https://litwiki.org/api.php?action=feedcontributions&feedformat=atom&user=ArobertsLitWiki - User contributions [en]2026-06-09T05:01:10ZUser contributionsMediaWiki 1.43.0https://litwiki.org/index.php?title=Fight_Club_Chapter_3&diff=10939Fight Club Chapter 32006-11-27T06:31:51Z<p>Aroberts: </p>
<hr />
<div>"You're a projectionist and you're tired and angry, but mostly you're bored so you start by taking a single frame of pornography collected by some other projectionist that you find stashed away in the booth, and you splice this frame,...Tyler does this" (19-20 Ch.3). Tyler is the dominent male in the novel ''Fight Club''. His sublimimal frames of pornography represents his superiority. A common theme throughtout the novel is the loss and gain of masculine identity. <br />
In Palahniuk's novel, the narrator and Tyler "discover a taste for late night, masochistic, bare-knuckled brawling" (Friday). The men in Fight Club along with the narrator and Tyler thrive on masochism, the getting of pleasure, often sexual, from being hurt or humiliated. Fight Club respresents everything that society will not let them be. The fights between the men compensate what society has taken from them. The emasculating effects on these white-collar, run of the mill kind of men results in their need for Fight Club, the consuming need to define their masculinity.<br />
The narrator’s alter ego, Tyler, is how masculinity is defined in the late-twentieth- century American culture. He represents the anti-hero. He is charismatic and mischievous. The wounding and the masochism are the characteristics of masculine identity in today’s society. Men feel the need to prove themselves to be “real men”. That feeling is relevant to how society has emasculated men. Palahniuk’s real life experiences were reflected in his novels. He would have a bruised and bloody face given to him by his co-workers and no one really responded. He once was quoted, “you could really do anything you wanted in your personal life, as long as you looked so bad that people would not want to know the details. I started thinking of a fight club as a really structured, controlled way of just going nuts in a really safe situation.” He believed in expressing one’s violence impulses in less dangerous ways like the narrator.</div>Arobertshttps://litwiki.org/index.php?title=Fight_Club_Chapter_3&diff=10938Fight Club Chapter 32006-11-27T06:31:05Z<p>Aroberts: </p>
<hr />
<div>"You're a projectionist and you're tired and angry, but mostly you're bored so you start by taking a single frame of pornography collected by some other projectionist that you find stashed away in the booth, and you splice this frame,...Tyler does this" (19-20 Ch.3). Tyler is the dominent male in the novel ''Fight Club''. His sublimimal frames of pornography represents his superiority. A common theme throughtout the novel is the loss and gain of masculine identity. <br />
In Palahniuk's novel, the narrator and Tyler "discover a taste for late night, masochistic, bare-knuckled brawling" (Friday). The men in Fight Club along with the narrator and Tyler thrive on masochism, the getting of pleasure, often sexual, from being hurt or humiliated. Fight Club respresents everything that society will not let them be. The fights between the men compensate what society has taken from them. The emasculating effects on these white-collar, run of the mill kind of men results in their need for Fight Club, the consuming need to define their masculinity.<br />
