« This Empty Tale » : monstration de l’envers et dire politique dans How the Dead Live de Will Self
This article envisages one of Will Self’s novels through the prism of the uncanny. Such tonality owes a lot to a poetics of radical inversion that taps the powers of contradiction to renew the tradition of ars moriendi. By resorting to a logic of excess, Self performs an ethics of the uncanny, an et...
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| Publicat a: | URI:https://journals.openedition.org/ebc, |
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| Autor principal: | |
| Format: | Article ou chapitre numérique |
| Idioma: | Français |
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Études britanniques contemporaines
2019
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| Accés en línia: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sumari: | This article envisages one of Will Self’s novels through the prism of the uncanny. Such tonality owes a lot to a poetics of radical inversion that taps the powers of contradiction to renew the tradition of ars moriendi. By resorting to a logic of excess, Self performs an ethics of the uncanny, an ethics of the deontic type that makes him rank among the stars in the firmament of satirists, from Jonathan Swift to Martin Amis, though Huxley, Burgess and Ballard. Self, the fashionable, trash, post-human novelist thus strikes yet another pose (which might not be a pose, for that matter) : that of the middle-aged angry young man lashing at the state of the world, exposing the sins of consumer and information society, deploring the sway of cultural industry. |
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