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Don DeLillo : an annotated primary and secondary bibliography, 1971-2002 /Scott, Christina S. January 2004 (has links)
Thèse de doctorat--Philosophie--Dekalb, Ill.--Northern Illinois university, 2004.
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Entering the Anthropocene Through the Great American Novel: Dark Ecology in Don DeLillo's UnderworldThorell, Alexander January 2017 (has links)
No description available.
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The environmental unconscious in the fiction of Don DeLillo /Martucci, Elise A. January 1900 (has links)
Texte remanié de: Thesis Ph. D. / Bibliogr. p. 183-187. Index.
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Postmoderner Realismus zum Romanwerk Don DeLillosBeier, Carsten January 2005 (has links)
Zugl.: Giessen, Univ., Diss., 2005
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"Beyond the maps of language" reconsidering Don Delillo's rock novel /Crawford, Nicholas Stephen. January 2008 (has links) (PDF)
Thesis (M.A.)--University of North Carolina Wilmington, 2008. / Title from PDF title page (September 29, 2008) Includes bibliographical references.
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Can the wound be taken at its word? performed trauma in Don DeLillo's The body artist and Falling man /Griffin, Brett Thomas. January 2008 (has links)
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).
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Rethinking the dualism : Don DeLillo's White Noise and the ecocritical possibilities of the nature/culture mixBowman, Natalie A. 12 June 2003 (has links)
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
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The motel in the heart of every man : the transitional spaces of Don DeLilloBaldwin, Adam David January 2015 (has links)
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.
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Ideological catastrophe: political paranoia in the fiction of Philip Roth and Don DelilloNagle, Emily 05 1900 (has links)
Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02
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Don DeLillo's promiscuous fictions:the adulterous triangle of sex, space, and languageJenkins, Diana Marie, School of English, UNSW January 2005 (has links)
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.
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