Thematische Bibliographien / Postmodernism (Literature) Deconstruction

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Auswahl der wissenschaftlichen Literatur zum Thema „Postmodernism (Literature) Deconstruction“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 18. Februar 2022

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Zeitschriftenartikel zum Thema "Postmodernism (Literature) Deconstruction"

Olivier, Bert. „The critical difference: Deconstruction and postmodernism“. Journal of Literary Studies 4, Nr. 3 (September 1988): 287–98. http://dx.doi.org/10.1080/02564718808529874.

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Martín-Párraga, Javier. „Miguel de Cervantes’s Don Quixote and John Barth’s The Sot-Weed Factor: A Deconstructive Reading“. Open Cultural Studies 1, Nr. 1 (27.11.2017): 333–41. http://dx.doi.org/10.1515/culture-2017-0030.

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Abstract Miguel de Cervantes’s Don Quixote is one of the earliest and most influential novels in the history of Western literature. John Barth’s The Sot-Weed Factor, published almost three centuries later, can be considered as one of the most seminal postmodern novels ever written in the English language. The goal of this paper is to examine Cervantes’s influence on John Barth in particular and in American postmodernism from a more general point of view. For the Spanish genius’ footsteps on American postmodernism, a deconstructive reading will be employed. Consequently, concepts such as deconstruction of binary opposites, the role of the subaltern or how the distinction between history and story are paramount to both Cervantes and Barth will be used.

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Sudirga, I. Komang. „Komposisi Karawitan dalam Perspektif Estetika Posmodern“. Journal of Music Science, Technology, and Industry 3, Nr. 2 (21.10.2020): 181–200. http://dx.doi.org/10.31091/jomsti.v3i2.1156.

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Purpose: This article examines some works of musical composition which are dissected by the aesthetic approach of postmodernism. Research methods: The method used is a qualitative method by collecting data through observation, literature review, and document review (discography). Data analysis uses tri angulation of data from raw data collection (scripts), selection, processing, to drawing conclusions. Results and discussion: The idioms along with the aesthetic characteristics of postmodernism are applied to uncover the phenomenon of postmodernity in musical compositions with diverse ideas and perspectives. Even now, there have been a variety of new terms such as new music for new gamelan which are conceptually not familiar to the public and need to be discussed further.Implication: Various musical phenomena as well as aesthetic concepts have moved towards musical progression which not only breaks down shapes and structures but also musical understanding that has undergone a paradigm referring to the 'deconstruction' concepts of the search for identity in the era of local-global aesthetic struggles.

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Mazanaev, Sh A. „Deconstruction of postmodernism and the emergence of a new realism in modern Russian literature“. Herald of Dagestan State University 33, Nr. 4 (2018): 39–44. http://dx.doi.org/10.21779/2542-0313-2018-33-4-39-44.

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Peterson, Nancy J. „History, Postmodernism, and Louise Erdrich's Tracks“. PMLA/Publications of the Modern Language Association of America 109, Nr. 5 (Oktober 1994): 982–94. http://dx.doi.org/10.2307/462966.

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The deconstruction of history by poststructuralists and some philosophers of history has occurred at the moment when women and indigenous peoples have begun to write their own historical accounts. Louise Erdrich's historical novel, Tracks, brings into focus the necessity and the difficulties of writing Native American history in a postmodern epoch. The novel addresses two crucial issues: the referential value of history (If it is impossible to know the past fully, is it impossible to know the past at all?) and the status of history as narrative (If history is just a story, how is it possible to discriminate between one story and another?). Erdrich's novel suggests the need for indigenous histories to counter the dominant narrative, in which the settling of America is “progress,” but also works toward a new historicity that is neither a simple return to historical realism nor a passive acceptance of postmodern historical fictionality.

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Srnic, Vesna, Emina Berbic Kolar und Igor Ilic. „Memory in Linguistic Narrative vs. Postmodern Multitasked Multimedia Art Memory“. Communication, Society and Media 1, Nr. 2 (20.09.2018): 101. http://dx.doi.org/10.22158/csm.v1n2p101.

