My research arises from a critique of the tendency within terrorism debates to equate the terrorist act with the production of spectacular images. Chapter 1 uses the work of Luce Irigaray to critique this trend in terrorism discourses, arguing that such a characterisation relies on a repression of the very materiality that terrorist action exploits. Moreover, placing the concept of terror in an Irigarayan framework reveals that the concept of terrorism is bound up with concepts of masculinity. In developing this critical approach, I build on the thinking of both Irigaray and Gayatri Spivak in turning to literary representations of terrorism to find a means of articulating a new understanding of the concept of terrorism and its place within our culture.ududChapter 2 brings together the figure of the woman terrorist in terrorism studies, Nadine Gordimer’s Burger’s Daughter(1979), and Doris Lessing’s The Good Terrorist (1985) in order to critique the portrayal of the feminine in terrorism discourses. Chapter 3 then moves on to ask how the global reach of terrorism discourses after September 11th, 2001, has impacted on our understanding of masculinity and femininity, looking at the relationship between the body and subjectivity in Ian McEwan’s Saturday (2006). Finally, Chapter 4 examines how Don DeLillo’s Falling Man (2007) figures the body as a site of resistance to such global narratives of terror, as he explores the possibility of an embodied ethics opening up a suspension of photographic and filmic modes of perception.ududBy setting up a dialogue between terrorism studies and literary fiction, I reintroduce the body to our conceptualisation of terrorism. In doing so, I show how literature can open up new ethical horizons in an otherwise closed rhetoric.
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机译：我的研究来自对恐怖主义辩论中将恐怖主义行为等同于产生壮观图像的趋势的批评。第1章使用卢斯·伊里加里（Luce Irigaray）的著作来批评恐怖主义话语中的这一趋势，认为这种表征依赖于对恐怖主义行动所利用的实质性的压制。此外，将恐怖主义的概念置于一个伊里加拉扬的框架中，这表明恐怖主义的概念与男子气概的观念紧密相连。在发展这种批判性方法时，我以艾里加里（Irigaray）和加亚特里·斯皮瓦克（Gayatri Spivak）的思想为基础，转向恐怖主义的文学表现形式，以找到表达对恐怖主义概念及其在我们文化中的位置的新理解的方法。 ud ud第2章纳丁·戈迪默（Nadine Gordimer）的《汉堡的女儿》（Burger's Daughter）（1979）和多丽丝·莱辛（Doris Lessing）的《好恐怖分子》（Good Terrorist）（1985）汇集了恐怖主义研究中的女恐怖分子形象，以便对恐怖主义话语中的女性形象进行批评。然后，第3章继续探讨在2001年9月11日之后，恐怖主义言论的全球影响如何影响了我们对男性气质和女性气质的理解，并考察了伊恩·麦克尤恩（Ian McEwan）在星期六（2006年）中身体与主观性之间的关系。最后，第4章探讨了唐·德利洛（Don DeLillo）的《堕落的人》（2007）如何将身体视为抵抗这种全球恐怖叙事的场所，因为他探索了体现的伦理学可能会开启摄影和电影观感的中止的可能性。 ud ud通过在恐怖主义研究与文学小说之间建立对话，我将身体重新引入我们对恐怖主义的概念化。通过这种方式，我展示了文学如何以一种封闭的言辞开辟新的伦理视野。
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