Relevant bibliographies by topics / American fiction Postmodernism (Literature) Realism

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Academic literature on the topic 'American fiction Postmodernism (Literature) Realism'

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Published: 4 June 2021
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Journal articles on the topic "American fiction Postmodernism (Literature) Realism"

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Savvas, Theophilus, and Christopher K. Coffman. "American fiction after postmodernism." Textual Practice 33, no. 2 (February 7, 2019): 195–212. http://dx.doi.org/10.1080/0950236x.2018.1505322.

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Rollins, Peter C., and John Limon. "Writing after War: American War Fiction from Realism to Postmodernism." Journal of American History 82, no. 3 (December 1995): 1175. http://dx.doi.org/10.2307/2945133.

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Miller, D. Quentin. "Review of: Writing After War: American War Fiction from Realism to Postmodernism." MFS Modern Fiction Studies 42, no. 1 (1996): 157–59. http://dx.doi.org/10.1353/mfs.1995.0033.

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Dubey, Madhu. "Contemporary African American Fiction and the Politics of Postmodernism." NOVEL: A Forum on Fiction 35, no. 2/3 (2002): 151. http://dx.doi.org/10.2307/1346181.

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Zima, P. V. "Contingency and construction: from mimesis to postmodernism." Literator 18, no. 2 (April 30, 1997): 99–114. http://dx.doi.org/10.4102/lit.v18i2.544.

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In this article the transition from literary realism (Balzac, George Eliot, Verga) is described as a shift from mimesis to constructivism. It is indicated how the realist confidence in the ability of the writer to represent reality as such yields to a modernist skepticism which recognises the contingent character of all fictional constructs. In spite of this discovery, modernists such as Kafka, Proust and Sartre still believe in a meaningful search for reality, authenticity and truth. This belief seems to disappear in the works of postmodernist authors such as Robbe-Grillet, Eco or Fowles who tend to dissociate fiction from any kind of meaningful search, transforming it into a game: a gadget for the reader. The author, who adopts the perspective of Critical Theory, argues towards the end of the article that the latter is modernist insofar as it refuses to follow the postmodernists in their playful abandoning of key realist and modernist concepts such as truth, authenticity and critique.
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McHale, Brian. "Afterword: Reconstructing Postmodernism." KANT Social Sciences & Humanities, no. 3 (July 2020): 52–59. http://dx.doi.org/10.24923/2305-8757.2020-3.6.

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Brian McHale begins his reflections on postmodernism with the words of Steve Katz, who metaphorically described the onset of a once-new era, bringing everyone "out into the air" and imagining how the color of the traffic light changed and at the same time "in different cities, we crossed the street." This idea so delighted McHale that he "brought" people to the streets not only in different cities, but on all continents, anticipating the planetary advance of postmodernism. The author examines the mechanism of emergence and ways of spreading postmodernism, linking these processes with the global economy and its cultural consequences. The role of the experience of occupation, resistance and survival in shaping the aesthetics of Olympians, surftionists, the influence of magical realism and the Latin American boom on postmodernism, as well as the interpenetration of Western European and Asian postmodern literature. Forecast where we'll be tomorrow: planetary, post-postmodernism, postmodernism - we have to do it yourself.
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Person, Leland S., and Elissa Greenwald. "Realism and the Romance: Nathaniel Hawthorne, Henry James, and American Fiction." American Literature 61, no. 4 (December 1989): 692. http://dx.doi.org/10.2307/2927009.

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Wonham, Henry B. "Postcritical Howells: American Realism and Liberal Guilt." American Literature 92, no. 2 (June 1, 2020): 229–55. http://dx.doi.org/10.1215/00029831-8267720.