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In addition to the well-known classification of long-term and short-term memory, we are also interested in distinguishing episodic, semantic and procedural memory in the areas of linguistic narrative and multimedial semantic deconstruction in postmodernism. We compare the liveliness of memorization in literary tradition and literature art with postmodernist divisions and reverberations of traditional memorizations through human multitasking and performative multimedia art, as well as formulate the existence of creative, intuitive and superhuman paradigms.Since the memory can be physical, psychological or spiritual, according to neurobiologist Dr. J. Bauer (Das Gedächtnis des Körpers, 2004), the greatest importance for memorizing has the social role of collaboration, and consequently the personal transformation and remodelling of genomic architecture, yet the media theorist Mark Hansen thinks technology brings different solutions of framing function (Hansen, 2000). We believe that postmodern deconstruction does not necessarily damage memory, especially in the field of human multitasking that utilizes multimedia performative art by means of anthropologization of technology, thereby enhancing artistic and affective pre&post-linguistic experience while unifying technology and humans through intuitive empathy in society.

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Boynukalın, Azize Reva. „VALERY HEGARTY ENSTALASYONLARINDA KÜLTÜREL BELLEĞİN YAPISÖKÜMÜ“. e-Journal of New World Sciences Academy 15, Nr. 4 (31.10.2020): 278–92. http://dx.doi.org/10.12739/nwsa.2020.15.4.d0266.

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Valerie Hegarty, who is an American artist, scrutinizes the fundamental notions of history and the heritage of American art. She aims to reverse the relationships among the sign, signifier and signified in the space arrangements that she deals with the politics of America, revisionism, nationalism and regional deformation. With deconstruction that is the critical discourse of postmodernism, Hegarty both questions the colonialism that is the development policy of American legend and she improves reading alternatives against the suppression of cultural memory. Her exhibitions entitled as "Alternative Histories" and "American Berserk" was evaluated by literature review using qualitative research method. These exhibitions present a new perspective to audience by focussing on U.S.A. and internal dynamics of the current political climate with an icon breaking approach. In this article, within the scope of Hegarty’s installations it is dealt with the devaluation of cultural memory signs, and relationship between “visible” and “reality”.

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H. Aljadaani, Mashael, und Laila M. Al-Sharqi. „The Evolution of Post-Postmodernism: Aesthetics of Reality and Trust in Jonathan Franzen’s The Corrections and Freedom“. Arab World English Journal For Translation and Literary Studies 5, Nr. 1 (15.02.2021): 296–323. http://dx.doi.org/10.24093/awejtls/vol5no1.21.

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This study aims to find out how literature moves from the postmodern thought, flourished until the 1990s, to the post-postmodern phenomenon. The study traces the evolution of this new phase as depicted in Jonathan Franzen’s The Corrections (2001) and Freedom (2010). It proposes these two works as examples of how over the past two decades, literature shifted from postmodernist fiction’s irony and skepticism that presents novels as “literature of emergency” to ethical objectivism and neo-realism (Franzen, 2002, p. 258). The purpose of the study is twofold. Firstly, it examines Franzen’s deployment of elements such as the subjective perception of truth, self-restraint, control, and knowledge, which he utilizes to understand reality. Secondly, it explores his employment of narrative tools (e.g., omniscient narrator, metafiction, intertextual dialogue) against postmodern fragmentation and deconstruction. By doing so, Franzen, this study demonstrates, reflects post-postmodernism’s core realist ideas that stress pragmatic interactions with the characters and readers’ cognizance of reality and encourage engagement with the narrative’s language to rework the novel’s social and cultural authority. These post-postmodern narratives reference fictional texts, real-life people, and authentic historical events that exemplify various models, simulations, and patterns of reality within and beyond the text, creating a mediated experience that enables communication with and understanding reality.

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Myers, Tony. „Jeffrey T. Nealon, Double Reading: Postmodernism after Deconstruction (Cornell University Press, Ithaca, 1993), 200 pp.“ Oxford Literary Review 18, Nr. 1 (Juli 1996): 241–44. http://dx.doi.org/10.3366/olr.1996.017.

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Serdechnaia, Vera V. „Blake Studies in the 21st Century“. Studia Litterarum 6, Nr. 2 (2021): 456–77. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-456-477.