The narrator’s alter ego, Tyler, is how masculinity is defined in the late-twentieth- century American culture. He represents the anti-hero. He is charismatic and mischievous. The wounding and the masochism are the characteristics of masculine identity in today’s society. Men feel the need to prove themselves to be “real men”. That feeling is relevant to how society has emasculated men. Palahniuk’s real life experiences were reflected in his novels. He would have a bruised and bloody face given to him by his co-workers and no one really responded. He once was quoted, “you could really do anything you wanted in your personal life, as long as you looked so bad that people would not want to know the details. I started thinking of a fight club as a really structured, controlled way of just going nuts in a really safe situation.” He believed in expressing one’s violence impulses in less dangerous ways.</div>Arobertshttps://litwiki.org/index.php?title=Fight_Club&diff=10837Fight Club2006-11-06T12:35:16Z<p>Aroberts: /* Works Cited */</p>
<hr />
<div>[[Image:FightClub.jpg|thumb|The cover of Chuck Palahniuk's ''Fight Club'']] <br />
A 1996 [[novel]] by [[Chuck Palahniuk]], and a 1999 [[film]] by [[David Fincher]].<br />
<br />
== Study Guide ==<br />
<table width="60%"><br />
<tr valign="top"><td><br />
* [[Fight Club Chapter 1|Chapter 1]]<br />
* [[Fight Club Chapter 2|Chapter 2]]<br />
* [[Fight Club Chapter 3|Chapter 3]]<br />
* [[Fight Club Chapter 4|Chapter 4]]<br />
* [[Fight Club Chapter 5|Chapter 5]]<br />
* [[Fight Club Chapter 6|Chapter 6]]<br />
* [[Fight Club Chapter 7|Chapter 7]]<br />
* [[Fight Club Chapter 8|Chapter 8]]<br />
* [[Fight Club Chapter 9|Chapter 9]]<br />
* [[Fight Club Chapter 10|Chapter 10]]<br />
</td><br />
<td><br />
* [[Fight Club Chapter 11|Chapter 11]]<br />
* [[Fight Club Chapter 12|Chapter 12]]<br />
* [[Fight Club Chapter 13|Chapter 13]]<br />
* [[Fight Club Chapter 14|Chapter 14]]<br />
* [[Fight Club Chapter 15|Chapter 15]]<br />
* [[Fight Club Chapter 16|Chapter 16]]<br />
* [[Fight Club Chapter 17|Chapter 17]]<br />
* [[Fight Club Chapter 18|Chapter 18]]<br />
* [[Fight Club Chapter 19|Chapter 19]]<br />
* [[Fight Club Chapter 20|Chapter 20]]<br />
</td><br />
<td><br />
* [[Fight Club Chapter 21|Chapter 21]]<br />
* [[Fight Club Chapter 22|Chapter 22]]<br />
* [[Fight Club Chapter 23|Chapter 23]]<br />
* [[Fight Club Chapter 24|Chapter 24]]<br />
* [[Fight Club Chapter 25|Chapter 25]]<br />
* [[Fight Club Chapter 26|Chapter 26]]<br />
* [[Fight Club Chapter 27|Chapter 27]]<br />
* [[Fight Club Chapter 28|Chapter 28]]<br />
* [[Fight Club Chapter 29|Chapter 29]]<br />
* [[Fight Club Chapter 30|Chapter 30]]<br />
</td></tr></table><br />
<br />
<br />
== Characters ==<br />
=== The Narrator ===<br />
The protagonist of the story who suffers from insomnia and has a split personality. Because of his insomnia, he starts attending support groups to see what real suffering is like. After a while of attending them, he meets Tyler Durden and forms Fight Club. This begins to be his new support group. We never find out his name in the story. We only know his other personality, Tyler.<br />
<br />
=== Tyler Durden ===<br />
He is the narrators devious side of his personality. He is the one who technically made the way for the Fight Club when he said to the narrator "hit me as hard as you can." The narrator wanted to be more like Tyler even though the are the same person.<br />
<br />
=== Marla Singer ===<br />
The narrator meets her at the support groups he was attending. He beings to hate her for being a tourist. He could not let himself go when there was another faker there. She ends up being Tyler (and the narrator's) lover.<br />
<br />
=== Big Bob ===<br />
He is a man the narrator meets at the testicular cancer support groups. He develops brests from having to take more estrogen. The narrator makes friends with him and Bob joins a fight club. He ends up getting shot while doing something for Project Mayhem, and dies.<br />
<br />
== Major Themes ==<br />
=== The Feminization of Men ===<br />
<br />
=== Redefining or Rediscovering Masculinity ===<br />
<br />
=== The Numbing Effects of Modern Life ===<br />
<br />
=== The Oedipus Complex ===<br />
<br />
The Oedipus Complex –<br />
