Relevant bibliographies by topics / Contemporary American fiction

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  2. Dissertations / Theses
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Academic literature on the topic 'Contemporary American fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 May 2024

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Journal articles on the topic "Contemporary American fiction"

1

Madsen, Deborah L., and Nick Hornby. "Contemporary American Fiction." Modern Language Review 89, no. 4 (October 1994): 991. http://dx.doi.org/10.2307/3733929.

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TREVOR. "CONTEMPORARY AMERICAN SHORT FICTION." Princeton University Library Chronicle 52, no. 1 (1990): 149. http://dx.doi.org/10.2307/26403791.

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Brauner, David, and Kenneth Millard. "Contemporary American Fiction: An Introduction to American Fiction since 1970." Modern Language Review 98, no. 2 (April 2003): 450. http://dx.doi.org/10.2307/3737846.

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Wood, Adam H., and Kenneth Millard. "Contemporary American Fiction: An Introduction to American Fiction Since 1970." South Atlantic Review 67, no. 3 (2002): 149. http://dx.doi.org/10.2307/3201919.

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McGill, Meredith L., Patrick O'Donnell, and Robert Con Davis. "Intertextuality and Contemporary American Fiction." MLN 104, no. 5 (December 1989): 1197. http://dx.doi.org/10.2307/2905380.

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Tabbi, Joseph, and Tom LeClair. "Contemporary American Fiction: Critical Reformulations." Contemporary Literature 31, no. 4 (1990): 553. http://dx.doi.org/10.2307/1208329.

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Kumar, Fayaz Ahmad, and Colette Morrow. "Theorizing Black Power Movement in African American Literature: An Analysis of Morrison's Fiction." Global Language Review V, no. IV (December 30, 2020): 45–53. http://dx.doi.org/10.31703/glr.2020(v-iv).06.

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This paper analyzes the influence of the Black Power movement on the AfricanAmerican literary productions; especially in the fictional works of Toni Morrison. As an African-American author, Toni Morrison presents the idea of 'Africanness' in her novels. Morrison's fiction comments on the fluid bond amongst the African-American community, the Black Power and Black Aesthetics. The works of Morrison focus on various critical points in the history of African-Americans, her fiction recalls not only the memory of Africa but also contemplates the contemporary issues. Morrison situates the power politics within the framework of literature by presenting the history of the African-American cultures.
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Matravers, Derek. "Non-Fictions and Narrative Truths." Croatian journal of philosophy 22, no. 65 (September 15, 2022): 145–60. http://dx.doi.org/10.52685/cjp.22.65.1.

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This paper starts from the fact that the study of narrative in contemporary Anglo-American philosophy is almost exclusively the study of fictional narrative. It returns to an earlier debate in which Hayden White argued that “historiography is a form of fiction-making.” Although White’s claims are hyperbolical, the paper argues that he was correct to stress the importance of the claim that fiction and non-fiction use “the same techniques and strategies.” A distinction is drawn between properties of narratives that are simply properties of narratives and properties of narratives that play a role in forming readers’ beliefs about the world. Using this distinction, it is shown that it is an important feature of non-fictions that they are narratives; it is salutary to recognise non-fictions as being more like fictions than they are like the events they represent.
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Murray, Laura J., and James Ruppert. "Mediation in Contemporary Native American Fiction." American Literature 68, no. 3 (September 1996): 658. http://dx.doi.org/10.2307/2928264.

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Maxey, Ruth. "Vigilante Women in Contemporary American Fiction." Contemporary Women's Writing 10, no. 2 (January 4, 2016): 303–4. http://dx.doi.org/10.1093/cww/vpv040.

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Dissertations / Theses on the topic "Contemporary American fiction"

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Moran, Alexander James Paul. "Cultural reproduction in contemporary American fiction." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7683/.