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The author summarizes Blake studies of the 21st century. The beginning of the modern era of Blake studies can be considered with the paradigm of deconstruction. At the end of the 20th century, synthetic analysis took a special place in Blake studies, when Blake’s illuminated books were studied as an inseparable unity of verbal and visual. Blake’s legacy has undergone a significant evolution related to deconstruction and postmodern approaches, and linguistic research. The development of traditional areas of research, such as psychoanalysis, textual criticism of manuscripts, religious and mystical allusions, and comparative studies is also traced. Postmodernism, which owes much to the Romanticism (i.e. the concept of irony, fragmentation, the category of the exalted, the original lonely hero), brought new features to Blake studies and greatly contributed to its approval among canonical authors of the Romanticism. In modern Blake studies, such areas as gender studies, postcolonial studies, studies in digital reality environments are most actively developing. Starting from the 2000s, the main direction in Blake studies has become reception, that is, the cultural influence of Blake’s writings on later culture, including the culture of other countries: poetry, literature, music and cinema. Each new era reveals fundamentally similar features and adds meanings to Blake: this process is going from symbolism and psychoanalysis to the present day.

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Dissertationen zum Thema "Postmodernism (Literature) Deconstruction"

Deery, Michael A. „"On the brink of the waters of life and truth, we are miserably dying" Ralph Waldo Emerson as a predecessor to deconstruction and postmodernism /“. Cleveland, Ohio : Cleveland State University, 2009. http://etd.ohiolink.edu/view.cgi?acc_num=csu1251333951.

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Thesis (M.A.)--Cleveland State University, 2009.
Abstract. Title from PDF t.p. (viewed on Sept. 8, 2009). Includes bibliographical references (p. 93-95). Available online via the OhioLINK ETD Center and also available in print.

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Graham, Brita Marie. „Buffy at play tricksters, deconstruction, and chaos at work in the whedonverse /“. Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/graham/GrahamB0507.pdf.

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Vivian, Steven D. Scharton Maurice. „English studies, poststructuralism, and radicalism“. Normal, Ill. Illinois State University, 1998. http://wwwlib.umi.com/cr/ilstu/fullcit?p9835920.

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Thesis (Ph. D.)--Illinois State University, 1998.
Title from title page screen, viewed July 6, 2006. Dissertation Committee: Maurice Scharton (chair), Bruce Hawkins, Janice Neuleib. Includes bibliographical references (leaves 251-260) and abstract. Also available in print.

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Du, Preez Petrus. „Die slagveld van teks en betekenis : enkele aspekte in die dramatiek van Breyten Breytenbach“. Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53386.

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Thesis (MDram)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: The productions of Breyten Breytenbach's dramas created unprecedented (negative) reaction amongst the audience members. The themes and the representation of these themes through the use of language and images caused the alienation of many audience members. One of the main causes of alienation was the problem the audience had in understanding the text. The two Afrikaans dramas, Boklied and Die Toneelstuk will be placed in the postmodern theatrical tradition to give a methodology for the reading of the texts. The study also examines the nature of intertextuality to show how the use of intertextuality helps to create meaning. The theatrical productions bring the texts to life and therefore the study will also refer to the productions of these texts. The experience of a postmodern theatre piece does not imply that no meaning can be attributed to language and action. The attribution of meaning in production and texts like Boklied and Die Toneelstuk is not always based on the use oflanguage. The audience/reader of these texts becomes the cocreators of meaning. This study tries to show a range of interpretations and possible meanings of these texts.
AFRIKAANSE OPSOMMING: Die dramas van Breyten Breytenbach het met die produksie daarvan ongekende en negatiewe reaksie onder die Afrikaanse gehore ontlok. Die temas en die uitbeelding van hierdie temas in produksie en in die taal wat Breytenbach gebruik het, het tot vervreemding by die gehoor gelei. Een van die hoofredes vir die vervreemding by die gehoor was dat hulle probleme gehad het om die teks te verstaan. Die twee Afrikaanse dramas, Boklied en Die Toneelstuk word in hierdie tesis binne die postmoderne teaterstroom geplaas om aan te toon hoe dié tipe teatertekste gelees kan word. Die studie ondersoek ook die aard van intertekstuele verwysings in die dramas- om aan te toon hoe hierdie verwysings help met die skepping van betekenis by die kyker/leser van hierdie tekste. Die geskrewe dramateks kan eers ten volle in die lewe geroep word in die produksie van die teks en daarom word daar in die bespreking van die tekste ook na die opvoerings verwys. Die belewing van 'n postmoderne teaterstuk beteken nie dat daar nie betekenis aan aksie en taal toegeskryf kan word nie. Die toeskrywing van betekenis is, in gevalle soos die produksies van Boklied en Die Toneelstuk, nie altyd tekstueel gebaseer nie. Die toeskouer/leser van hierdie tekste is medeskepper van betekenis. Die studie poog om die vele moontlikhede van interpretasie en die betekenis van hierdie tekste uit te lig.

