg’s, DeLillo’s, and Palahniuk’s chosen works is one where hyperreality is omnipresent; in this Old World, individuals identify with images and products both fabricated and celebrated by media and consumer cultures. These authors’ protagonists all oppose the conformist and dehumanizing ideology such cultures endorse. This thesis conceptualizes their rejection as a re-actualization of frontier mythology that symbolizes their passage from the hyperreal Old World to the New World. In this new paradigm, the protagonists can then re-define themselves and their realities based on their own self-determined visions and ideals rather than on those disseminated in media and consumer cultures.
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Embry, Jason Michael. ""Nam-Shub versus the Big Other: Revising the Language that Binds Us in Philip K. Dick, Neal Stephenson, Samuel R. Delany, and Chuck Palahniuk"." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/46.
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Within the science fiction genre, utopian as well as dystopian experiments have found equal representation. This balanced treatment of two diametrically opposed social constructs results from a focus on the future for which this particular genre is well known. Philip K. Dick’s VALIS, Neal Stephenson’s Snow Crash, Samuel R. Delany’s Babel-17, and Chuck Palahniuk’s Lullaby, more aptly characterized as speculative fiction because of its use of magic against scientific social subjugation, each tackle dystopian qualities of contemporary society by analyzing the power that language possesses in the formation of the self and propagation of ideology. The utopian goals of these texts advocate for a return to the modernist metanarrative and a revision of postmodern cynicism because the authors look to the future for hopeful solutions to the social and ideological problems of today. Using Slavoj Žižek’s readings of Jacques Lacan and Theodor Adorno’s readings of Karl Marx for critical insight, I argue these four novels imagine language as the key to personal empowerment and social change. While not all of the novels achieve their utopian goals, they each evince a belief that the attempt belies a return to the modernist metanarrative and a rejection of postmodern helplessness. Thus, each novel imagines the revision of Žižek’s big Other through the remainders of Adorno’s inevitably failed revolutions, injecting hope in a literary period that had long since lost it.
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Gillespie, Robin. "The Pursuit of a “Happy Ending”: Chuck Palahniuk’s Novels and the Search for Human Connection." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275653893.
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Castillo, Durán Amador Jesús. "El hombre trágico en el cine : análisis de los films Zorba el griego y Fight Club, desde la experiencia y visión del saber trágico." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2013. http://tesis.pucp.edu.pe/repositorio/handle/123456789/4650.
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Delfino, Andrew Steven. "Becoming the new man in post-postmodernist fiction : portrayals of masculinities in David Foster Wallace's Infinite jest and Chuck Palahniuk's Fight club /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04202007-113340/.
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Thesis (M.A.)--Georgia State University, 2007.Title from file title page. Christopher Kocela, committee chair; Paul J. Voss, Calvin Thomas, committee members. Electronic text (96 p.) : digital, PDF file. Description based on contents viewed Oct. 16, 2007. Includes bibliographical references (p. 89-96).
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Repphun, Eric, and n/a. "Haunted, religious modernity and reenchantment." University of Otago. Department of Theology and Religious Studies, 2009. http://adt.otago.ac.nz./public/adt-NZDU20090218.141700.
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The academic study of religion has for too long laboured under a flawed understanding of the relationship between modernity and religion. Any narrative of the displacement of religion by a universal and secularising modernity fails to recognise the complexity of the historical and cultural realities. While modernity has demonstrably contributed to the erosion of certain forms of religion, there is a growing body of evidence, and new interpretations of existing evidence, which suggest that the interconnections between modernity and religion are far more complex than any simple opposition could account for. Indeed, modernity appears, in certain circumstances, to be capable of producing its own religious effects. This thesis seeks to answer what then becomes a fundamental question: what does it mean for the study of religion if we accept that modernity can generate the religious?
