摘要：The paper argues that late DeLillo's novels, The Body Artist (2001), Cosmopolis (2003), Falling Man (2007) and Point Omega (2010), can be read as texts which are symptomatic of the crisis of US financialization and of US hegemony. Within such oeuvres, mourning becomes the interpretative paradigm through which one can understand and overcome the effects of the melancholic incorporation proper of a financial structure of feeling arising from financialization, and thus recuperate embodied forms of materiality, and alternative forms of capital which produce radically different spatial and temporal constructions than those generated by the dynamics of speculative capital. The paper also suggests that DeLillo invites to embrace the transformative experience mourning in order to supersede the terminal phase of US hegemony, aggravated by the War on Terror and the credit crunch, and the exhaustion of a predominantly financial US and Western capitalist model and culture.