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Ballardini, Anny. „Ghost Dance in 31 Movements“. ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/826.

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A kind of poetry that tries to understand contemporary social and philosophical issues as much as behaviors by rewriting in a poetic language the video artwork of some of the main representatives of modernism and postmodernism. Such poetry is deprived of confessional hues, any personal reference has to be ascribed to a mirroring effect by which the single person empathically absorbs and projects what is conveyed, be it stemming directly from the historical time of the artwork's making and inherited, or alive at the time of its actual viewing. By following a restructuring process started at the beginning of the twentieth century, the writing analyzes possible ways to outline developments or to underline breaking points. Poetry is seen as an active medium within the formation of societies characterized as it is by its highly introspective power, not restricted to the individual but open to all beings perceived as members of one entity.

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Dreyer, Nicolas D. „'Post-Soviet neo-modernism' : an approach to 'postmodernism' and humour in the post-Soviet Russian fiction of Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin“. Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1917.

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The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.

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Roane, Nancy Lee. „Misreading the River: Heraclitean Hope in Postmodern Texts“. Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1431966455.

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Thiers, Bettina. „Poétiques expérimentales et engagement : Poésie concrète, visuelle, sonore et pièces radiophoniques expérimentales dans l'espace germanophone de 1945 à 1970“. Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2018.

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Les poésies concrète, visuelle, sonore, apparues au début des années 1950 dans une vingtaine de pays du monde, dont l’Allemagne, la Suisse et l’Autriche, et les pièces radiophoniques expérimentales ont, jusqu’à présent, été perçues comme jeux formels avec le matériau verbal épargnant à leurs auteurs une prise de position politique par rapport au réel. Face à la réception réductrice du concept sartrien de « littérature engagée », les poétiques expérimentales apparaissent comme « désengagées ». Or, les auteurs invoquent la portée politique de leur déconstruction de poétiques traditionnelles, de normes linguistiques et de modes de pensée de la culture occidentale. Les formes d’écriture expérimentale ne seraient-elles pas alors des choix politiques au sens où elles ébranlent des visions et expériences du monde? Cette mise à distance du réel provoquerait ce que Rancière appelle la « subjectivation politique », c'est-à-dire l’émancipation du citoyen par rapport à son identité sociale figée par des manières de dire et de penser. Montrant l’intention politique immanente à certains choix poétiques cette étude aborde la notion d’engagement sous un angle poétologique
Concrete, visual and sound poetry, as well as experimental radio plays, appearing in the early 1950s in Germany, Switzerland and Austria specifically, have until now been perceived as formal games with language, sparing their authors from taking any political position with regards to reality. Given this narrow understanding of the sartrian concept of “engaged literature”, experimental poetry hence appeared as “disengaged.” And yet, authors insist on the deconstruction of traditional poetry, of linguistic norms and of the Occidental vision of culture. As a consequence, shouldn’t we also understand experimental literary forms as political in the sense that they shatter our traditional vision and experience of the world? The distance taken from reality leads to what Rancière calls “political subjectivity”, by which he means the emancipation of the individual from a fixed social identity through news ways of saying and thinking. Analyzing the political intention inherent to specific poetical choices, this study offers a poetic approach of literary political engagement

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Payne, Christopher Neil. „Terminus intractable and the literary subject : deconstructing the endgame in Chinese avant-garde fiction“. Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29518.