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This thesis traces the ways in which David Foster Wallace, Jonathan Franzen, Michael Chabon, Jennifer Egan, and Colson Whitehead react against the historical, institutional, and formal limits imposed upon contemporary fiction and culture. It argues that in order to counteract such constraints, they embrace and co-opt older forms and values as enabling for their fiction. To map these processes and relationships, I read these five writers as engaging with and reflective of the concept of cultural reproduction. Building largely from Raymond Williams’s definitions, the lens of cultural reproduction acknowledges what Williams terms the ‘limits and pressures’ of the contemporary – such as the inheritance of postmodernism, creative writing programs, technological changes, and commercial demands – but also how these writers display agency in reaction to such limits. Chapter One uses pragmatist philosopher John Dewey’s theories of habit to suggest Wallace’s work explores the way culture is reproduced habitually. Chapter Two contends that Franzen’s attention to these processes is distinctly melodramatic, and his writing embodies melodrama, rather than his stated realism. Chapter Three examines Chabon, Egan, and Whitehead as representative of the ‘genrefication’ of contemporary American fiction, and how each embrace genre forms to respond to different elements and processes of cultural reproduction.
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Elliott, Mary Jane. "Transmigratory subjectivity in contemporary latina fiction /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9315.

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Merry, Hannah Kathryn. "Fictional representations of dissociative identity disorder in contemporary American fiction." Thesis, Keele University, 2017. http://eprints.keele.ac.uk/3564/.

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The representation of mental health disorders and syndromes has increased in contemporary literature, film and television. Characters with disorders and syndromes such as Post-Traumatic Stress Disorder, autism and Asperger’s syndrome, Tourette’s syndrome, and dissociative identity disorder are common, leading to an increased critical engagement with these fictional texts. This thesis examines the representation of dissociative identity disorder (DID) in contemporary American fiction since 1994, concentrating on a small selection of texts: the novels Set This House in Order (2003) and Fight Club (1996), and the television shows Dollhouse (2009-2010) and United States of Tara (2009-2011). By engaging in turn with trauma theory, illness narratives and genre theory, and queer theory, this thesis argues that the texts metaphorically employ dissociative identity disorder as a means of resisting normativity, whether this is the systems of social normativity characters find themselves facing within the texts, or generic or narrative norms. In so doing, the texts position DID as a utopian condition: one that enables its sufferers to resist systems of normativity they encounter and champion non-normative identities. There is a tension evident here between metaphorical uses of disease within fiction and the real-world experiences of those who suffer from these disorders. By examining all the ways in which the texts resist norms and their utopian impulses, this thesis examines the extent to which these texts suggest DID can or should be universalised as a disorder of non-normativity.
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Dorling, Alan. "Experimental forms in contemporary fiction." Thesis, University of Nottingham, 1985. http://eprints.nottingham.ac.uk/13310/.

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Concerned with developments in contemporary innovative fiction Experimental Forms in Contemporary Fiction locates 'post- Modernist' writing largely within a North American context. William Burroughs, Ronald Sukenick, Donald Barthelme, Ishmael Reed, Robert Coover and Steve Katz are identified as the exemplary post-Modernist figures; their favoured techniques --a combination of cancellation and erasure, fragmentation and discontinuity, game and play--express an indeterminancy of meaning which places post-Modernist writing at some distance from the writing of contemporary figures like Vladimir Nabokov, John Hawkes and John Barth, who, as identifiably 'neo- Modernists', are essentially concerned with extending Modernism's restorative and paralleling features into the contemporary literary discourse. At the same time, post- Modernist fiction bears only a passing resemblence to the work of innovative contemporary British writers like B. S. Johnson, Gabriel Josipovici and J. G. Ballard, who are inclined to impose a series of disruptive forms upon mimetic substance. Uniquely post-Modernist fiction celebrates an eternity of displacement by insisting that unity, coherence and system are totalitarian concepts inimicable to the necessary free- lay of the imagination. Therefore, even as Burroughs et al express long-standing American literary concerns, post- Modernist fiction is demonstrably part of the deconstructive shift away from holistic and humanistic ideas and procedures. Post-Modernist writing, therefore, initiates a crisis within literary criticism, one which needs to be examined against the background of contemporary philosophical, cultural, and social developments.
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Sanchez, Maria Ruth Noriega. "Magic realism in contemporary American women's fiction." Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/3502/.

