Homeland (In)security: Terminal Masculinity & the Specter of 9/11 Público
Giannini, Nicholas Dessau (2010)
Abstract
Abstract
Homeland (In)security is a study of the 9/11 novel and
post-9/11 U.S. cinema. It
focuses on a series of literary texts from the early 2000s and on
horror films of the past
few years. In particular, this project considers each text as a
narrative of rape speaking to
and of white men. Unlike Lee Clark Mitchell's seminal claim of
bodily violation as
intrinsic to masculinity, Homeland (In)security proposes an
effective termination of male
identity by way of the crisis of traumatized survivorship. For
contemporary U.S. authors
such as Art Spiegelman, John Updike, and Michael Cunningham, the
September 11
attacks represented an important opportunity to explore various
recurring thematic interests--
persecution, community, desire, patriarchy--within narratives
colored by disaster. The
inclusion of cinema here fulfills the following wishes: to map the
so-termed "crisis" of
masculinity onto one of society's most reflective (and informative)
surfaces (i.e.
Hollywood) as well as contribute to a field of genre criticism yet
to be linked with
masculinity. In short, it is my hope that the following essays help
fill a gap in
academic discourse by entwining gender, cinema, and literary
scholarship with an event,
as clinical psychologist Dori Laub has suggested, yet to unearth
its public "voice."
Table of Contents
Introduction
The Great White Hope 1
Chapter 1
Memento Mori: On Rape and Recuperation in Art Spiegelman's In
the Shadow of No
Towers 11
Chapter 2
Almost Famous: Queer Education & John Updike's Terrorist
51
Chapter 3
"An Ecstasy of Murder": Identity Politics and Queer Futurity in
Michael Cunningham's Specimen Days 85
Chapter 4
Global Specter, Global Trauma: Male Subjectivity and the Horror
Film 119
Bibliography 154
Filmography 165
About this Dissertation
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