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The following paper will deal with the actantial place of memory and history in the works of Ge Fei, a so-called avant-garde writer in China. Analyzing his three major novels published in the nineteen-nineties, as well as an earlier short story, the paper will discuss how Ge Fei renegotiates the status and place of the literary subject as configured through the act of writing, and its close relationship with the medium of memory and history. Contrary to the prevailing opinion, the avant-garde experiment in Ge Fei's works does not intimate the dissipation of the subject, but rather assists in reconfiguring it in an entirely new and dynamic conceptualization. Instead of a figural e/End and vulgarization of literature in the nineties, Ge Fei's experimentation with the acts of writing and reading, as well as his play with language, open up new possibilities for the writing of new literatures in contemporary China.

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Folio, Jessica Joëlle. „La poétique de l'abjection dans la littérature gothique américaine postmoderne : le cas de Stephen King (1947- ), Peter Straub (1943- ) et Chuck Palahniuk (1962- )“. Phd thesis, Université de la Réunion, 2011. http://tel.archives-ouvertes.fr/tel-00716880.

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La littérature est une source d'où jaillissent les flots intarissables du paradoxe ; c'est dans cet entrelacement de dichotomies que nous nous sommes immergées pour percevoir l'unité sous-jacente derrière l'oxymore que constitue le titre de notre thèse : " une poétique de l'abjection dans la littérature gothique américaine postmoderne. " Si nous nous sommes tournées vers Stephen King, Peter Straub et Chuck Palahniuk et avons mis l'accent sur trois de leurs œuvres précises, notre démonstration se veut être transposable à l'ensemble de leurs écrits. Nous nous sommes interrogées sur la nature de l'abjection et sur sa prééminence dans une société américaine portant le sceau du puritanisme. Marqués par le Romantisme et le Gothique anglais, nos auteurs ont su donner aux thématiques caractérisant ces mouvements une voie nouvelle. Situer nos œuvres dans la lignée du gothique postmoderne nous permet d'osciller sur le paradigme de l'excès et de l'incomplétude, de la déconstruction et de l'unité. Le thème de la fragmentation apparaît comme l'un des fils d'Ariane permettant aux auteurs de tisser autour des lecteurs leur toile arachnéenne. Ce démantèlement qui affecte à la fois la dimension narrative et thématique des récits contribue à leur effet patchwork et subversif, nous liant à notre problématique postmoderne. Les paradoxes engendrés par nos récits leur donnent leur force et expliquent leur fascination sur le public. Nos pérégrinations menant à l'ouverture des différentes portes de l'interprétation révèlent que l'abjection devient source d'une nouvelle esthétique. Le laid peut véhiculer de la beauté et du sublime. L'harmonie qui existe dans le monde de la déchéance qui nous est dépeint explique l'emprise hypnotique de la littérature de l'abjection sur le lecteur. Source de poétique, celle-ci procure un plaisir de la lecture quasi jouissif pour ceux qui se laissent transporter par la magie créatrice de nos auteurs.

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Bücher zum Thema "Postmodernism (Literature) Deconstruction"

Nealon, Jeffrey T. Double reading: Postmodernism after deconstruction. Ithaca: Cornell University Press, 1993.

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Narrative after deconstruction. Albany: State University of New York Press, 2003.

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O filo( )ofiji. Beograd: B92, 2001.

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Teoría literaria y deconstrucción. Madrid: Arco, 1990.

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Jain, Jasbir. Deconstructing character: Transformation in postmodernist American drama. Jaipur: Rawat Publications, 1997.

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Fiction and the social contract: Genocide, pornography, and the deconstruction of history. New York: P. Lang, 1998.

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At war with the word: Literary theory and liberal education. Wilmington, Del: ISI Books, 1999.

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Jie gou yu jian gou: Hou xian dai zhu yi yu Zhongguo 20 shi ji 90 nian dai xiao shuo yan jiu = Deconstruction and construction : postmodernism and Chinese stories in 1990's. Beijing: Zhongguo she hui ke xue chu ban she, 2010.

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Tiefensee, Dianne. The old dualities: Deconstructing Robert Kroetsch and his critics. Montreal: McGill-Queen's University Press, 1994.