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Abstract This essay explores the concept of liberal guilt in William Dean Howells’s fiction, focusing especially on his 1888 novel Annie Kilburn. Genealogies of liberal guilt rarely mention Howells, and yet no American writer has more painstakingly elaborated the embarrassing predicament of middle-class complicity in social arrangements that entail the widespread suffering of others. I provide a summary of theoretical positions on liberal guilt as a structure of feeling that entails what Richard Rorty calls “doubt about [one’s] own sensitivity to the pain and humiliation of others, doubt that present institutional arrangements are adequate to deal with this pain and humiliation.” Howells felt these doubts profoundly, and yet he understood liberal guilt as a productive emotional and intellectual predicament. Put simply, Howells viewed liberal guilt, like realism itself, as an attitude of resigned acceptance of persistent social injustices but an attitude capable of animating, rather than dissipating, liberal commitments and public agendas.
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Browne, Ray B. "American Fiction: Modernism?Postmodernism, Popular Culture, and Metafiction by Jaroslav Kusnir." Journal of American Culture 30, no. 3 (September 2007): 334. http://dx.doi.org/10.1111/j.1542-734x.2007.00561.x.

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Peterson, Nancy J. "History, Postmodernism, and Louise Erdrich's Tracks." PMLA/Publications of the Modern Language Association of America 109, no. 5 (October 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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Dissertations / Theses on the topic "American fiction Postmodernism (Literature) Realism"

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Oxoby, Marc C. "American literary fiction in a televisual age /." abstract and full text PDF (free order & download UNR users only), 2005. http://0-wwwlib.umi.com.innopac.library.unr.edu/dissertations/fullcit/3209131.

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Thesis (Ph. D.)--University of Nevada, Reno, 2005.
"August, 2005." Includes bibliographical references (leaves 217-227). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.
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Potkalitsky, Nicolas J. "Refracted Realism and the Ethical Dominant in Contemporary American Fiction." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1563283222402333.

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Harker, Ben. "Critical oppositions : realism, postmodernism and the reception of contemporary American fiction." Thesis, University of York, 2000. http://etheses.whiterose.ac.uk/10885/.

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Coughran, Christopher John. "Literary ecology and the fiction of American postmodernism /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18752.pdf.

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Mason, Francis Andrew. "Narrative and postmodernism : politics and contemporary American fiction." Thesis, University of Southampton, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386656.

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Mathews, Peter David 1975. "Strategies of realism : realist fiction and postmodern theory." Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8656.

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Kavanagh, Matthew. "Second nature: American fiction in the age of capitalist realism." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18440.