New conceptual tools are needed to deal critically with the far-reaching consequences of embracing the true density of modernity. The study of religion can be greatly enhanced by one such concept: reenchantment. However, reenchantment, as an interpretive framework, must be carefully formulated. Reenchantment cannot be properly understood as a reversal of disenchantment, a conception this thesis will be calling thin reenchantment, but as an ongoing dialectic of reenchantment and rationalisation, which this thesis will be calling thick reenchantment. The formulation of a credible and useful concept of reenchantment can in turn be aided by the work of the philosopher and cultural critic Jean Baudrillard. Baudrillard�s work is not itself an expression or example of reenchantment, but it demonstrates a remarkable congruence with the concept of thick reenchantment, as both interrogate dominant understandings of modernity in relationship to differing systems of value.
The thesis is divided into two sections. The first, substantially longer, section presents in some detail thick reenchantment as an interpretive frame. Though it does not claim to offer any new evidence, the first chapter outlines the evidential background for the thesis, which adopts the concept of religious modernity, developed by sociologist Danièle Hervieu-Léger, as a way of framing this evidence. The second chapter develops the concept of reenchantment and the typology of thin and thick reenchantment in relation to the foundational work of Max Weber. The third chapter is an analysis and review of the extant multidisciplinary discourse on reenchantment. The fourth chapter, the theoretical core of the thesis, presents an innovative reading of Baudrillard�s considerable body of work.
The second section elaborates on a further insight of the first - that text is a necessary element in the study of religious modernity - by offering detailed readings of the work of three contemporary authors - novelists Douglas Coupland and Chuck Palahniuk and filmmaker Tom Tykwer - as instantiations of the sorts of cultural artefacts that the conceptual framework of thick reenchantment means to explore.
Though its claims remain conceptual and interpretive rather than evidential, normative, or explanatory, this thesis, interdisciplinary as it is, is intended as a contribution to a number of related fields, from the study of contemporary literature and film to the exploration of Baudrillard�s work, which the study of religion has to date largely neglected, to its detriment However, its primary purpose is to suggest new and fruitful ways to approach the study of religion in modernity.
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Aldana, Nieto Wilson Julián. "Afaga-me as tripas a feiura da porcaria desses romances : experiência estética e poiética escatológica em Haunted, de Chuck Palahniuk e Acenos e Afagos, de João Gilberto Noll, dois romances contemporâneos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/104857.
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Esta é uma tese que salienta a qualidade literária desses dois romances sob a proposta de uma leitura baseada em categorias, desenvolvidas por vários teóricos, como o grotesco, o nojo, a abjeção, o estranho e o sublime. Para atingir este objetivo, levo em conta a crise da beleza e reviso tal conceito segundo a perspectiva de filósofos da Antiga Grécia, a Idade Média, o Iluminismo e século XX. Trata-se de uma proposta de estudo poiético que, a partir do nojento, torna visível a importância do sentido fisionômico na percepção corporal que facilita aos espectadores a experimentação de emoções diante de obras de arte: o “simples” prazer corporal que pode se tornar prazer reflexivo, estético. Com este processo da experiência estética (aisthesis, poiesis, katharsis) através da poiética escatológica, redimensiono o feio nestes romances de Palahniuk e de Noll, na obra de arte, apresentando-o como uma categoria estética que vai além de ser simplesmente o oposto do belo, e se erige como o pináculo de outro cânone.It is a thesis that highlights the literary quality of the two novels mentioned above. This is to be done through a proposal of reading, based on categories worked by some theoreticians, such as the grotesque, disgust, abjection, the uncanny and the sublime. To achieve this goal, I focus on the crisis of beauty, studying this concept from the perspective of Ancient Greek philosophers, the Middle Ages, the Enlightenment and 20th Century. Furthermore, this deals with a proposal of poetics study that, from the “disgust” perspective, emphasizes the importance of physiognomic sense in the bodily perception, which facilitates spectators to experience emotions about the artwork: the "simple" bodily pleasure becomes “reflective” and “aesthetic” pleasure. Within this process of aesthetic experience (aisthesis, poiesis, katharsis), and through the eschatological poietics, I point out (or address) the ugly of these novels of Palahniuk and Noll, as well as the artwork, presenting it as an aesthetic category that ends to be simply the opposite of beauty and emerges as the pinnacle of another canon.
