The "Image-Event" in the Early Post-9/11 Novel: Literary Representations of Terror After September 11, 2001. A Comparative Study

Ewa Kowal

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ISBN/ISSN:

978-83-233-3317-3

DOI:

Wydawnictwo:

Wydawnictwo Uniwersytetu Jagiellońskiego

Rok wydania:

2012

Liczba stron:

153

XML:ISBN/ISSN:

ONIX MARC21

Bibliografia:

Kowal, Ewa. The "Image-Event" in the Early Post-9/11 Novel: Literary Representations of Terror After September 11, 2001. A Comparative Study. Red. . Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego, 2012, 153 s. ISBN 978-83-233-3317-3

Bibliografia refWorks:

RT Book, Whole

SR Electronic(1)

A1 Kowal, E.

T1 The "Image-Event" in the Early Post-9/11 Novel: Literary Representations of Terror After September 11, 2001. A Comparative Study

PB Wydawnictwo Uniwersytetu Jagiellońskiego

PP Kraków

YR 2012

SN 978-83-233-3317-3

Bibliografia BibTex:

@Book{ 40073, author = "Kowal, Ewa", editor = "", title = "The "Image-Event" in the Early Post-9/11 Novel: Literary Representations of Terror After September 11, 2001. A Comparative Study", publisher = "Wydawnictwo Uniwersytetu Jagiellońskiego", year = "2012", address = "Kraków", isbn = "978-83-233-3317-3" }

Bibliografia endNote:

TY - BOOK

AU - Kowal, Ewa

ED -

TI - The "Image-Event" in the Early Post-9/11 Novel: Literary Representations of Terror After September 11, 2001. A Comparative Study

PB - Wydawnictwo Uniwersytetu Jagiellońskiego

CY - Kraków

PY - 2012

SN - 978-83-233-3317-3

ER -

Netografia (standard APA):

Kowal, Ewa. The "Image-Event" in the Early Post-9/11 Novel: Literary Representations of Terror After September 11, 2001. A Comparative Study [baza danych online] Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego, 2012 [dostęp: 22 07 2024]. Dostęp w Ibuk Libra: https://libra.ibuk.pl/reader/the-image-event-in-the-early-post-911-novel-literary-representations-ewa-kowal-40073.

terroryzm, literatura, 11 września, media audiowizualne, obraz wydarzeń, transmisja

e-ISBN: 978-83-233-8491-5

How can literature respond to a monumental event, unprecedented historically, politically and culturally, whose memory will forever be inseparable from its mass media coverage? How can writers represent what Jean B...

Więcej

ISBN/ISSN:

978-83-233-3317-3

DOI:

Wydawnictwo:

Wydawnictwo Uniwersytetu Jagiellońskiego

Rok wydania:

2012

Liczba stron:

153

XML:ISBN/ISSN:

ONIX MARC21

ACKNOWLEDGEMENTS12
FOREWORD: WORD ON TERROR14
INTRODUCTION: THE IMAGE(-EVENT)22
CHAPTER I: (AUDIO-)VISUAL MEDIA IN THE POST-9/11 NOVEL30
I.1. Technology30
I.2. The Pattern35
I.3. Media in the post-9/11 novel41
I.4. "Bigger, brighter, life's so short" - inflammable art in the post-9/11 novel53
CHAPTER II: FORM68
CHAPTER III: MOTIFS OF CHILDHOOD AND MAGICAL THINKING IN THE POST-9/11 NOVEL112
III.1. The "proto-child"112
III.2. The figure of the "child"116
III.3. Magical thinking (1)119
III.4. Motifs of childhood and magical thinking in the post-9/11 novel121
III.5. The post-9/11 novel in the Language Classroom137
III.6. Magical thinking (2): Magic - "the most childish of skills"139
CONCLUSION142
BIBLIOGRAPHY146

introducesthissubjectmattermostﬁttingly,notonlybecauseitcomestomindin

anunconditionalreﬂex,consideringwhattheliteratureisabout.Architecturewillbe

shownhereasmorethanjustthestartingpointforwriters.Whatthisstudywillbe

mostlyinterestedinisthearchitectureofaliterarywork.

Alsoananthropomorphicwayofthinkingcomestomindnaturallyinthecaseof

theTwinTowers:theveryword“twin”suggestsitand,asLakofftellsusin“ThePower

oftheImages,”“tallbuildingsaremetaphoricallypeoplestandingerect.”ForNew

Yorkersthesewereclose“people”–aboveallliterallyspeaking,sincenearlythree

thousandactualpeoplewerekilledintheirdestruction.Thisiswhyafterthetragedy

TheNewYorkerneededforitscover“animageofthetowersthat[wouldhelpNew

Yorkers]cometotermswiththeirloss”(Spiegelman2002,286).Wordswouldnothave

sufﬁced,andarequiredimagewasproducedbyArtSpiegelman.Hisblack-on-black

“phantomtowers”1managedtodepictwhatoneNewYorkercalled“ourphantom

limb”(RicBurnsqtd.inMarks):“Youfeelit,butit’snotthere;youlooktowhereyou

feelitshouldbe”(ibid.).Manyfeltthetowerswere“belovedinthewayadeparted

relativemaybethoughtofmorefondlyafterdeaththaninlife”(ibid.).Spiegelman’s

blacktowers“accuratelyreﬂect[ed]thepainfulnewemptiness[thatmany]neededto

see”(Spiegelman2002,286).Paradoxically,whattheyneededtoseewasinvisibility.

Infact,inSpiegelman’simageofthe“phantomtowers”invisibilitywasdouble,

becauseitscompleteblacknesscoveredtheoriginalcolourfulsketchwhichlater

wasrecoveredforthecollection110Stories:NewYorkWritersAfterSeptember11.

Theoriginalversionshowedthetowers“ﬂoat[ing]againstatranquilMagritteskyabove

aLowerManhattancityscape”(ibid.),shroudedinblackliketwocofﬁns,ortwobodies.

ThereferencetoRenéMagritteandhissurrealismisveryapthere:breachesinthe

reality/ﬁctiondivision,shiftedborderlines,cutoutsagainstthehorizon–TheLoversI

andII,TheUnexpectedAnswer,TheHumanConditionandTheTreacheryofImages

allcometomind.ThetwobodiesonSpiegelman’scoverweresuchananomaly,such

asurrealpuzzle,becausewhattheyreﬂected,thereality,wasananomaly,too.But

aboveall,these“bodies”wereanersatz,anecessaryby-productoftheneedandyet

inabilitytosaveandseeotherbodies.“Therescueandsalvageoperationthatcontinues

nearmyfrontstoophasallowedmetheluxuryoftryingtorescueandsalvagemyﬁrst

image,”saidSpiegelmanregretfullyandguiltily,astheironicword“luxury”suggests

(ibid.).“Notespeciallywellequippedtohelpinthesearchforsurvivors”–headmitted

alittleearlier–“Iappliedmyselftosearchingforanimageofthedisaster.Despitewhat

feltliketheirrelevanceofthetask,itgavemeawaytofendofftraumaandfocuson

something”(ibid.,285–286).

Thisimpulse:engagingoneselfinwhatispainfullyfelttobeasubstituteandnot

veryusefulactivity,whichyetmayplaysometherapeuticrole,ledoneartisttodepict

theeventsofSeptember11innowiconicimages,andlaterintheformofagraphic

novel.Butithasalsoledotherstosearchfortheirown“imagesofthedisaster.”This

1LaterthecoverofhisgraphicnovelIntheShadowofNoTowers.

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