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Second Nature: American fiction in the age of capitalist realism During the 1990s the global triumph of capitalism has made it, paradoxically, all the more difficult to see. Not only is capitalism increasingly derealized (e.g. cyber-capital), its very ubiquity renders it unremarkable, to the point that it appears a neutral part of objective reality. This dissertation examines how American writers have responded to the 'spectrality' that results from the mediation of everyday experience through the market. I discuss formal strategies in the work of Bret Ellis, Chuck Palahniuk, Don DeLillo, William Gibson and others to represent the unrepresentable: what Slavoj ?i?ek calls the impersonal and anonymous function of the global market mechanism. Chapter one provides a formalist reading of Ellis's American Psycho, a novel whose claustrophobic narrative represents the world of late capitalism at the level of its concept ("This is not an exit"). Lacking any sense of a horizon, Patrick Bateman experiences the world as radically closed. Because he is incapable of recognizing an elsewhere, he cannot imagine an otherwise; demonstrating no awareness of antagonism, Patrick acts it out in increasingly brutal and frenetic outbursts of violence. Where American Psycho presents Patrick's sadistic violence as a symptom, my second chapter suggests that Fight Club's consensual beatings treat violence as a fetish. Palahniuk's novel aims to domesticate antagonism by staging it as a piece of masochist theatre. Its limits, however, are painfully apparent. Fight Club's strategy of fetishistic disavowal has pathological effects, namely, the narrator's split personality. Chapter three discusses DeLillo's critique of cyber-capital: a vision of the market as a perpetual motion machine, one capable of circulating solely on its own momentum without reference to anything beyond itself. Inevitably, though, antagonism reasserts itself in the form of a collateral crisis—the subject of Cosmopo
Deuxième nature : la fiction américaine à l'époque du réalisme capitaliste Au cours des années 1990, le triomphe mondial du capitalisme a paradoxalement rendu les choses plus difficiles à voir. Le capitalisme est non seulement de plus en plus déréalisé (p. ex. : cybercapital), son ubiquité même le rend imperceptible, à un point tel qu'il semble être un élément neutre de la réalité objective. La présente dissertation aborde comment les auteurs américains ont réagi à la « spectralité » qui fait en sorte que l'expérience quotidienne est de plus en médiatisée au sein du marché. J'examine les stratégies formelles des œuvres de Bret Ellis, Chuck, Palahniuk, Don DeLillo, William Gibson et autres auteurs afin de représenter ce qui ne peut être représenté : ce que Slavoj ?i?ek appelle la fonction impersonnelle et anonyme des rouages du marché mondial. Le premier chapitre se veut une interprétation formelle de l'œuvre American Psycho d'Ellis, un roman dont la narration claustrophobe représente le monde du capitalisme tardif au niveau de son concept (« This is not an exit »). Souffrant d'un manque de perspective, Patrick Bateman vit une expérience du monde très fermée. Puisqu'il est incapable de reconnaître ailleurs, il ne peut s'imaginer autrement; faisant preuve d'un manque de connaissance de l'antagonisme, Patrick présente des excès de brutalité frénétique de plus en plus violents. Bien qu'American Psycho présente la violence sadique de Patrick comme étant un symptôme, mon deuxième chapitre laisse entendre que les raclées consensuelles de Fight Club traitent la violence en tant que fétiche. Le roman de Palahniuk vise à domestiquer l'antagonisme en en faisant une pièce de théâtre masochiste. Toutefois, ses limites sont affreusement évidentes. La stratégie de Fight Club de manque de foi pathologique a une incidence, entre autres sur le dédoublement de personnalité du narrateur. Le troisième chapitre aborde
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Stanford, Amanda Theresa. "Outsized reality : how 'magical realism' hijacked modern Latin American fiction." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7847.

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Creative Portion abstract (75%): Literary Fiction Manuscript Souvenirs of the Revolution Against the backdrop of the Mexican Revolution of 1910, betrayal, sexual deviance, rigid morality and a fatal subservience to moral correctness drives the Montelejos clan: complex and self-serving, innocent and deluded, larger than life, an illustrious family line in its final decline. Mariabella Montelejos, who tries to sell her only daughter for the price of a new carriage during the bloodiest part of the Revolution. Her daughter, Portensia Montelejos, who leaves her mother’s body to moulder in the front room after soldiers come at the point of a gun. Gloria Vasquez, celebrated beauty, practising witch, and tormentor of her step-sister, Teresa: ill, gullible, naive, awoken to her destiny by the surreal birth of her daughter. Paulina, a child who once communed with the holy, made an empty vessel by the abuse of her father – and revered as a living saint as she lies dying in a Pueblano convent. The men of the family, weak and susceptible to the mandates of their dying class, are no match for the machinations of such women. Evil abuser Ebner Collins, paralyzed by a jealous man’s bullet in the middle of the Sinai desert. Hernando Vasquez, cowed into marriage by the longing for his dead wife, Evelyn Cuthbert. Guiermo Fuentes de Solis, cuckolded husband. Jaime Vasquez, who hears voices and lives at the bottom of a bottle, unable to save his cousin Paulina. The Revolution is the beginning of the end for Montelejos, and the miraculous will be its undoing. Analytical Portion abstract (25%): An Outsized Reality: How “Magical Realism” Hijacked Modern Latin American Literature With the publication of Gabriel García Márquez’s Cien Anos de Soledad in 1967, Latin American writing captured the world’s attention. Critics, readers, and imitators rushed to discuss and emulate this astounding novel. A whole genre of literature, “magical realism”, was popularized, and with it, critical discussion of its influences, history, genre limitations, and the sheer “imagination” it brought to the forefront of literary debate. In this thesis I will discuss the problems associated with “Western” critical analysis of Latin American writing, specifically as it seeks to define, without a proper context, the literature which draws life from the history and culture of Latin America and categorizes its literature without the cultural understanding required.
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Flavell, Helen. "Writing-between : Australian and Canadian ficto-criticism /." Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051222.114143.