Es una tesis que resalta la calidad literaria de estas dos novelas, a partir de la propuesta de una lectura basada en categorías, trabajadas por varios teóricos, como lo grotesco, el asco, la abyección, lo siniestro y lo sublime. Para lograr este objetivo, tengo en cuenta la crisis de la belleza y reviso este concepto desde la perspectiva de filósofos de la Antigua Grecia, la Edad Media, la Ilustración y el siglo XX. Se trata de una propuesta de estudio poiético que, a partir de lo asqueroso, destaca la importancia del sentido fisionómico en la percepción corporal que facilita a los espectadores la experimentación de emociones frente a la obra de arte: el “simple” placer corporal que se convierte en placer reflexivo, estético. Con este proceso de experiencia estética (aisthesis, poiesis, katharsis), a través de la poiética escatológica, redimensiono lo feo en estas novelas de Palahniuk y de Noll, en la obra de arte, presentándolo como una categoría estética que deja de ser simplemente lo opuesto a lo bello y se erige como el pináculo de otro canon.
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Delfino, Andrew Steven. "Becoming the New Man in Post-PostModernist Fiction: Portrayals of Masculinities in David Foster Wallace's Infinite Jest and Chuck Palahnuik's Fight Club." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_theses/20.
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While scholars have analyzed the masculinity crisis portrayed in American fiction, few have focused on postmodernist fiction, few have examined masculinity without using feminist theory, and no articles propose an adequate solution for ending normative masculinity’s dominance. I examine the masculinity crisis as it is portrayed in two postmodernist novels, David Foster Wallace’s novel Infinite Jest and Chuck Palahniuk’s novel Fight Club. Both novels have male characters that ran the gamut of masculinities, but those that are the most successful at avoiding gender stereotypes (Donald Gately in Infinite Jest, and the narrator in Fight Club) develop a masculinity which incorporates strong, phallic masculinity and nurturing, testicular masculinity, creating a balanced gender. At the same time, both novels examine postmodernist fiction’s future. Post-postmodernist fiction, similar to well-rounded masculinity, seeks to be more emotionally open with the reader while still using irony and innovation for meaningful effects, not just to be clever.
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Chan, Suet Ni. "In the periphery of the margin: white masculinity in contemporary American fiction /Chan Suet Ni." HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/351.
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My thesis discusses male identity in contemporary culture in relation to work by Bret Easton Ellis and Chuck Palahniuk. Such work reflects the problems, anxieties, and dilemmas of the masculine subject in American culture. The characters in my six selected texts, namely, Ellis' Less Than Zero, American Psycho, and Glamorama, and Palahniuk's Fight Club, Survivor, and Choke, symbolize a generation with no discernible future. Each male protagonist finds himself in a place of no time and no meaning because image and illusion have supplanted essence. These characters combat culture-prevalent emptiness in the sense that each ironically re-asserts his so-called individuality against the dogmas of the establishment. Each, furthermore, is aware that his existence is not subject to a higher order or preset goal: traditional morality thereby has no meaning. My selected texts feature masculine subjects struggling with their own contingencies once stripped of given privileges (gender, class, race, and otherwise). To examine the notion of masculinity, I emphasize the role of power relations in gender construction. Bret Easton Ellis characterizes a world of appearance defined by particular styles. Chuck Palahniuk's males are empty--they do not have any definitive meaning. Judith Butler challenges the proposition of a fixed identity, or an essential permanent masculinity or femininity as structured and reified by social norms. Therefore, we should not view masculinity as a cohesive and homogeneous category. Following Foucault, I examine the relationship between masculine subjects and social practices. At stake here, is how the performative articulation of proper masculinity disempowers and imprisons the masculine subject in a material form over which he has no control. The body becomes the object of desire and thus the vehicle/preserve of the sense of powerlessness that the masculine subject experiences daily within a hegemonic culture. Power is exercised through a dominant presence. This presence structures as a binary classification serving to underscore differences and ensure particular privileged social positioning. The proposition of a fixed identity, or an essential permanent masculinity or femininity, is structured and reified by social norms. Masculinity as a cohesive and homogeneous category is historically represented as an unstable center from which all other identities are defined.
