The Fight Club of the Self: Transgressive Fiction and the Lonely Journey of the Genres Protagonists
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The Fight Club of the Self: Transgressive Fiction and the Lonely Journey of the Genre's Protagonists - american psycho quote facial mask

by:NOX BELLCOW     2019-10-26
The Fight Club of the Self: Transgressive Fiction and the Lonely Journey of the Genre\'s Protagonists  -  american psycho quote facial mask
Survive and struggle in social exclusion.
Chuck Palahniuk, Bret Easton Ellis, Douglas Coupland, and even Anthony Burgess are known as the leaders of the super-fiction movement.
They never intended to start a particular movement because they just wrote what they wrote and now an umbrella term appears to define and classify it.
What exactly is this literary work? How did this bizarre prose rise from the ground up?
Cross-track novels have been with us for decades and there is no real consensus on the merits of this type of more famous work.
Some of the readers and critics despise it.
So, there are works that not only support the work of the track, but also have value.
They see cross-track novels as a way to gain knowledge and spiritual awakening in each reading.
No, not everyone is suitable for the work of crossing the track (also known as crossing the track.
Shocking works.
In a way, if the wrong person is shocked, then the author of the offside will finish his or her work as expected.
Most likely, this is his job, because this type of novel is aimed at a very male-oriented audience.
It is not so difficult to define a cross-track novel, because the consensus of these works is focused on the social outcast and the unadaptive who resist their feelings of alienation.
Regardless of their motives, these characters are attacking perceived, perhaps legitimate contempt and mistakes.
Like the battle club and their descendants.
Fight Club is a work that everyone knows about the premise, but few people really delve into the subject.
The commentator at the Battle Club must attend a support group for cancer survivors to cure his insomnia.
His therapist suggested that he do this to "see what the real pain looks like" because insomnia is definitely not a serious disease.
Think about the xrk humor of Palahniuk, which reflects the feeling of discontent: others just don't get them.
The pain a person may feel is not true to others, but true to the suffering.
There is a feeling of alienation here.
Joining the cancer support team reflects an attempt to establish a connection, although this is a wrong attempt because a mask must be worn to join the cause.
The real pain of the anti-hero is alienation.
Or, more precisely, pain comes from the pain of perceived alienation.
Anti-hero characters found in the works of cross-track novels do not live outside the society.
Unless they have the ability to live on the astral plane, they are as part of society as others.
They do not follow the rules or established social norms at all.
The way they do this may vary.
In the fight club, we see an act of anarchy against disturbing consumerism.
In American mental illness, the main character breaks down and goes to the extreme of becoming a serial killer.
These roles may think that they are not outside of society, but the consequence of their actions is that they are completely unable to integrate into society due to their mental nervous diseases.
Trying to live outside of social norms can create a rebellious satisfaction, but it will only last in the short term.
Ultimately, being unable to survive in society can bring about selfpunishment.
In this off-track movie mechanic, assassin Charles Bronson plays someone who lives outside of established norms.
He was punished by the loneliness of his chosen life.
He is lonely because he lives in a society with very different rules from the one he lives in.
In the real world, assassins are killers, not anti-heroes.
Palahniuk points out in his strange novel, the cigarette of the nose, that "the impaired likes the impaired ".
This is also the reason why the audience read the cross-track novel.
Those who are hurt to varying degrees may be attracted to this strange work, as they view the world through the same perspective as outsiders (male or female) who are the common x of these novels
Does this mean that all readers of the off-track novel are in line with this pattern?
No, there are quite a few readers who are only attracted by the black humor of the off-track work.
The apparently incorrect political material in these works does change other bland pop cultures.
Not all people who read the material are followers, villains, or social maladaptive to the main character of the work.
Do some readers conform to this description? manner. Simply witness.
There is a reason why cross-track novels continue to sell, but they will never become a type in which titles can sell 3 million copies.
Ordinary readers of popular novels are turned off by the materials in the books.
The fanatic followers and readers of the "off track" are a small group of enthusiastic followers, and of course they are the center of the off track novel.
Alienation also loves people who are alienated.
In real life, a person who sees himself as an off-track anti-hero is almost always looking for a sub-culture that is finger-pointing to the generally accepted form of popular culture.
Anyone who does not agree with this assessment only needs to attend a horror movie or comic book conference.
Crossing the rails abound, and they gather in a collective subculture that tries to disappear from society.
This is the mission of a known fool.
When you are in the lobby of a large hotel chain, you can't take yourself away from anything.
All you do is bathe in its shadow and be blind to everything around you.
Alienating from something means you have to be close enough to experience it, but being too detached from it to establish a real connection.
What is very angry about the off track protagonist is that he/she does not want to be involved in the role being played.
This role only wants to integrate into the mainstream culture, become a part of the mainstream culture, and be accepted by the mainstream culture.
No one likes to be alienated, and in fact, the protagonists rarely hide their desires and desires for normal life and relationships.
In The Invisible Monster, we see Shannon McFarlane eager to be accepted because her face is disfigured and she plays many different roles throughout the book, in order for her to be accepted by the society, continue to be a facade.
Ironically, her previous career as a model had a similar purpose.
Of course, there are easier paths in life that can lead to better acceptance and social peace and harmony.
So why don't the protagonists of these works stop their anti-social behavior and try to establish a normal relationship?
The answer to the tragedy is that they just can't do it.
Their psychological state and social dysfunction are not only their characteristic, but also the cage they cannot escape.
In more satirizes, such as the battle club or the choking, the characters are represented by strange anarchy.
In the dark world of "Less Than Zero" and "American mental illness", these roles are degraded into anti-social beings.
Anyway, the ability to free yourself from the cage is getting harder and harder, and their behavior makes the hole known to be deeper and deeper.
To some extent, their behavior symbolizes the withdrawal of many people from the mainstream, allowing themselves to be swallowed up by a subculture.
As a means of eventually being able to connect with others, it may have initially been only alienated by the collective.
This is the key to the battle club, and in the later stages of the novel/film, the protagonist finally finds himself isolated and alienated again, a hurried collective experience, and the friendship gained from the battle club is only short-lived at best.
The sad fact here is that the off-track anti-hero is just a variant of the classic hero of tragedy.
The off-track adventure continues.
Fight Club is now back in the sequel.
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