Based from a greek legend [http://en.wikipedia.org/wiki/Oedipus Read about it] king of Thebes, the son of Laius and Jocasta, and the father by Jocasta of Eteocles, Polynices, Antigone, and Ismeme: as was prophesied at his birth, he unwittingly killed his father and married his mother and, in penance, blinded himself and went into exile.<br />
<br />
The unresolved desire of a child for sexual gratification through the parent of the opposite sex, esp. the desire of a son for his mother. This involves, first, identification with and, later, hatred for the parent of the same sex, who is considered by the child as a rival.<br />
<br />
<br />
1.A child's positive libidinal feelings toward the parent of the opposite sex and hostile or jealous feelings toward the parent of the same sex that develop usually between the ages of three and six and that may be a source of adult personality disorder when unresolved used especially of the male child.<br />
2. The unresolved oedipal feelings persisting into adult life.<br />
<br />
“The child’s sexual researches, on which limits are imposed by his physical development, lead to no satisfactory conclusion; hence such later complaints as ‘I can’t accomplish anything’.”(Freud 15) “The tie of affection, which binds the child as a rule to the parent of the opposite sex, succumbs to disappointment, to a vain expectation of satisfaction or to jealousy over the birth of a new baby-unmistakable proof or the infidelity of the object of the child’s affections.”(Freud 15) “His own attempt to make a bay himself, carried out with tragic seriousness, fails shamefully.”(Freud 15) “The lessening amount of affection he receives, the increasing demands of education, hard words and an occasional punishment-these show him at last the full extent to which he has been scorned.”(Freud 15) “These are a few typical and constantly recurring instances of the ways in which the love characteristic of the age of childhood is brought to a conclusion.”(Freud 15)<br />
<br />
==== The Oedipus Myth: The Mother ====<br />
Aristotle once had an idea that thinking and knowledge are the driving forces in human life, and through the well-known myth of Oedipus, a tyrant of Thebes, he tries to reveal these forces are also found at the myth's semantic base. The first and oldest component of the myth is the story of the Sphinx, initially presented as one of the "storm demons," symbolizing disaster and plague, and naming her a "sacred disease" (Rudnytsky 96). The combination of the two myths of the Sphinx and Oedipus was at first understood as a symbolic representation of the purely physical conflicts between the sun and storm clouds. Consequently, changes in social conditions catalyzed a change in the interpretation, so eventually the story developed and became enriched into a myth tracing the daily or yearly career of the sun, which was believed to kill his father (the night) and marry his mother (the dawn) (Rudnytsky 98)<br />
<br />
In respects to religion, the Sphinx can be interpreted as Mother Earth - its gradual metamorphosis from an environment of hostile natural forces and diseases into one of earth, life and Mother Nature. Freud pointed out that figures of this kind are the religious equivalent of the "phallic mother" symbolized in cults by objects such as a totem. In her many guises the goddess represents all the aspects which a mother shows to her child. She is an intercessor with the father-god, embodiment of beauty as well as the origin of all things (Rudnytsky 107).<br />
<br />
== Major Symbols ==<br />
=== The Rules of Fight Club===<br />
<br />
<br />
<br />
<br />
1st RULE: You do not talk about FIGHT CLUB.<br />
<br />
2nd RULE: You DO NOT talk about FIGHT CLUB.<br />
<br />
3rd RULE: If someone says "stop" or goes limp, taps out the fight is over.<br />
<br />
4th RULE: Only two guys to a fight.<br />
<br />
5th RULE: One fight at a time.<br />
<br />
6th RULE: No shirts, no shoes.<br />
<br />
7th RULE: Fights will go on as long as they have to.<br />
<br />
8th RULE: If this is your first night at FIGHT CLUB, you HAVE to fight.<br />