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Hustad, Jonas Langset. "Film som forteller : Fight Club som litterær adapsjon." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for kunst og medievitenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-24960.
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På papiret virker Fight Club [1999] som et sikkert stikk. En litterær adapsjon utført av en kjent regissør (David Fincher) med solide stjernenavn på plakaten(Brad Pitt, Edward Norton). Men Chuck Palahniuks debutroman fra 1996 er et vanskelig verk, preget av mørk satire, flere lag med ironi og radikal subjektivitet. For å oversette en slik fortelling til film trengs ikke bare dristigheten til å fortelle om kontroversielle tema, men også oppfinnsomheten til å oversette en utpreget psykologisk roman til et audiovisuelt språk. Det er nettopp oversettelsen jeg skal undersøke i denne oppgaven, hvordan romanens kildemateriale har blitt gjenskapt i filmmediet. For å gjøre dette så konkret som mulig, snevrer jeg først inn undersøkelsen til filmens voice-over, som er basert på romanens tekst. Hvordan har bokas fortellerstemme blitt adaptert til en fortellende voice-over i filmen? Jeg skal ta for meg denne prosessen i tre deler, basert på tre stadier i adapsjonsprosessen hvor filmskaperne har hatt anledning til å kreativt bearbeide romanens tekst. Første del er voice-overen sett som skriftlig tekst, manusstadiet. Hva er kuttet, forandret og lagt til romanens tekst? Andre del er voice-overen som stemme, innspillingsstadiet. Hvordan forandres skriften i manus, og dermed også romanens tekst, idet en den blir til uttalte ord? Hvilke virkemidler har filmskaperne her benyttet seg av? Tredje del er fortellerstemmen i møte med resten av filmspråket, klippestadiet. Hvordan påvirker bildene og den øvrige lyddesignen vår opplevelse av fortellerstemmen, og hvordan er påvirkningen den andre veien? Deretter skal jeg utvide perspektivet igjen, og undersøke hvilke implikasjoner bruken av voice-over har for filmen som helhet. Hva kan en film kommuniserer Fight Club på denne måten? Tema blir ironi, upålitelighet, subjektivitet, karakterengasjement og kronologi. Anvendte teoretikere inkluderer Linda Hutcheon, Sarah Kozloff, Thomas Elsaesser, Gerard Genette, Seymour Chatman, André Bazin, Murray Smith og Lars Thomas Braaten.
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Bennett, Anna Laura. "Expanding deictic shift theory person deixis in Chuck Palahniuks Fight club /." Lexington, Ky. : [University of Kentucky Libraries], 2005. http://lib.uky.edu/ETD/ukyengl2005t00331/Bennett.pdf.
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Thesis (M.A.)--University of Kentucky, 2005.Title from document title page (viewed on November 2, 2005). Document formatted into pages; contains iii, 48 p. Includes abstract and vita. Includes bibliographical references (p. 45-47).
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Frampton, Sara. "“I Bid My Hideous Progeny Go Forth and Prosper”: Frankenstein’s Homosocial Doubles and Twentieth Century American Literature." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24370.
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This dissertation explores the reoccurrence of Mary Shelley’s Frankenstein within twentieth-century American novels. While the inaccurate 1931 film version by James Whale remains the best known adaptation of Frankenstein, I argue that Willa Cather, Ralph Ellison, Toni Morrison, and Chuck Palahniuk return to Shelley’s 1818 novel to critique racist and misogynistic responses to anxieties about gender and racial power in the age of industrial consumer culture. In doing so, I extend existing scholarship on the American Gothic to demonstrate that The Professor’s House, Invisible Man, Beloved, and Fight Club represent a specifically Shelleyan Gothic tradition in twentieth-century American literature.