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Eckman, John. "Confronting modernity : urbanization and American fiction, 1880-1930 /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/9402.

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Books on the topic "American fiction Postmodernism (Literature) Realism"

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Writing after war: American war fiction from realism to postmodernism. New York: Oxford University Press, 1994.

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Hicks, tribes & dirty realists: American fiction after postmodernism. Lexington: University Press of Kentucky, 2001.

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W, Tuttleton James, ed. Alternate worlds: A study of postmodern antirealistic American fiction. New York: New York University Press, 1989.

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Alexander, Marguerite. Flights from realism: Themes and strategies in postmodernist British and American fiction. London: Edward Arnold, 1990.

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The dialectic of self and story: Reading and storytelling in contemporary American fiction. New York: Routledge, 2001.

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Die Wahrheit der Täuschung: Wirklichkeitskonstitution im amerikanischen Roman, 1889-1989. München: W. Fink, 2004.

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Terminal identity: The virtual subject in postmodern science fiction. Durham: Duke University Press, 1993.

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The stories of Raymond Carver: A critical study. Athens: Ohio University Press, 1995.

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Alsen, Eberhard. Romantic postmodernism in American fiction. Amsterdam: Rodopi, 1996.

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Kušnír, Jaroslav. American fiction: modernism-postmodernism, popular culture, and metafiction. Stuttgart: Ibidem, 2005.

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Book chapters on the topic "American fiction Postmodernism (Literature) Realism"

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Birnbaum, Michele. "Towards Desegregating Syllabuses: Teaching American Literary Realism and Racial Uplift Fiction." In Teaching Literature, 58–70. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230507906_6.

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Beckman, Ericka. "The Landowner’s Ghosts: Realism and Financialization in Contemporary Latin American Fiction." In Literature and the Global Contemporary, 1–27. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63055-7_1.

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Scharnhorst, Gary. "“All Hat and No Cattle”: Romance, Realism, and Late Nineteenth-Century Western American Fiction." In A Companion to the Literature and Culture of the American West, 281–96. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444396591.ch18.

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Clare, Ralph. "Metaffective fiction: structuring feeling in post-postmodern American literature." In After Postmodernism, 69–85. Routledge, 2020. http://dx.doi.org/10.4324/9781003121770-5.

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Ladyga, Zuzanna. "Inertia and Not-Knowing in the Fiction of Donald Barthelme." In The Labour of Laziness in Twentieth-Century American Literature, 210–40. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474442923.003.0007.

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The chapter looks at Barthelme’s literary work through the prism of sloth/laziness variants such as inertia, nausea, and most importantly, Anton Ehrenzweig’s rendition of inoperativity via the concept of unconscious scanning. From Barthelme’s early renditions of the figure of the artist such as the Pollockian Paul in Snow White (1967), through avatars of passive artists in his short stories, to the half-dead-half-alive carcass of D.F. in The Dead Father (1975), there emerges a radical counter-Rosenbergian philosophy of action/inaction. No author of American postmodernism has done more to counteract the Rosenbergian post-Romantic idea of heightened sensibility of passive repose than did Barthelme. The purpose of this chapter is to bring the themes of inertia and sterēsis, understood by Barthelme as Ehrenzweig’s unconscious scanning, as unique insights into creative processes, insights which exceed the classical postmodern ethical and aesthetic regime
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Keaveney, Christopher T. "Game On: Encounters with the Magic of Baseball in Japanese Postmodern Fiction." In Contesting the Myths of Samurai Baseball. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455829.003.0006.

