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Instituto Franklin > Libros > Rewriting Terror: The 9/11 Terrorists in American Fiction

Rewriting Terror: The 9/11 Terrorists in American Fiction - 15,00

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Rewriting Terror: The 9/11 Terrorists in American Fiction

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Dr. Juanjo Bermúdez de Castro (Barcelona, 1977) obtained his PhD in North American Literature at Universidad Autónoma de Madrid. After taking courses in Shakespeare Studies at Royal Holloway University of London, he carried out his doctoral research at New York University. It was in the city of New York where he has principally developed his academic career, working as editor of the literary journal of Princeton University, and as a teacher and director of the theatre group at Cervantes Institute based in New York. He has written several essays and conference papers about the rewriting of the historical discourse through works of fiction under ideological constraints: “Rewriting 1492 in Film” (Columbia University), “JFK revisited” (Universidad Autónoma de Madrid) and “Nine-Elevenism” (École des Hautes Études en Sciences Sociales, Paris). He is currently focused on the analysis of terrorism as a sociological phenomenon, the linguistics of terror, and the complicity of the media which by denouncing the act of terror makes it effective.

 

SKU: 2012-09-001e Category:

There is a discursive way of coming to terms with the terrorists responsible for the attacks of September 11, 2001, which has prevailed as the predominant course of action in the US. It is supported by governmental institutions, the mainstream media, and by most novelists, film directors, TV scriptwriters, and cartoonists who have re-visited and re-created the event through fiction. This ideological maneuver can appear in different guises: demonizing discourses, in which the 9/11 terrorists are represented as quintessentially “evil” or the vivid image of irrationality and hatred; generalizing discourses, in which a new identity label that emerged after 9/11 – a religious, racial, and ethnical mix merely based on physical appearance and conformed by Muslims, Arabs, Middle Easterners, and whoever “looks like” them – is turned into the constructed “evil” object of both suspicion and retaliation; and finally, “hystoerical” contextualizations of the event, which, obsessed with memorializing the 9/11 date, have reformulated contemporary history in Dickensian terms such as “everything has changed, nothing has changed” while neglecting to specify “for whom” it has changed, and more importantly, “for whom it has not.” This book analyzes how some US works of fiction – novels, films, TV series, short stories, and comics – have rewritten the historical event of 9/11 under the limitations imposed by ideological dictates.

 

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