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The aim of the study is to illustrate the importance of magic realism in American women's fiction in the late twentieth century. The term magic realism, which has traditionally been associated with Latin American men's writing, has been known by different, and often contradictory, definitions. It may be argued that, properly defined, it can be a valid term to describe a number of characteristics common to a corpus of work, and can be considered as an aesthetic category different from others such as Surrealism or Fantastic literature, with which it has often been compared. Furthermore, magic realism has viability as a contemporary international mode and is particularly suitable to women writers from minority ethnic groups. The present study intends to draw relevant comparative analyses of uses of magic realism that show various formal and thematic interactions between separate literary traditions. The introduction offers an overview of the different conceptions and applications of the term since its origins within the area of painting, and suggests a working definition that can be effective for intensive textual analysis of several novels. In order to offer a new approach which can enable us to move away the paradigm of magic realism from Latin America towards a more multicultural framework, the focus will be on three geographical-cultural areas: African American, Native American and Chicano/Mexican writing. The implementation of magic realist strategies in African American writing will be examined in Toni Morrison's Song of Solomon (1977) and Gloria Naylor's Mama Day (1988), with a particular emphasis on the significance of African mythical background and the experience of dispossession and transference of culture. Magic realist elements in the novels Tracks (1988) by Louise Erdrich and Ceremony (1977) by Leslie Marmon Silko will be studied in the context of Native American oral tradition and cosmologies. The practice of magic realism on both sides of the U. S. - Mexico border will be explored in the novels So Far from God (1993), by the Chicana Ana Castillo, and Like Water for Chocolate (1989), by the Mexican Laura Esquivel. A description of the borderland culture in the American Southwest, as well as comparisons between North and Latin American uses of magic realism will be provided. Finally, some connections amongst the discussed literary traditions and further lines of research will be suggested.
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Gillan, Lindsey. "Encountering theory : readings in contemporary American fiction." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285082.

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This thesis gathers four American fiction writers from the group labelled as blank fiction writers during the 1980s - Lynne Tillman, Kathy Acker, Joel Rose and Catherine Texier - to suggest that their work does more than represent the flat, stunned prose attributed to blank fiction. Rather, their simple, streetwise yet often lyrical language is politically engaged, debating profound questions about the nature of identity, both of the indi vidual and of the text. The writing, while superficially transparent, is illusory, reflecting the belief that meaning is contextual: this has wide-reaching implications for textuality since the borders of meaning and of the text are contested. While the differences in form and style of these writers are evident, their focus upon the links between language, memory and identity within particular historico-cultural contexts show that they all have interests in the politics of language. The characterisation and narratives of their texts are infused with a degree of self-reflexivity that demonstrates a recognition of their own instability and their contingency upon contexts beyond as well as within the textual borders. By focusing upon the limitations of language to discuss or express identity and memory in concrete terms, these writers ask philosophical and political questions that arguably stand apart from the amoral prose of other writers of blank fiction such as Brett Easton Ellis and Dennis Cooper. Their texts address issues of identity regarding gender, sexuality, race, class, ethnicity and poverty while emphasizing that they cannot be divorced from purely philosophical questions about the nature of being and its relationship to language. Yet these writers move beyond postmodern debates about textuali ty to explore the limits of fiction within the wider cultural contexts of writing at the end of the twentieth century.
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Sacks, Michelle Tamara. "Apocalypse and elegy in contemporary american fiction." Thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/6724.

