American underground spirit: Dostoevsky’s Notes From Underground and the 20th century USA literature

F. Dostoevsky’s Notes from Underground (1864) exerted a considerable influence on American literature since 1940s. The works by outstanding authors beginning with Saul Bellow (Dangling Man, 1944) or Jerome Salinger’s prose and up to Bret Easton Ellis (American Psycho, 1991), Percy Walker, David Foster Wallace, show a persistent fascination of American writers with the novella and are based on re-reading and re-interpreting Dostoevsky’s ideas, motives and imagery.

Existential Thought in American Psycho and Fight Club

<p>Bret Easton Ellis' American Psycho (1991) and Chuck Palahniuk's Fight Club (1996) demonstrate a strong basis in existential thought. Both novels reference the philosophical and literary works of Sartre and Camus—two French intellectuals associated with the midtwentieth- century movement existentialism—as well as existentialism’s nineteenth-century antecedents Dostoyevsky and Nietzsche. More importantly, American Psycho and Fight Club also modify the philosophy and its expression, incorporating postmodern satire, graphically violent content, and the Gothic conventions of "the double" and "the unspeakable", in order to update existential thought to suit the contemporary milieu in which these texts were produced. This new expression of existential thought is interlaced with the social critique American Psycho and Fight Club advance, particularly their satirical accounts of the vacuous banality of modern consumer culture and their disturbing representations of the repression and violent excesses ensuing from the crisis of masculinity. The engagement with existentialism in these novels also serves a playful function, as Ellis and Palahniuk frequently subvert the philosophy, keeping its idealism secondary to their experiments with its implications within the realm of fiction, emphasising the symptoms of existential crisis, rather than the resolution of the ontological quest for meaning. While these two novels can be considered existential in relation to the tradition of classic existentialist texts, they also represent a distinctive development of existential fiction—one that explores the existential condition of the postmodern subject at the end of the twentieth century.</p>

Existential Thought in American Psycho and Fight Club

<p>Bret Easton Ellis' American Psycho (1991) and Chuck Palahniuk's Fight Club (1996) demonstrate a strong basis in existential thought. Both novels reference the philosophical and literary works of Sartre and Camus—two French intellectuals associated with the midtwentieth- century movement existentialism—as well as existentialism’s nineteenth-century antecedents Dostoyevsky and Nietzsche. More importantly, American Psycho and Fight Club also modify the philosophy and its expression, incorporating postmodern satire, graphically violent content, and the Gothic conventions of "the double" and "the unspeakable", in order to update existential thought to suit the contemporary milieu in which these texts were produced. This new expression of existential thought is interlaced with the social critique American Psycho and Fight Club advance, particularly their satirical accounts of the vacuous banality of modern consumer culture and their disturbing representations of the repression and violent excesses ensuing from the crisis of masculinity. The engagement with existentialism in these novels also serves a playful function, as Ellis and Palahniuk frequently subvert the philosophy, keeping its idealism secondary to their experiments with its implications within the realm of fiction, emphasising the symptoms of existential crisis, rather than the resolution of the ontological quest for meaning. While these two novels can be considered existential in relation to the tradition of classic existentialist texts, they also represent a distinctive development of existential fiction—one that explores the existential condition of the postmodern subject at the end of the twentieth century.</p>

Podmioty moralności. Studium porównawcze opowieści o mordercach („African Psycho’ Alaina Mabanckou i „American Psycho” Breta Eastona Ellisa)

The article is a comparative study of two stories about murderers, characters of the novels “African Psycho” (2003) by Alain Mabanckou and “American Psycho” (1991) by Bret Easton Ellis. The similarities in the construction of the main characters – fascination with popular culture, brutality and vulgarity, identity problems and interest in famous serial killers – are evidence of Mabanckou’s intertextual play with a popular American novel. The essence of this play, however, is rather the moments of distinguishing and negotiating with the original text, among them: cultural, social, economic and political differences in the construction of the world presented, different class positions and motivations for the actions of the murderers. The article investigates also the main characters’ capability to be subjects of moral judgements. Their specific mental state (biographical discontinuity, isolation, desire for evil) is evidence of „depowerment”. Therefore, their capacity for self-understanding and ethical responsibility is questioned.