Thèse de doctorat--Philosophie--Dekalb, Ill.--Northern Illinois university, 2004.

Texte remanié de: Thesis Ph. D. / Bibliogr. p. 183-187. Index.

Zugl.: Giessen, Univ., Diss., 2005

Thesis (M.A.)--University of North Carolina Wilmington, 2008. / Title from PDF title page (September 29, 2008) Includes bibliographical references.

Thesis (M.A.)--Georgia State University, 2008. / Title from title page (Digital Archive@GSU, viewed July 20, 2010) Chris Kocela, committee chair; Marilynn Richtarik, Nancy Chase, committee members. Includes bibliographical references (p. 82-86).

Rethinking the Dualism: Don DeLillo's White Noise and the Ecocritical Possibilities of the Nature/Culture Mix questions current applications of ecocriticism and offers that these applications are inadequate in dealing with the perceived nature/culture dualism. This thesis suggests that ecocritics need to stop thinking in dualistic terms, but instead must consider that the separation between nature and culture is an illusion created by the postmodern culture. Don DeLillo's White Noise, then, is used to illustrate the possibilities of rethinking the relationship between nature and culture. DeLillo exposes the illusion of the dualism by constantly implicating humans in the alteration of nature and, despite humans' attempts to live within the illusory dualism by controlling nature through tecimology, by revealing that man's efforts will always fail through unintended consequences. This thesis culminates by proposing that considering nature and culture as connected entities that constantly reshape each other will absorb dualistic thinking and provide opportunities for ecocritics to expose truths that are vital to fueling the desire to alter destructive relationships between nature and culture. / Graduation date: 2004

This work illustrates the spatial nature of Don DeLillo's writing. Through a reading of his work a network of societal spaces repeatedly occur and are utilised as locations within which to raise questions of the relationship between identity and mass society. The spaces that predominate produce the topography of his work. A network begins to develop, a series of nodal points joined by a connective tissue of pathways through which the discussion of society and identity pass. By focusing on both the nodal points themselves and the pathways that connect them the roles of motion, control and a potential counter-narrative appear. The individual spaces that DeLillo chooses as locations in his novels are relevant. Their placing in society, their means of construction and the materials of which they are constituted all illustrate the form of society which created them. In turn these spaces are observed to shape the characters that pass through them, in the process further expanding the network of societal associations. The particular spatial forms that DeLillo focuses on reflect a transitional impulse, a desire for motion and speed rooted in anti-historicism. The suburb, the motel, and the highway are all born of the period which followed the Second World War which had a profound sociological, psychological and technological impact on society. The need to face the future, reject the past and repress the traumatic experiences of war led an experience of space and society which is transitional. The spaces are selected for their association with anxiety, trauma, nostalgia and consumption. The duality of these spaces epitomises the complexities of modern social identity. Due to the reflexive nature of transitionality cultural shifts impact upon its form, altering the way in which it appears and functions. The alleyway influences the development of the highway, the motel influences the development of the suburb, and the railway station affects the airport. The airport is an example of the manner in which technological advance change the appearance of these spaces but the themes and issues that are explored in them reflect consistent interests. Similarly, moments of great social import such as the Kennedy assassination and the attacks of 9/11 leave traces on these transitional spaces.

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 pseudonymousAmazons - that feature adultery narratives. I demonstrate that these narratives resist conservative models of language, space, and sex by using promiscuity as a method of narrative control. I argue that DeLillo's adultery narratives respond subversively to attempts to categorise his work, and that he extends the mythologised rhetoric of the adulterous triangle by adopting sexual transgression as a three-sided semantic structure that connects language, sex, and space. I refer to theories of narrative, postmodernity, space, desire, and parody to show that DeLillo's adultery narratives structurally influence his experiments with linguistic meaning. My analysis reveals that contradiction performs at several spatial, sexual, and dialogical levels to undermine readings that suggest DeLillo's language models pure meaning. I identify the sexualised fissure within DeLillo's semantic style that is exposed by the operation of contradiction. I believe this gap distinguishes DeLillo from postmodern fiction's emphasis on the placeless, because it is a meaningful space that emphasises the reproductive adulteration of signification. I expose several sites of dialectic rupture, including the hotel/motel room, oppositional and metaphorical description, the journey, the image, and the secret. I contend that sex in these transgressive narratives is a model for something else: promiscuous meaning. This thesis demonstrates that DeLillo's fiction charts the typography of the mythical third side of the adulterous triangle in order to respond to language's own promiscuity.

Texte remanié de: Thesis Ph. D.--University of Connecticut. / Bibliogr. p. 229-242.

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 pseudonymousAmazons - that feature adultery narratives. I demonstrate that these narratives resist conservative models of language, space, and sex by using promiscuity as a method of narrative control. I argue that DeLillo's adultery narratives respond subversively to attempts to categorise his work, and that he extends the mythologised rhetoric of the adulterous triangle by adopting sexual transgression as a three-sided semantic structure that connects language, sex, and space. I refer to theories of narrative, postmodernity, space, desire, and parody to show that DeLillo's adultery narratives structurally influence his experiments with linguistic meaning. My analysis reveals that contradiction performs at several spatial, sexual, and dialogical levels to undermine readings that suggest DeLillo's language models pure meaning. I identify the sexualised fissure within DeLillo's semantic style that is exposed by the operation of contradiction. I believe this gap distinguishes DeLillo from postmodern fiction's emphasis on the placeless, because it is a meaningful space that emphasises the reproductive adulteration of signification. I expose several sites of dialectic rupture, including the hotel/motel room, oppositional and metaphorical description, the journey, the image, and the secret. I contend that sex in these transgressive narratives is a model for something else: promiscuous meaning. This thesis demonstrates that DeLillo's fiction charts the typography of the mythical third side of the adulterous triangle in order to respond to language's own promiscuity.