<br />
=== Jack ===<br />
<br />
At one point in the novel, the narrator comes across magazine articles that are supposedly written by body organs in the first person. For example, "I am Jack's medulla oblongata. Without me, Jack could not perform any of his autonomic funtions." Throughout the rest of the story, in both the novel and the film, the narrator uses this line to express his thoughts, emotions and feelings - I am Jack's raging bile duct. I am Jack's complete lack of surprise. I am Jack's wasted life.<br />
<br />
== ''Fight Club'' in Contemporary Culture ==<br />
[This section should include links to cultural items that ''Fight Club'' has influenced.]<br />
<br />
<br />
== Influences ==<br />
=== F. Scott Fitzgerald's ''The Great Gatsby'' ===<br />
<br />
[More to be added.]<br />
<br />
<br />
== ''Fight Club'' the film ==<br />
* [http://www.imdb.com/title/tt0137523/quotes Memorable quotations from the film]<br />
* [http://www.foxmovies.com/fightclub/ Official Film Site]<br />
<br />
== Additional Resources ==<br />
[This section should include items of interest that have ''not been cited'' but that might be of further use for researchers.]<br />
<br />
== Works Cited ==<br />
[All works cited should be in correct MLA format and include in-text parenthetical citations.]<br />
<br />
*Palahniuk, Chuck. ''Fight Club.'' New York: Henry Holt and Company, 1966.<br />
<br />
*Freud, Sigmund. ''Beyond the pleasure principle.'' New York: Liveright Publishing Corporation, 1961.<br />
<br />
*Rudnytsky, Peter. ''Freud and Forbidden Knowledge.'' New York: New York University Press, 1994. 96-110.<br />
<br />
Palahniuk,Chuck. ''Fight CLub.'' New York. 1996.<br />
<br />
Friday, Krister. "A Generation of Men Without History": Fight Club, Masculinity, and the Historical Symptom. Post Modern Culture. Vol.13, Number3. May 2003.<br />
<br />
[[Category:Literature]] [[Category:Study Guide]]</div>Arobertshttps://litwiki.org/index.php?title=Fight_Club_Chapter_3&diff=10836Fight Club Chapter 32006-11-06T12:29:14Z<p>Aroberts: </p>
<hr />
<div>"You're a projectionist and you're tired and angry, but mostly you're bored so you start by taking a single frame of pornography collected by some other projectionist that you find stashed away in the booth, and you splice this frame,...Tyler does this" (19-20 Ch.3). Tyler is the dominent male in the novel ''Fight Club''. His sublimimal frames of pornography represents his superiority. A common theme throughtout the novel is the loss and gain of masculine identity. <br />
In Palahniuk's novel, the narrator and Tyler "discover a taste for late night, masochistic, bare-knuckled brawling" (Friday). The men in Fight Club along with the narrator and Tyler thrive on masochism, the getting of pleasure, often sexual, from being hurt or humiliated. Fight Club respresents everything that society will not let them be. The fights between the men compensate what society has taken from them. The emasculating effects on these white-collar, run of the mill kind of men results in their need for Fight Club, the consuming need to define their masculinity.</div>Arobertshttps://litwiki.org/index.php?title=Fight_Club_Chapter_3&diff=10835Fight Club Chapter 32006-11-06T12:28:39Z<p>Aroberts: </p>
<hr />
<div>"You're a projectionist and you're tired and angry, but mostly you're bored so you start by taking a single frame of pornography collected by some other projectionist that you find stashed away in the booth, and you splice this frame,...Tyler does this" (19-20 Ch.3). Tyler is the dominent male in the novel ''Fight Club''. His sublimimal frames of pornography represents his superiority. A common theme throughtout the novel is the loss and gain of masculine identity. <br />