My project draws upon influential feminist and postcolonial readings of Frankenstein and on the theoretical work of Eve Kosofsky Sedgwick and later critics who have developed her theory to show how the twentieth-century novels echo themes and motifs from Shelley’s novel to critique the destructive effects of male homosociality. Each novel contains a protagonist that resembles Victor Frankenstein and responds to historically specific anxieties about gender, race, and industrial technoscience by creating a doppelgänger who enables participation in a homosocial bond that is initially empowering but proves destructive to women, racial minorities, and eventually the creature and creator figures themselves. My reading reveals unexpected similarities between Cather’s The Professor’s House and Palahniuk’s Fight Club. Cather’s novel appears to glorify Tom Outland as the ideal masculine hero but ultimately reveals him to be a monstrous doppelgänger who acts out the Professor’s oppressive impulses; similarly, Fight Club seems to romanticize the male violence instigated by the doppelgänger figure Tyler Durden but actually echoes Shelley’s critique of male homosociality as monstrous. My reading also reveals previously overlooked similarities between Invisible Man and Beloved, both of which feature a black protagonist who surprisingly resembles Victor Frankenstein by creating a doppelgänger to challenge his or her disempowerment by the structures of white male homosociality but end up emulating the destructive homosocial structures they critique. My dissertation shows how all of these writers share Shelley’s critique yet move beyond it by offering alternatives to the destructive cycle of violence, embodied in each case by a female figure who resists or reclaims the position of the abject other in the homosocial triangle.
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Kapp, T. P. "Die abjekte held in Steppenwolf, Fight Club en a Whistling Woman : Kielhaal (roman)." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/3353.
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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2006.In fulfilment of the degree of Magister in Creative Writing: Afrikaans, a novel titled Kielhaal (Keelhaul) is presented in which the main character figures as an abject hero. It is accompanied by a formal essay titled “Die abjekte held in Steppenwolf, Fight Club en A Whistling Woman” (“The abject hero in Steppenwolf, Fight Club and A Whistling Woman”). The essay researches the application of the abject hero in literary texts.
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Bennett, Anna Laura. "EXPANDING DEICTIC SHIFT THEORY: PERSON DEIXIS IN CHUCK PALAHNIUK'S FIGHT CLUB." UKnowledge, 2005. http://uknowledge.uky.edu/gradschool_theses/278.
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Deictic shift theory (DST) was developed as a model of the construction and comprehension of all types of fictional narrative. With respect to the participant structures of texts, however, DST researchers have focused their attention on deictic shifts in third-person narratives, leaving first-person narratives unanalyzed from this theoretical perspective. As a result, DST in its present form does not adequately account for the variety of manipulations of a range of perspectives that may be achieved in first-person narratives. Nor has DST been systematically applied to texts whose participant structures undergo extensive reorganization as the result of a surprise ending or other narrative twist. By analyzing the deictic and referring expressions that create the participant structure of Chuck Palahniuks novel Fight Club, this thesis tests DSTs potential to account for authors and readers cognitive experiences of first-person narratives with plot twists. The analysis establishes a wider range of linguistic cues that may affect readers mental representations of characters. It identifies interactions between elements in the participant structure, including those that permit the representation of non-narrating characters subjective perspectives, as well as the linguistic features that enable these interactions. The thesis examines the effects of an authors violations of traditional narrative perspective constraints, and it underscores the importance, especially in DST-motivated analyses, of recognizing the potential for interplay between general narrative constraints and the narrative structure of a specific text. The thesis revises DSTs account of the nature and extent of deictic shifts in first-person narratives and describes the role deictic shifts play in fictional narratives that contain plot twists.
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Aparicio, Jose Antonio. "I want out of the labels : how Chuck Palahniuk's characters challenge the dominant discourse." FIU Digital Commons, 2008. http://digitalcommons.fiu.edu/etd/1297.
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The purpose of this study was to explore postmodern identity in the work of Chuck Palahniuk. The characters within Palahniuk's text Invisible Monsters realize the manner in which identity is a construct, and their response is to oppose and redefine it. In my research, I looked at how postmodern identity is defined by some of the leading critical thinkers in the field, and then I applied their thought to Palahniuk's characters. I showed how these characters come to understand the process by which society defines them, and with that realization, they oppose its totalizing definitions. The characters deconstruct the natural attitudes society has towards identity, and they reveal that it is in some way possible to create a unique identity that is not easily definable by the ruling discourse. I concluded that his attention to identity highlights Palahniuk's concern for the place, identity, and influence of his generation.
