Notes and References
- McHale , Brian . 1987 . Postmodernist Fiction , 40 – 40 . New York and London : Methuen .
- Quilligan , Maureen . 1979 . The Language of Allegory: Defining the Genre , 155 – 155 . Ithaca and London : Cornell .
- Cowan , Bainard . 1981 . Walter Benjamin's Theory of Allegory . New German Critique , 22 : 109 – 122 . Winter
- Barney , Stephen . 1978 . Allegories of History, Allegories of Love , 26 – 26 . Hamden, Conn : Archon Books .
- Barney . 49 – 49 .
- Clifford , Gay . 1974 . The Transformations of Allegory , 33 – 34 . London : Routledge .
- Honig , Edwin . 1959 . Dark Conceit: The Making of Allegory , 53 – 53 . Evanston, Ill. : Northwestern University .
- Benjamin , Walter . 1975 . The Origin of German Tragic Drama , 159 – 166 . London : NLB . Trans. John Osborne
- Benjamin . 229 – 229 .
- Benjamin . 233 – 233 .
- Benjamin . 110 – 110 .
- Benjamin . 122 – 122 .
- De Man , Paul . 1969 . “ The Rhetoric of Temporality ” . In Interpretation: Theory and Practice , Edited by: Singleton , Charles S. 191 – 191 . Baltimore : Johns Hopkins .
- Quilligan . 99 – 99 .
- Madsen , Deborah L. 1991 . The Postmodernist Allegories of Thomas Pynchon , 13 – 13 . New York : St. Martin's .
- Madsen . 20 – 20 .
- Fletcher , Angus . 1964 . Allegory: The Theory of a Symbolic Mode , 145 – 145 . Ithaca and London : Cornell . Although Kafka, in terms of historical placing, is a modernist, many critics link him to the beginnings of the postmodern (e.g. Brian Hale).
- Fletcher . 230 – 230 .
- Fletcher . 230 – 230 .
- De Man . 192 – 192 .
- De Man . 197 – 197 .
- De Man . 197 – 197 .
- De Man . 203 – 204 .
- Jameson , Fredric . 1991 . Postmodernism, or, The Cultural Logic of Late Capitalism , 17 – 17 . Durham : Duke .
- Jameson . 19 – 19 .
- Foster , Hal . 1988 . “ Wild Signs: The Breakup of the Sign in Seventies' Art ” . In Universal Abandon? The Politics of Postmodernism , Edited by: Ross , Andrew . 251 – 268 . Minneapolis : University of Minnesota .
- Owens , Craig . 1980 . The Allegorical Impulse: Toward a Theory of the Postmodern . October , 12 Spring : 68 – 68 .
- De Man . 191 – 203 .
- Barney . 24 – 34 .
- Kaleta , Kenneth C. 1993 . David Lynch , 175 – 175 . New York : Twayne .
- Barney . 32 – 32 .
- Other road films mentioned by Kaleta as possible pretexts include Two For the Road, Bonnie and Clyde, Easy Rider, Badlands, and Mad Max
- Campbell , Virginia . 1990 . Something Really Wild . Movieline , Sept. : 36 – 36 .
- Madsen . 12 – 12 .
- Kaleta . 184 – 184 .
- Marcus , Greil , ed. 1991 . “ Marcus' Dead Elvis explores the Elvis obsession in late-twentieth-century American society ” . In Dead Elvis: A Chronicle of a Cultural Obsession , New York : Doubleday .
- Gifford , Barry . 1990 . Wild at Heart , 20 – 20 . New York : Vintage .
- Kaleta . 166 – 167 .
- In Postmodernism Jameson reads Lynch's Blue Velvet as an example of the nostalgia film
- Jameson . 296 – 296 .
- Jameson . 290 – 290 .
- Willis , Sharon . 1991 . Special Effects: Sexual and Social Difference in Wild at Heart . Camera Obscura , 25–26 Jan.–May : 275 – 295 .
- Willis . 292 – 293 .
- Kaleta . 167 – 167 .
- De Man . 199 – 199 .
- De Man . 197 – 197 .
- De Man . 203 – 204 .
- De Man . 203 – 203 .