<p> Many consider David Foster Wallace’s <i>Infinite Jest</i>, an overtly <i>masculine</i> novel, in that most of it centers on or around male characters. Though one may locate powerful, influential, and even relatable female characters, it’s difficult to pair them with a positive image or representation of the feminine. I argue that this lack of a positive representation is due to the novel’s primary symbol and plot device, the deadly <i>Entertainment</i>. Using Luce Irigaray’s <i> Spéculum de l’autre femme</i> (‘Speculum of the Other Woman,’ 1974) as a model, I examine <i>The Entertainment</i> as the key tool and target of my feminist critique. This ultimately sheds light on a fundamental “blind-spot” within <i>Infinite Jest </i>, as well as many scholarly readings of it.</p>
| Identifer | oai:union.ndltd.org:PROQUEST/oai:pqdtoai.proquest.com:1527189 |
| Date | 03 February 2015 |
| Creators | Ely, Danielle S. |
| Publisher | The College of Saint Rose |
| Source Sets | ProQuest.com |
| Language | English |
| Detected Language | English |
| Type | thesis |
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