Douglas Coupland’s novels offer a broad critique of specific cultural conditions on the North American west coast. His primarily suburban characters suffer from identity crises, social fragmentation, family dysfunction, uncreative working conditions, a lack of meaning and a lack of political agency. In Generation X, Life after God, Girlfriend in a Coma and Hey Nostradamus!, the four novels on which I focus in this thesis, Coupland positions his characters on the edge in manifold ways: on the edge of madness, on the geographical margin of the continent, at the threshold of the end of time, and on the verge of great, transcendent truth. This thematic liminality defines the specific culture about which he writes: middle-class, young, North American, disillusioned suburbanites. The central questions this thesis raises are primarily psychological and political rather than religious. What, after God in this culture is dead, can replace the cathartic and transcendent psychological functions that religion once filled? What can stand in for the sense of agency and social connectedness that ideology founded on religious certainty once conferred? In teasing out Coupland’s answers to these questions I examine the multiple layers of spirit in Coupland’s imaginative universe: tendencies to romantic notions of environmental paganism, the residual effects of dominant and hierarchical religion, and his tentative probing into an altogether new basis of belief and agency. In the first chapter of this thesis, I examine the psychological crises of Coupland’s characters through the lens of Kristevan analysis. Julia Kristeva’s conception of the subject as founded on language, constantly in flux, and always threatened by the return of the abject is uniquely suited to illuminating the post-religious intrapsychic conflicts of Coupland’s characters. There is a remarkable parallel between their work: what Kristeva sets out in theory, Coupland’s characters play out in narrative. Chapter two reads the spiritual significance in Coupland’s locations with theoretical counterpoint from various postmodern thinkers, primarily Frederic Jameson and Jean Baudrillard who have distinct visions of the future. The Louis Greenberg 9100531P PhD Abstract: Faith at the Edge 2 third chapter of the thesis looks closely at the apocalyptic themes in Coupland’s novels. Apocalypse in Coupland’s work refers both to the teleological, religious apocalypse of manifest destiny, and to the literal end of the world and the death of its people. The final chapter is a meditation on the potential for the post-religious religion which Coupland has knitted into his novels. I attempt to express this potential for belief more directly than Coupland has in order to test it against current philosophical and scientific discoveries and collate it with long-standing cross-religious mystical traditions. I find that Coupland’s novels do indeed contain the raw material for a coherent expression of a powerful, transcendent belief after God. I argue that fictional narrative, because it is constantly revised and never categorical, a wave-pattern of potentiality rather than a vehicle for singular, static meaning, is the ideal method for expressing and disseminating this new belief. Coupland’s very indecisiveness and refusal to settle on a definitive stance makes his deployment of narrative uniquely suited to the task of expressing this new belief.

Master of Arts - English / This paper takes as its base premise the idea that Douglas Coupland has both shaped generation X thought fundamentally while at the same time is continuously shaped by generation X cultural production. Through a postmodern lens, the paper goes on to look at the ways in which notions of identity, and apocalypse have come to play a central role in the thinking of generation X and then looks at the ways in which these themes and generation X as a whole have been affected by technology. The paper looks at three of Coupland’s novels: Generation X: Tales for an Accelerated Culture; Microserfs and Girlfriend in a Coma.

<p>This essay examines the novel <em>Generation X: Tales for an Accelerated Culture</em> by Douglas Coupland in an attempt to show how it is heavily postmodernist. Postmodernism is explained briefly to give an understanding of how it might be applied to the analysis of the novel. Then the analysis is divided into five different categories: characterization, language and style, setting and society, storytelling and thematic focus. Postmodernist literary theory is applied to various parts of the novel and the postmodernist features are highlighted and discussed. The conclusion is that <em>Generation X: Tales for an Accelerated Culture</em> is indeed a heavily postmodernist novel.</p>

This essay examines the novel Generation X: Tales for an Accelerated Culture by Douglas Coupland in an attempt to show how it is heavily postmodernist. Postmodernism is explained briefly to give an understanding of how it might be applied to the analysis of the novel. Then the analysis is divided into five different categories: characterization, language and style, setting and society, storytelling and thematic focus. Postmodernist literary theory is applied to various parts of the novel and the postmodernist features are highlighted and discussed. The conclusion is that Generation X: Tales for an Accelerated Culture is indeed a heavily postmodernist novel.

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.

This thesis discusses the art of contemporary Canadian artist Douglas Coupland and his use of textual art. It will explore his combinations of text and art through four major themes that are recurrent in both his writings and visual art: abundance, advertising, technology and translation and draw conclusions on the various reasons that text has become such an important component of his body of work. Overall, the thesis seeks to show Coupland’s unique use of text to create a modern take on Pop art that is able to highlight issues in society.

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.

This thesis argues that consumerism and the mass media wield an unparalleled influence over contemporary North American society, and that these forces constitute the primary means through which identity is constituted. The historical and theoretical developments that have led to the foregrounding of these forces are outlined in the introduction - developments, it is argued, that are intrinsically connected to the social upheava1 that characterized America in the late 1960's and early 1970's, while their presence in and effects on the fiction of four contemporary North American writers - Thomas Pynchon, Don DeLillo, Bret Easton Ellis and Douglas Coupland - are examined in the main body of the thesis. Chapter I focuses on Pynchon whose novels, it is argued, are the product of a uniquely post-1960's America, which mourns the sacrifice of traditional ideals to the corporate mindset which has been prevalent since ths 1980's Pynchon's dominant metaphor for the direction in which he believes American society to be moving is the thermodynamic concept of entropy, which stipulates that all prqress is towards death. His novels abound with characters who disintegrate due to the information overload fostered by their media-based world. However, he retains his faith that a return to historical values and traditions will stem and even reverse the entropic tide DeLillo, a close contemporary of Pynchon's, draws on a different aspect of the legacy of the 1960's, for his writing is overshadowed by the 1963 assassination of President Kennedy and the years of turbulence that ensued. His novels are ultimately more pessimistic because his characters do not succeed in escaping from the repressive narratives of consumerism and the mass media in order to reassert their own personalities. One reason for this failure, it is argued, is that DeLillo's characters represent a metaphorical dramatization of the dichotomy between the modernist desire for structure and the postmodernist embrace of fluidity and uncertainty. The fictional characters of the younger authors, Ellis and Coupland, inhabit this postmodern world where all experience has been rendered depthless and traditional ontological and epistemological certainties have been collapsed Ellis' characters fluctuate between the extremes of apathy and violence as they search for a way of preventing their psyches from disintegrating amidst the surrounding chaos. Neither one of these options brings - any relief. Coupland is more optimistic about the ability of his characters to survive and even prosper in the contemporary world. He arms them with the linguistic and technological skills necessary to adapt to the rapid social and technological changes. Most importantly of all, he draws on the sense of objectivity fostered by his own background as a Canadian in order to provide them with an alternative and a sense of escape from the media-saturated environment of the American West Coast. What is perhaps most remarkable about these four authors as a group is that in spite of their obvious insight into the nature of the contemporary postmodern world, they are unwilling - or perhaps even unable - to fully relinquish their hold on a number of traditional metanarratives, most notably the ideal of the stable, supportive family unit. This implies a degree of uncertainty and perhaps even of fear on their parts about fully committing to the fluidity of contemporary culture.