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Tosic, Martina. "Fight Club : Post-Humanist Notions of the 'Body without Organs' and the 'Rhizome' in Chuck Palahniuk's Novel." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-39549.
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Thornström, Lasse. "”I’m wondering if another woman is really the answer I need” : En tematisk studie av mannen, kvinnan och konsumtionskulturen i Chuck Palahniuks Fight Club." Thesis, Södertörn University College, School of Gender, Culture and History, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-924.
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The aim of this paper is to answer three questions about Chuck Palahniuks novel Fight Club. The three questions were chosen because they were widely debated after the release of David Fincher screenplay based on the same book. The questions are: Is the critique on consumerculture offered in Fight Club valid? What does Fight Club say about the relation between man and woman? Can the work be considered fascist? The critique against consumer culture is found valid and not a disguised complaint about the feminization of society. The main female character Marla is vital for Jack as a blueprint for Tyler. Tyler and Marla are found much alike. The fascist tendencies are present in Tylers character but he can be seen as the protagonist Jacks created father. In the course of Jacks struggle for independence Tyler is doomed to be defeated, so the fascist attitudes can’t be said to be represented by Fight Club as a whole.
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Gunter, James Christiansen. "The Rhetoric of Violence." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2468.pdf.
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Omerso, Evan. "Is the post- in postgay the post- in posttraumatic stress disorder? echoes of queer trauma in Heim's Mysterious Skin and Palahniuk's Fight Club /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/460601471/viewonline.
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LIEDERS, Tereza. "Self-destruction in the works of Chuck Palahniuk." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-395031.
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The topic of the following MA thesis is the theme of self-destruction in the works of Chuck Palahniuk, an American author whose novels frequently deal with the disintegration of contemporary society. Self-destruction, which the author often describes in violent details, is in his works portrayed as a form of civil disobedience and as a tool for dealing with social and personal problems. The first section of the thesis will explore the legacy of civil disobedience in American culture as well as violence as a recurring motif in US literature. The next section deals with transgressive fiction, a type of literature Palahniuk is frequently connected to, followed by an overview of his literary output. The last part of the thesis further explores some of his novels and the role self-destruction plays in them.
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Sousa, Paulo André Monteiro. "Espaços, Violência e Utopia em Fight Club de Chuck Palahniuk." Master's thesis, 2015. https://repositorio-aberto.up.pt/handle/10216/81579.
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Sousa, Paulo André Monteiro. "Espaços, Violência e Utopia em Fight Club de Chuck Palahniuk." Dissertação, 2015. https://repositorio-aberto.up.pt/handle/10216/81579.
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McKay, Dana. "Provocative writing : the disgusting and taboo fictional landscape in Chuck Palahniuk." Thesis, 2019. http://hdl.handle.net/1959.7/uws:56709.
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The thesis discusses the ways in which Chuck Palahniuk, one of America’s most contentious authors, explores ideas of the taboo and unspeakable, and answers the question: is Palahniuk using taboo subjects solely to disgust and shock readers, or for an additional purpose, such as challenging readers’ assumptions about ideas of difference? The taboo here accounts for the proscribed and non-normative, as it pertains to gender, beauty, sexuality and desire. These themes are evident in the novels I examine: Fight Club (1996), Invisible Monsters Remix (1999), Haunted (2005) and Beautiful You (2014). Palahniuk disgusts and shocks his readers through crude and dark humour and extremely graphic depictions of sex and violence. I examine whether Palahniuk’s fiction functions as social critique and satire, particularly in terms of his exploration of issues such as rape, transgender identity and masculinity, or if his work has been rightly dismissed as mere adolescent shock writing. I argue that Palahniuk utilizes tactics of shock and excess to prompt his readers to reflect on their own attitudes about norms pertaining to sex, gender and identity. Although Palahniuk reads as crude and immature, I demonstrate that his novels offer substantive explorations into ideas of difference and otherness, the constructedness of gender, and women’s representation in media.