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Chapter 5 builds upon the foundation established in Chapter 4 by examining a particular approach to literature, Postmodernism, and describing how the postmodern literature that emerged in the 1980s and 1990s in Japan, indebted to postmodern baseball fiction in the United States, exemplifies the continuing appeal of baseball as a literary subject and of baseball’s capacity to adapt to cultural shifts. The chapter provides analyses of four baseball-themed works including fiction by the well-know postmodern novelists Murakami Haruki and Takahashi Genichirō, and more recent works by Nagao Seio and Enjō Tō, to demonstrate the possibilities that baseball fiction offers for avant-garde literary experimentation, possibilities exploited in American literature by writers from Philip Roth to Bernard Malamud. This chapter also charts how, ironically, Nagao Seio in his novel Shiki and Sōseki’s Big Game, achieves a remarkable pastiche in which one of the protagonists is none other than Masaoka Shiki with whom this survey of cultural representations of baseball in Japan begins.
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Massé, Guirdex. "Circling the Boundaries of the Tradition." In Rediscovering Frank Yerby, 27–46. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827821.003.0002.

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This chapter is not so much concerned with reviewing, assessing, or critically analyzing the body of Yerby’s work, as it is with delineating the writer’s relationship to these major literary moments that have characterized the black literary tradition at the midpoint of the twentieth century. To simply dismiss Frank Yerby as a peculiar case in African American writing is to miscalculate how significant turns in his literary career reflected dominant movements and trends, as well as formal and thematic innovations and limitations that have characterized the trajectory of African American literature from the early 1930s to the 1940s. This period ranges from the tail end of the Harlem Renaissance/New Negro Movement to an era of social realism in African American fiction.
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Holbo, Christine. "Introduction." In Legal Realisms, 1–14. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190604547.003.0001.

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The introduction argues that the reconstruction of the American novel in the post-Civil War era had its roots in a confrontation with the legal remapping of the nation under the Fourteenth Amendment. William Dean Howells’s pivotal influence on the shaping of post-Civil War American literature, this chapter suggests, was rooted in his grasp of the challenge Reconstruction posed to the epistemological and legal foundations of the novel as form. Providing an initial definition of the idea of “legal realism” in fiction as the confluence between Fourteenth-Amendment universalism and a mandate to understand modern society from a plurality of perspectives, the introduction asserts that the project of creating an “autonomous art”—an art that was not subservient to politics, journalism, philosophy, or morality—involved embracing all of these fields in relation to the new definition of citizenship and in relation to a sociological panorama of American society. Oliver Wendell Holmes’s assertion that “the life of the law has not been logic: it has been experience,” cut against the novel’s universalism but also opened up new possibilities of representation, which were embraced, extended, and criticized by Albion Tourgée, in defending the rights of African-American freedmen to equality, and by Helen Hunt Jackson, in articulating the rights of Native Americans to enjoy either the rights of nations or those of citizenship. Concluding with the idea that objective exploration of nescience in relation to the suffering of others can be a source of knowledge in law as in literature, the introduction explores the connection between legal right and the novel’s frameworks of sympathetic imagination and multi-perspectival dissonance.
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Holbo, Christine. "Imperfect Knowledge." In Legal Realisms, 196–322. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190604547.003.0004.

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This chapter examines William Dean Howells, the writer and editor who defined the field of American literature in the decades of Reconstruction. While Howells has long been considered the leading champion of literary realism, the way he thought about the novel’s art as a mode of “social” politics has been misunderstood. This chapter addresses the first half of Howells’s career, looking at his early antislavery politics, his cosmopolitan reading in the German and Italian traditions, his magazine writings including Venetian Life, Their Wedding Journey, Suburban Sketches, and “Police Report,” and his fiction up through A Modern Instance. Howells remained committed to emancipatory ideals rooted in the antislavery struggle. However, he articulated a strikingly new conception of the novel’s role as a form of political discourse. Howells challenged his contemporaries to expand the field of literary “politics” to imagine society as a space suffused with political power, and by doing so to confront the barriers to equal social recognition that remained in an era of de jure universal citizenship. Calling into question sentimental notions of moral universality, he insisted that the novel’s contribution rested in a perspectivalist epistemology, its capacity to confront readers with the irreducible particularities of a world shaped by incomplete emancipation. Howells urged his contemporaries to confront alterity in a double sense. While including all American “subjects” in the novel’s representation, novelists needed to ask what it meant to try to represent others’ experiences, and what Americans could not understand about each other.
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