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In this dissertation, the use of apocalypse and elegy in contemporary American literature has been explored in an attempt to draw some conclusions about America's complex twenty-first century consciousness. I have selected the millennial novels of Joyce Carol Oates (Blonde), Don DeLillo (Underworld), and Philip Roth (American Pastoral), since all three, written at the century's end, are at once apocalyptic and elegiac in tone, and comprise a useful trilogy tor giving voice to the fracturedness of the American experience. My analysis of the texts traces apocalyptic moments in the novels -- moments of destruction and rebirth, endings, new beginnings, and great revelations -- against some of the most turbulent and often despairing twentieth-century events, in an attempt to show the connection between public and private history. While contemporary apocalypse diners from its biblical origins, the desire for regeneration and renewal persists despite its necessary deferment -- and, even, failure. Yet the apocalyptic impulse persists, and it is this determined future-looking and repeated self-reinvention that I discuss. In terms of the elegy, I argue that the overwhelming sense of loss and mourning that permeates the novels is reflective of a much larger national sense of disillusionment and disappointment at the failure of the American Dream and the dissolution of the America conceived of in the imagination of its first European settlers. While the traditional elegy moves towards consolation, the contemporary elegy often denies the mourner such release from grief. Consequently, in the contemporary novels discussed, consolation is to be found elsewhere. Indeed, I conclude that despite the melancholia of novels that deal so intensely with death, suffering, and tragedy, the act of writing an apocalyptic novel -- of presenting an image of the apocalypse, even if not an apocalypse that gives way to rebirth -- is itself an act of hope, and a call for change.
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Shishkin, Timur. "Marginalized Characters in Contemporary American Short Fiction." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/297.

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The focus of the present research work is the contemporary American short stories that bring up issues of compulsory norm and the conflict between marginalized characters and their environment. This research was based on those short stories that seemed to represent the idea of being "different" in the most complex and multilayered way, and its goal was to unfold new aspects of the conflict between "normal" and "abnormal"/"different". Variations of norm as well as diversity within the marginalized raise a number of questions about the reasons for their inability to coexist peacefully. The close reading and the analysis of the selected stories show that all the conflicts in them, in one way or another, repeat similar patterns and lead to the same root of the problem of misunderstanding, which is fear. To be more precise, all the cases of hate towards "different" characters can be explained by the hater's explicit or implicit fear of death in its various forms: inability to procreate one's own kind, cultural or personal self-identity loss, actual life threat in the form of a reminder of possible physical harm and death. Most often it would be the case where shame and fear of death overlap in a very complex way. In general, the cases of characters' otherness fall into three major groups. The nature of the alienation for each of these groups is described and analyzed in three separate chapters. Prejudice and stereotypes are playing a great role in formation of fears and insecurities which need to be dismantled in order to make peaceful coexistence possible. This work concludes with pointing out the crucial role of taking an approach of representation of various perspectives and diversification of voices in creative writing, academia and media in the context of multicultural society.
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McFarlane, Fiona Elizabeth. "Nostalgia as literary strategy in contemporary American fiction." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614330.

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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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Books on the topic "Contemporary American fiction"

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Hornby, Nick. Contemporary American fiction. London: Vision Press, 1992.

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Hornby, Nick. Contemporary American fiction. London: Vision Press, 1992.

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1932-, Bradbury Malcolm, and Ro Sigmund, eds. Contemporary American fiction. London: Edward Arnold, 1987.

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Millard, Kenneth. Contemporary American fiction. Oxford: Oxford University Press, 2000.

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Bertens, Hans, and Theo D’haen. Contemporary American Crime Fiction. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230508316.

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d', Haen Theo, ed. Contemporary American crime fiction. Houndmills, Hampshire: Palgrave, 2001.

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McSweeney, Terence, and Stuart Joy. Contemporary American Science Fiction Film. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003189961.

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1948-, O'Donnell Patrick, and Davis Robert Con 1948-, eds. Intertextuality and contemporary American fiction. Baltimore: Johns Hopkins University Press, 1989.

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Contemporary Fiction. London: Taylor & Francis Group Plc, 2004.

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Contemporary fiction. New York: Routledge, 2003.