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Fortin, Émilie. "Adapte-toi ou crève : l'imaginaire et la fin chez Douglas Coupland et Chuck Palahniuk." Mémoire, 2010. http://www.archipel.uqam.ca/3564/1/M11569.pdf.
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L'imaginaire de la fin évolue et s'actualise sans cesse, au gré du temps. Chez Douglas Coupland et Chuck Palahniuk, il se conjugue au singulier. La fin est intime, personnelle, elle ne concerne que le sujet, et lui seul. Néanmoins, elle interpelle les mêmes traits intrinsèques à tout imaginaire de la fin. La fin est transitive, elle est achèvement d'une chose et commencement d'une autre. Le temps de la fin, quant à lui, est toujours aussi harassant à négocier: passé, présent, futur cohabitent difficilement. Enfin, devant tant de désordres, la langue et l'imaginaire sont à leur tour happés par la confusion. À ces trois constantes s'en ajoute une quatrième, à l'œuvre autant dans Generation X que dans Choke: une sursollicitation de l'imaginaire qui provoque un brouillage important dans la perception du réel. Récits de la fin, Generation X et Choke sont aussi des romans du renouveau. S'ils disent que le monde menace l'individualité du sujet et qu'il est responsable des graves dysfonctionnements qu'il connaît, les romans de Coupland et Palahniuk nous disent aussi que l'homme peut être sauvé, s'il le désire. Il n'en tient qu'à lui. Résultat d'une clairvoyance du monde, d'une amère déception, puis façon de fabriquer du sens, la fin chez eux ne renvoie non pas à une fin du monde, à sa clôture, mais bien à son renouvellement, subjectif. Réaction, elle permet la survie, objet de pensée, elle incite à la perdition. Car si l'homme peut renaître, son monde et son imaginaire, eux, sont voués au désordre.
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MOTS-CLÉS DE L’AUTEUR : Coupland, Palahniuk, Fin, Imaginaire, Temps.
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Perron, Carole-Ann. "Identité et capitalisme de consommation dans les romans de Chuck Palahniuk : une étude comparative de Lullaby et Survivor." Thèse, 2012. http://hdl.handle.net/1866/9832.
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Ce mémoire propose une analyse de l'enfermement identitaire présent dans les romans Lullaby et Survivor de l'auteur Chuck Palahniuk et montré en rapport au rôle que les personnages tiennent dans leur famille et à leur pratique d'habitation. En utilisant les théories de Baudrillard et de Foucault, l'imposition d'une identité par la société moderne s'explique en relation à sa domination par le capitalisme de consommation et par la présence médiatique. Les univers romanesques de cet auteur s'inscrivent dans la tradition américaine où, par l'emploi du langage littéraire, sont développées les notions de liberté et de libre arbitre au coeur de l'identité nationale américaine rendant possible la lutte contre les différents dispositifs de contrôle présents dans cette société (m'inspirant du projet de Weinstein). Cette étude ne porte pas seulement sur l'enfermement identitaire, tant individuel que culturel des personnages, mais aussi sur les problématiques de l'identité masculine et de la passivité dans ces deux romans. L'auteur tente de solutionner lesdits problèmes en brisant la solitude de ses personnages que ce soit parce qu'ils réussissent à faire partie d'une communauté les reconnaissant comme un sujet unique, parce qu'ils établissent une connexion grâce au partage de leur histoire personnelle ou parce qu'ils retrouvent les sentiments d'appartenance et d'amour liés à la famille.This thesis focuses on the internalization of identity in Chuck Palahniuk's novels Lullaby and Survivor in regards to each character's role within their respective families and surroundings (environments). Using both Baudrillard and Foucault's theories, we can demonstrate that one's identity, created by our modern society, can be explained by its domination by the capitalist mantra and the mediatic presence. The literary universes created by Palahniuk are in the American style where literary language is used to develop the notions of liberty and free will within the American national identity, enabling the main protagonists to fight against the various control methods present within this society (inspired by Weinstein's project). This study does not fucus solely on the internalization of identity, both individual and cultural, but also on the problems related to the masculine identity as well as the character's passivity in both novels. The author attempts to solve these problems by breaking its character's solitude either by way of integrating them in a community that recognizes them as unique individuals, by establishing a connection based on the retelling of their personal history or by reconnecting with the feelings of filial love and belonging.