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Buchteile zum Thema "Postmodernism (Literature) Deconstruction"

Happel, Stephen. „The Postmodernity of Judas: Religious Narrative and the Deconstruction of Time“. In Postmodernism, Literature and the Future of Theology, 91–119. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22687-0_6.

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Bogdanova, Olga A. „“Estate myth” in the literature of Russian postmodernity: deconstruction or reconstruction?“ In Russian Estate in the World Context, 296–310. A.M. Gorky Institute of World literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/978-5-9208-0627-7-296-310.

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The article describes the time of registration of the “estate myth” in Russian culture — the beginning of the XX century — and outlines its content, dating back to the idealized life of estate of A.S. Pushkin time. From the 1920s–1930s the functioning of the “estate myth” was forcibly interrupted and resumed only in the 1990s, with the removal of ideological barriers. Turning to the subject of the estate at the turn of XX– XXI centuries is explained not only by the need for national identity, but also the possibility of developing undisclosed mythopoetic potentials of the Russian estate. It takes place within the framework of the cultural situation of postmodernity, passing through the stages of postmodernism (1980-1990ies) and neo-modernism / metamodernism (2000–2010ths). If the first stage is characterized by the deconstruction of the “estate myth” in the works of M.P. Shishkin, V.G. Sorokin, V.O. Pelevin, P.V. Krusanov, etc., the second — on the contrary, by its actualization and reconstruction in a number of attractive features in the works of E.G. Vodolazkin, A.I. Slapovsky, etc. It is the “estate myth”, restored in its former charm and supplemented by existential authenticity and freedom, is seriously offered to man of the beginning of the XXI century as a way out of the clutches of the historical determinism to the timeless universality and authenticity of being. However, the modern reader, as a rule, does not deal with empirical estate realities, but with the “estate habitus” as a worldview-behavioral model formed by the “estate topos”, which has a significant heuristic potential.

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Mattar, Karim. „Islam and the Limits of Translation: Orhan Pamuk and the Ottoman Revival“. In Specters of World Literature, 215–59. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474467032.003.0005.

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This chapter addresses the carefully (self-)cultivated image of Orhan Pamuk as a worldly, cosmopolitan, and secular-liberal writer. This image, I argue, has come to define the aesthetics and politics, the ethos, of his novels in their worldly reception, and has functioned to undermine the nature and extent of his engagement with the local (especially his native city, Istanbul, and its Ottoman, Islamic heritage). I trace this argument through a sustained focus on The Black Book as this novel has been translated and read in Britain and the United States. Drawing on translation theory, I show that both English versions of the novel are unable to capture the logic and significance of Pamuk’s culturally-specific use of language, and have influenced its Anglo-American (mis)reading as a postmodernist work. In my counter-reading, I argue that anything but a postmodernist deconstruction of myths of national and religious identity, The Black Book in fact comprises an evocation of Istanbul’s Ottoman, Islamic heritage in the face of a Turkish secular modernity by which this heritage was historically repressed. I detail this argument through close attention to Pamuk’s treatment of Sufism and Hurufism. The Black Book, I conclude, inscribes what I call “cultural neo-Ottomanism” as form.

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Aliseienko, Olha. „FOUNDATIONS OF THE NOVEL WORLD OF IRIS MURDOCH“. In Іншомовна комунікація: інноваційні та традиційні підходи, 212–37. Primedia eLaunch LLC, 2021. http://dx.doi.org/10.36074/ikitp.monograph-2021.10.

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Iris Murdoch enters the wide space of literature and culture, conducts intertextual roll-over with various proto-texts, modalities, archetypes, philosophical concepts that have developed in literature, seeking to penetrate into the essence of man and the world. As a writer of the “transition”, Iris Murdoch’s work is not associated with an outright deformation of the world in its spatial and temporal coordinates, with the hypertrophy of conventional elements, with demonstrative deconstructive game stylization, with a violation of lifelikeness and ethical relativism inherent in “mature” postmodernism. An important feature of the poetics of “transition” in Murdoch turns out to be organic, devoid of contrast, both because of the objectively established relationship between modernism and postmodernism, and because of the subjective nature of her artistic thinking, marked by the gift of contamination.

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