Abstract
In his rather brilliant novel on the culture of Wall Street in the 1980s, The Bonfire of the Vanities, Tom Wolfe (1987) portrays the international bond traders of that era as ‘Masters of the Universe’, a title based on children's popular action dolls of the same name – a very muscled and masculine set of plastic supermen who were, in tum, promoted through a TV series of the same name. Early in the novel, Wolfe has his central character describing his fellow traders on the 50th floor trading room of a fictional investment banking house as Masters of the Universe who, through their telephone dealing, were ‘moving the lever ...

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