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Player, Bailey Edwards Leigh H. ""The true male animals" changing representations of masculinity in Lonesome Dove, Bonfire of the Vanities, Fight Club, and A Man in Full /." 2006. http://etd.lib.fsu.edu/theses/available/etd-07102006-171913.
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Thesis (M.A.)--Florida State University, 2006.Advisor: Leigh Edwards, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Sept. 22, 2006) Document formatted into pages; contains vi, 107 pages. Includes bibliographical references.
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Alferyová, Jana. "Tělo, tělesnost a identita v románu Klub rváčů." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-357753.
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This thesis examines the issues of body, embodiment and indentity in relation to the novel Fight Club by Chuck Palahniuk. The duality between speech and embodiment is explored in depth, both in the story of the novel and in the author's narrative style. Furthermore, the issue of power in relation to the society as well as towards one's own identity is discussed.
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Ondrášek, Jakub. "Mužská identita postav raných románů Chucka Palahniuka." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-296195.
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This MA thesis deals with the masculine identity of the three main male characters of Chuck Palahniuk's early novels Fight Club, Survivor and Choke. It consists of two parts. The first theoretical part briefly explores anthropological and sociological notions of masculinity, with the focus on the manhood in the contemporary USA. As such it serves as the theoretical basis for the second part of literary interpretation. There the masculine identity of the three main characters is discussed. As all the three characters experience the same development of masculine identity, the interpretation advances along this progress. Its stages are identity crisis, turning to the traditional male strategies, rejecting those strategies and searching the basis of one's identity in a personal relationship.
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Chiu, Chen-Chi, and 邱貞綺. "Transgressive Fictions: Body, Self, and Power in Chuck Palahniuk’s Choke and Invisible Monsters." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/09712780660640345975.
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碩士國立中興大學
外國語文學系所
103
Chuck Palahniuk’s novel is always famous for its notorious extreme experiment on body. He usually offers readers various of peculiar body image in his novels. Most of the issues in them are about sex and violence. Thus, some people criticize that his motive to focus on these sensational material is but for the market. However, after reading his books closely, I find that he does not do it for pleasing his readers. Actually, behind these curious stories, he often explores and exposes seriously how to detect the function of the system. In this thesis, I choose two of Palahniuk’s novels: Choke and Invisible Monsters. Both of these two intend to criticize the heteronormative hegemony. Choke focuses on the created disease, “sex addiction”, which is the production of the binary language system for maintaining the stability of the hegemony. Power before usually functioned in an obvious way; however, it usually function in the guise of all kinds of discourse in modern society. Pretending as the truth, it is popularized through institution of authority which proliferates it as “knowledge about body”. Such discourse will be internalized as mechanism, controlling people’s mind first. Then, they will start to police themselves. Therefore, although everyone in this novel seems free, both their body and mind are confined by that mechanism. No matter one is in the care center of in the outside world, he or she is a prisoner. As for Invisible Monsters, Palahniuk points out that technology, especially the surgery of sexual Reassignment, becomes more and more advanced today, and it brings much change to the perception of sex and gender. In this novel, Palahniuk questions the motive to categorize sex and if technology really brings us the autonomy of our subjectivity. Or, it is just another trap of binary structure. By creating the characters whose sex and gender are hardly to tell, Palahniuk is finding the answers to these concerns.
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Norris, Laurie. ""Find what you're afraid of most and go live there" the cyborg metaphor and Chuck Palahniuk's Fight club and Invisible monsters /." 2008. http://purl.galileo.usg.edu/uga%5Fetd/norris%5Flaurie%5Fg%5F200808%5Fma.
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