In Palahniuk's novel, the narrator and Tyler "discover a taste for late night, masochistic, bare-knuckled brawling" (Friday). The men in Fight CLub along with the narrator and Tyler thrive on masochism, the getting of pleasure, often sexual, from being hurt or humiliated. Fight Club respresents everything that society will not let them be. The fights between the men compensate what society has taken from them. The emasculating effects on these white-collar, run of the mill kind of men results in their need for Fight Club, the consuming need to define their masculinity.</div>Arobertshttps://litwiki.org/index.php?title=Romance&diff=10741Romance2006-10-17T16:51:44Z<p>Aroberts: </p>
<hr />
<div>"Romance is a fictitious narrative in prose or verse, the interest of which turns upon incidents either marvelous or uncommon" (Encyclopedia Americana 646d). Romance is a medieval tale based on legend, chivalric love and adventure, or the supernatural (Keepler 962). A new interest in the medieval romance had an influence in the naming of the nineteenth century, [[Romanticism]] (Drabble 842). Romance is a narrative that focuses on what happens in the plot (Frye 403).The medieval Latin word,"''romanice''", is it's derivitive (Drabble 841). Romance is also a medieval tale that is based on legend, chilvaric love and adventure, or the supernatural. It can sometimes be called a love story (Keepler 962). Romance, in linguistics, can be developed from the [[Romance Languages]] (Benet 870).<br />
<br />
According to Putnam, some works of Romance is "full of supernatural deeds of valor,implausible, and complicated adventures, duels, and enchantments" (1676). A romantic story must focus on a love relationship between two people and it must have an emotionally satisfying and optomistic ending. Romance is based on love and love has a very deep, basic meaning. Love is a strong affection or liking for someone or something. Love "favors the picturesque, the emotional, the exotic, and the mysterious" (1058). An example of romance or love used in literature is "My love is such that rivers cannot quench, Nor ought but love from thee give recompense. Thy love is such I can no way repay; The heavens reward thee manifold, I pray."<br />
<br />
There are two types of romance, which we call aristocratic and the popular. They call on the same themes and proptities, but differ in scale. The aristocratic romance makes clear its descent from the epic; it is a large-scale work interweaving many narrative threads. The popular romance is focused on simplicity and concentration, as in the ballad. It sets out to tell a story. (Gillian 6)<br />
<br />
== Works Cited ==<br />
<br />
Keepler, Kathleen. "Romance." ''Merriam Webster's Encyclopedia of Literature''. New York,1995.<br />
<br />
Drabble, Margaret. "Romance Languages." ''The Oxford Companion to English Literature''. 5th ed.New York,1985. <br />
<br />
Benet, William. "Romance." ''The Reader's Encyclopedia''. 2nd ed. New York,1965.<br />
<br />
Frye, Northrop,et. al. "Romance." ''The Harper Handbook to Literature''.1997<br />
<br />
Mack "et al." ''The Norton Anthology of World Masterpieces''.5th ed. New York. 1949<br />
<br />
Bain,Beaty,and Hunter. ''The Norton Introduction to Literature''. 4th ed. New York,1973.<br />
<br />
''Adventures in American Literature''. New York: Harcourt, 1989.<br />
<br />
Beer, Gillian. [[The Romance]]. Great Britain, 1970.</div>Arobertshttps://litwiki.org/index.php?title=Romance&diff=10480Romance2006-09-22T16:14:18Z<p>Aroberts: /* Works Cited */</p>
<hr />
<div>== Romance ==<br />
Romance is a fictitious narrative in prose or verse, the interest of which turns upon incidents either marvelous or uncommon(Encyclopedia Americana 646d). Romance originally denoted any verse narrative written in one of the [[Romance Languages]], during the Middle Ages(Merit Student Encyclopedia 117). Romance is a medieval tale based on legend, chivalric love and adventure, or the supernatural(Webster 962). A new interest in the medieval romance contributed to the naming of the nineteenth century, [[Romanticism]](Drabble 842). <br />
<br />
