Titlebook: Martin Amis: Postmodernism and Beyond; Gavin Keulks (Associate Professor of English) Book 2006 Palgrave Macmillan, a division of Macmillan

完成

樂(lè)章

共和國(guó)

occult

,The Passion of John Self: Allegory, Economy, and Expenditure in Martin Amis’s ,ich will inevitably echo Derrida’s speculations about Baudelaire’s title “Counterfeit Money” in .. On one hand, these titles may be read referentially (as part of their texts): like the main body, the title is . money. Conversely, they may be read as extrinsic to the text, naming it figuratively and

debris

狼群

Martin Amis and Late-twentieth-century Working-class Masculinity: , and , masculine authenticity. For a man to speak about his gender in a critical self-conscious manner already indicates that he has failed to live up to the patriarchal ideal and that, consequently, his masculinity is ‘in trouble’” (viii). In both . (1984) and . (1989), Martin Amis intensifies the satiri

Promotion

The Female Form, Sublimation, and Nicola Six,e from pornography and erotic underwear to rape, as well as his portrayal of female characters as the passive victims of male violence. . (1989) raises both these issues, featuring a female murder victim or “murderee,” Nicola Six, who stars in her own pornographic films and uses an extensive collect

vector

衍生

Under the Dark Sun of Melancholia: Writing and Loss in ,rs an “informal trilogy” (Fuller, 124), including . and ., Martin Amis writes once more as the “malcontent” (Mars-Jones, 156), the melancholy observer intent on outstaring fear and chaos. More than in ., his subject in . is “the tiredness of time lived” (10), the fear and loathing induced by the rel

monogamy