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Book chapters on the topic "Contemporary American fiction"

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Mazzeno, Laurence W., and Sue Norton. "Introduction: American Fiction Abroad." In Contemporary American Fiction in the European Classroom, 1–11. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94166-6_1.

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Bertens, Hans, and Theo D’haen. "Introduction." In Contemporary American Crime Fiction, 1–16. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230508316_1.

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Bertens, Hans, and Theo D’haen. "In Waco’s Wake: Patricia Cornwell and Mary Willis Walker." In Contemporary American Crime Fiction, 160–74. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230508316_10.

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Bertens, Hans, and Theo D’haen. "‘Other’ Detectives: the Emergence of Ethnic Crime Writing." In Contemporary American Crime Fiction, 175–89. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230508316_11.

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Bertens, Hans, and Theo D’haen. "Black Female Crime Writing." In Contemporary American Crime Fiction, 190–205. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230508316_12.

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Bertens, Hans, and Theo D’haen. "The Persistence of Gender: the Private Investigators of S.J. Rozan." In Contemporary American Crime Fiction, 206–14. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230508316_13.

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Bertens, Hans, and Theo D’haen. "The Old Guard in the mid-1990s: Muller, Grafton, and Paretsky." In Contemporary American Crime Fiction, 17–38. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230508316_2.

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Bertens, Hans, and Theo D’haen. "The Old Guard Continued: Kaminsky, Parker, and Block." In Contemporary American Crime Fiction, 39–57. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230508316_3.

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Bertens, Hans, and Theo D’haen. "The Personal and the Regional: New Forms of Authenticity in Female Crime Writing." In Contemporary American Crime Fiction, 58–76. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230508316_4.

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Bertens, Hans, and Theo D’haen. "Three Pictures from the Institution: Forrest, Barr, and Hightower." In Contemporary American Crime Fiction, 77–95. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230508316_5.

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Conference papers on the topic "Contemporary American fiction"

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Wang, Yang. "A Content Analysis of Chinese American Contemporary Realistic Fiction Picture Books." In 2021 AERA Annual Meeting. Washington DC: AERA, 2021. http://dx.doi.org/10.3102/1689399.

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Sioli, Angeliki. "The Detective Stories Studio: The Function of Fiction in Shaping Architectural Education." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.89.

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Presenting the example of the “Detective-Stories Design Studio” as a case study for a master-level course, this paper explores the role of literature and fiction in architectural education. Through selected Edgar Allan Poe short stories, the paper unpacks three distinct approaches that the studio employed in incorporating literature for the exploration of contemporary design issues. Touching on the ongoing conversation on atmosphere and space the first approach introduces literature as an exploration of a place’s lived experience. It examines fiction’s potential to communication spatial qualities and moods, allowing us to understand how these intangible elements influence our perception and appropriation of a given environment. Based on these characteristics the design work focuses on the creation of a device that attunes students with the specific atmosphere that Poe’s short story “The Masque of Red Death” uniquely captures. The second approach touches on literature’s imaginative power to suggest unexpected and many times overlooked uses of space. Based on “The Purloined Letter,” the design-work heavily draws from the spatial investigative techniques analyzed in the short story to proceed with an unconventional site analysis. The third methodology emerges from literature’s capacity to point towards paramount sociological conditions of space, in a way that allows us to reconsider and re-evaluate our own everyday reality. Poe’s “Black Cat” tangibly confronts the issue of domestic violence in American society and the design assignment addresses this issue. The paper concludes with a contextualization of the suggested methodological approach in relation to the renewed architectural interest in literature, as manifested the last ten years through interdisciplinary conferences and publications both in North America and Europe. The paper places “The Detective-Stories Studio” in this contemporary pedagogical and research context and evaluates its significance and uniqueness in the ongoing conversation.
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Reports on the topic "Contemporary American fiction"

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Shishkin, Timur. Marginalized Characters in Contemporary American Short Fiction. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.297.

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