As a literary genere, Romance is a long poem or tale, orig. written in the Romance dialect derived from any of the languages Vulgar Latin: excitement, love of the kind found in such literature. According to Putnam in some works of Romance is "full of supernatural deeds of valor,implausible, and complicated adventures, duels, and enchantments." (1676) A romantic story must focus on a love relationship between two people and it must have an emotionally satisfying and optomistic ending. Romance is based on love and love has a very deep, basic meaning. Love is a strong affection or liking for someone or something. "Love was important enough to the Greeks and Romans that they has gods of love, Eros and Cupid."(349) An example of romance or love used in literature is "My love is such that rivers cannot quench, Nor ought but love from thee give recompense. Thy love is such I can no way repay; The heavens reward thee manifold, I pray."<br />
<br />
== Works Cited ==<br />
Romance. ''The Encyclopedia Americana''. 1829<br />
<br />
Webster, Merriam. ''Merriam Webster's Encyclopedia of Literature''. Merriam Webster, Incorporated, 1995<br />
<br />
Romance. ''Merit Student Encyclopedia''.Vol 16. 1977<br />
<br />
Drabble, Margaret. ''The Oxford Companion to English Literature''. 5th ed. Oxford University Press, New York, 1985<br />
<br />
Mack "et al." ''The Norton Anthology of World Masterpieces''.5th ed. New York. 1949<br />
<br />
Bain,Beaty,and Hunter. ''The Norton Introduction to Literature''. 4th ed. New York,1973.<br />
<br />
The Southwestern Company. ''Student Handbook''. Vol.2.</div>Arobertshttps://litwiki.org/index.php?title=Romance&diff=10479Romance2006-09-22T16:07:38Z<p>Aroberts: Romance</p>
<hr />
<div>== Romance ==<br />
Romance is a fictitious narrative in prose or verse, the interest of which turns upon incidents either marvelous or uncommon(Encyclopedia Americana 646d). Romance originally denoted any verse narrative written in one of the [[Romance Languages]], during the Middle Ages(Merit Student Encyclopedia 117). Romance is a medieval tale based on legend, chivalric love and adventure, or the supernatural(Webster 962). A new interest in the medieval romance contributed to the naming of the nineteenth century, [[Romanticism]](Drabble 842). <br />
<br />
As a literary genere, Romance is a long poem or tale, orig. written in the Romance dialect derived from any of the languages Vulgar Latin: excitement, love of the kind found in such literature. According to Putnam in some works of Romance is "full of supernatural deeds of valor,implausible, and complicated adventures, duels, and enchantments." (1676) A romantic story must focus on a love relationship between two people and it must have an emotionally satisfying and optomistic ending. Romance is based on love and love has a very deep, basic meaning. Love is a strong affection or liking for someone or something. "Love was important enough to the Greeks and Romans that they has gods of love, Eros and Cupid."(349) An example of romance or love used in literature is "My love is such that rivers cannot quench, Nor ought but love from thee give recompense. Thy love is such I can no way repay; The heavens reward thee manifold, I pray."<br />
<br />
== Works Cited ==<br />
Romance. ''The Encyclopedia Americana''. 1829<br />
<br />
Webster, Merriam. ''Merriam Webster's Encyclopedia of Literature''. Merriam Webster, Incorporated, 1995<br />
<br />
Romance. ''Merit Student Encyclopedia''.Vol 16. 1977<br />
<br />
Drabble, Margaret. ''The Oxford Companion to English Literature''. 5th ed. Oxford University Press, New York, 1985</div>Arobertshttps://litwiki.org/index.php?title=User:Aroberts&diff=10325User:Aroberts2006-09-13T15:34:42Z<p>Aroberts: introduced Wiki syntax</p>
<hr />
<div>== Amanda Roberts ==<br />
<br />
=== student ===<br />
<br />
*bullet<br />
*''Italics''<br />
*'''bold'''<br />
* [[Literary Terms]]<br />
* [http://www.Google.com/ Google]</div>Aroberts