Titlebook: British and American Representations of 9/11; Literature, Politics Oana-Celia Gheorghiu Book 2018 The Editor(s) (if applicable) and The Aut

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新字

Afterthoughts,bring identity mechanisms, power structures, discursive practices and the ‘a(chǎn)rchaeology of knowledge’ to the fore. They make up a literary subgenre—9/11 fiction—anchored for the most part in neorealism. With its politicised, thought-provoking realism, its interplay of reality and fiction, its descrip

legislate

Making History: Politics, the Media and Literature in the Twenty-First Centurye emergence of new forms of artistic expression meant to inscribe them in the cultural memory of Western civilisation. The data compiled from . are correlated with the media coverage of 9/11, which are seen as fictionalised and fictionalising rewritings. The section on ‘media’ features a narratologi

細(xì)絲

Literary Rewritings of History and Politics After 9/11divided into two categories: narratives that refer directly to the 9/11 attacks—such as Iain Banks’s . (2002)—and narratives about the most important outcome of the attacks: the global ‘war on terror’. This chapter comprises analysis of the political speeches, quoted verbatim or imaginary, present i

手術(shù)刀

The Shattered Self of the Westthe inner alterity inherent within a selfhood made up of many selves, as is the case of Western civilisation. Gheorghiu discusses the impact of 9/11 on American society, as represented by two American novelists: Don DeLillo and Amy Waldman. The Americans are then displaced from their stance as a Wes

Chandelier

Extreme Otherness: ‘The Muslim Menace’n relation to a threatening Other, this chapter starts from two opposing theories of representation: Orientalism and Occidentalism. This is necessary for a two-way analysis of the mentalities at work in the Eastern and Western worlds. Furthermore, it enlarges upon religion as a societal control mech

葡萄糖

謙卑

范例

Corporate Responsibility und Sponsoring,outcome of the attacks: the global ‘war on terror’. This chapter comprises analysis of the political speeches, quoted verbatim or imaginary, present in David Hare’s documentary play . (2004), and the influence of the media on the 2005 novel of modernist inspiration, ., by Ian McEwan, in order to make a case for neorealism at work in 9/11 fiction.

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