Thesis (Honors)--College of William and Mary, 2008. / Includes bibliographical references (leaves 54-56). Also available via the World Wide Web.

Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages; contains v, 46 p. Includes bibliographical references.

Thesis (D.A.)--Illinois State University, 1996. / Title from title page screen, viewed May 26, 2006. Dissertation Committee: Stanley W. Renner (chair), Ronald Strickland, William W. Morgan, Jr. Includes bibliographical references (leaves 140-146) and abstract. Also available in print.

Proefschrift Universiteit Maastricht. / Met lit. opg. - Met samenvatting in het Engels.

There remain two recurring criticisms of John Updike's fiction. The first comes from feminist critics who condemn his negative portrayal of women, accusing his fiction of denigrating women. The second comes from late twentieth century critics who accuse him of avoiding political and historical discussions in his fiction. However, it is my contention that Updike is willing to address both of these concerns, and I arrive at such an argument by carefully analyzing his collection of short stories compiled in Too Far To Go: The Maples Stories. Within these stories, Updike's female characters illustrate the shifting gender paradigms over the course of the fifties, sixties, and seventies amidst the middle-class, suburban American milieu. Updike's women act as agents of history providing testament to the shifting gender paradigms and historical, cultural, political, and social milestones of a maturing country and its growing pains. / by Cindy M. Rosen. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

“American Impotence” investigates a continuity between literary representations of masculinity and considerations of national identity in the works of five postwar novelists. In particular, I illustrate the manner in which Ralph Ellison’s Invisible Man, John Updike’s Couples, Robert Coover’s The Public Burning, Joan Didion’s Democracy and The Last Thing He Wanted, and Bret Easton Ellis’s American Psycho challenge the patterns of daily life through which a single figure is imagined to be the essential agent of American polity: namely, the self-made individualist, characterized by manly virtues like dominance, aggression, ambition, mastery, vitality, and virility. More specifically, this project examines the manner in which the iconicity of men helps sustain a narrative of “imperilled masculinity” that at once privileges an impossible identity, situated in the representative nucleus of postwar democracy, and forecloses other modalities of political life. Observing the full meaning of the word “potency,” I elucidate the interrelationships between narrative forms, masculine norms, and democratic practice. Ellison’s work ties the maturation of African American boys to the impossibility of full participation in civic life, for instance, while in Updike’s Couples the contradictions of virile manhood manifest in the form of a fatalism that threatens to undo the carefully cultivated social boundaries of early sixties bohemianism; in a variety of ways, The Public Burning and American Psycho represent the iconic nature of masculinity as a psychic threat to those men closest to it, while Didion’s female protagonists find themselves flirting with the promises of a secret agency linked to imperial adventures in Southeast Asia and Central America. In the cultural context of the Cold War, these novelists demonstrate how intensified participation in national fantasies of potency and virility is inevitably disempowering; as an alternative, this dissertation seeks to consider impotence as dissensus detached from the mandates of hegemonic masculinity.

“American Impotence” investigates a continuity between literary representations of masculinity and considerations of national identity in the works of five postwar novelists. In particular, I illustrate the manner in which Ralph Ellison’s Invisible Man, John Updike’s Couples, Robert Coover’s The Public Burning, Joan Didion’s Democracy and The Last Thing He Wanted, and Bret Easton Ellis’s American Psycho challenge the patterns of daily life through which a single figure is imagined to be the essential agent of American polity: namely, the self-made individualist, characterized by manly virtues like dominance, aggression, ambition, mastery, vitality, and virility. More specifically, this project examines the manner in which the iconicity of men helps sustain a narrative of “imperilled masculinity” that at once privileges an impossible identity, situated in the representative nucleus of postwar democracy, and forecloses other modalities of political life. Observing the full meaning of the word “potency,” I elucidate the interrelationships between narrative forms, masculine norms, and democratic practice. Ellison’s work ties the maturation of African American boys to the impossibility of full participation in civic life, for instance, while in Updike’s Couples the contradictions of virile manhood manifest in the form of a fatalism that threatens to undo the carefully cultivated social boundaries of early sixties bohemianism; in a variety of ways, The Public Burning and American Psycho represent the iconic nature of masculinity as a psychic threat to those men closest to it, while Didion’s female protagonists find themselves flirting with the promises of a secret agency linked to imperial adventures in Southeast Asia and Central America. In the cultural context of the Cold War, these novelists demonstrate how intensified participation in national fantasies of potency and virility is inevitably disempowering; as an alternative, this dissertation seeks to consider impotence as dissensus detached from the mandates of hegemonic masculinity.

Zugl.: Paderborn, Univ., Diss., 2005

Zugl.: Mainz, Univ., Diss., 2006

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