(18) Wallace, "E Unibus Pluram", p. 171. BACK
(19) Wallace, "E Unibus Pluram", p. 155. BACK
(20) Wallace, "E Unibus Pluram", p. 152. BACK
(21) Wallace, "E Unibus Pluram", p. 171. BACK
(22) Wallace, "E Unibus Pluram", p. 174. BACK
(23) Wallace, "E Unibus Pluram", p. 175. BACK
(24) Wallace, "E Unibus Pluram", p. 176. BACK
(25) Wallace, "E Unibus Pluram", p. 161. BACK
(26) cf. Wallace, "E Unibus Pluram", p. 178/179. BACK
(27) Perhaps it is more adequate to say that only a televisual mode of representing facts and interpreting the world is accepted by people as authoritative. For example, in White Noise authority does not rest in traditional authority-figures like fathers and college-professors (both of which roles are unsuccessfully occupied by Jack Gladney) but in positions which anyone can occupy, even kids (cf. chapter 3.2.3). BACK
(28) Wallace, "E Unibus Pluram", p. 183. BACK
(29) Wallace's list includes Ken Kesey, Thomas Pynchon, Don DeLillo, William S. Burroughs, William Gaddis and Robert Coover, whose fictions all "exploded hypocrisies" (cf. "E Unibus Pluram", p. 183). BACK
(30) Wallace, "E Unibus Pluram", p. 183. BACK
(31) McCaffery, p. 133. BACK
(32) McCaffery, p. 127. BACK
(33) McCaffery, p. 130. BACK
(34) The "working-through" which serious art demands is comparable to Freud's concept of "Durcharbeiten": "Vorgang, durch den die Analyse eine Deutung integriert und die Widerstände überwindet, die sie hervorruft. Es handelt sich hierbei um eine Form psychischer Arbeit, die es dem Subjekt erlaubt, bestimmte verdrängte Elemente zu akzeptieren und sich von der Bemächtigung der Wiederholungsmechanismen zu befreien." (aus: J. Laplanche/J.-B. Pontalis, "Durcharbeitung, Durcharbeiten". Das Vokabular der Psychoanalyse. Frankfurt/Main: Suhrkamp 1994, p. 123) The working-through of repressed elements necessary for the traumatized patient to be able to accept them is comparable to the work demanded of the reader trying to make sense of a "serious" literary work. Like the patient, the reader has to learn to accept certain repressed elements, i.e he has to learn that he is facing highly mediated data, and that the truth does not lie on the surface of the work. He has to expend some mental work to arrive at that truth. The further connections between TV and trauma are explored in chapter 4.2.2. BACK
(35) McCaffery, p. 140. BACK
(36) In: Viktor Sklovskij, Theorie der Prosa. Frankfurt/Main: Fischer 1966. I only had the German translation at my disposal, so I translated Sklovskij's terms into English. Key words appear in parenthesis behind the English term. BACK
(37) Sklovskij, p. 13. BACK
(38) Sklovskij, p. 14. BACK
(39) In: David Foster Wallace, Girl With Curious Hair. New York: Avon 1989, p. 3-42. Page references will be given in parenthesis behind the quoted passages. BACK
(40) McCaffery, p. 138. BACK