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Dissertations / Theses on the topic 'Postmodern novel'
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Darougari, Baharak. "Hyperfiction, creativity and postmodern novel." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC021/document.
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Depuis l’invention du terme hypertexte par Ted Nelson en 1965, il y a eu des débats fréquents à propos des mérites et des dangers des textes numériques, pour savoir si le développement des technologies informatiques causerait l’obsolescence des supports imprimés. Les prophéties étaient apocalyptiques et l’avenir des livres semblait sombre. Environ cinquante ans plus tard, tant les supports imprimés qui étaient condamnés que les hypertextes numériques qui semblaient être leurs exécuteurs existent encore. Les romans sont toujours populaires et les hypertextes aussi. Nul n’est dépassé ou éradiqué par l’autre. Au contraire, la coexistence des livres et leurs homologues numériques a affecté notre perception des textes, des lecteurs, des auteurs et de l’expérience de lecture. Plus important, l’échange entre les deux médias a eu comme résultat l’apparition d’une fiction expérimentale exceptionnelle à la fois sur écran et sur papier. La conjonction entre la fiction et les technologies numériques est au centre de ce projet qui vise à d’étudier l’hyperfiction, ses racines dans la fiction traditionnelle et ses descendants imprimésSince Ted Nelson coined the term “hypertext” in 1965, there have been frequent debates on the merits and dangers of digital texts and whether the development of digital technology would outdate the print-based medium. The prophecies were apocalyptic and the future of books seemed bleak. About fifty years later, the doomed print-based medium and the digital hypertexts, their would-be executioners,both still exist. Novels are still popular and so is hyperfiction. Neither outdated or eradicated the other. Instead, the coexistence of books and their digital counterparts has affected ourperception of text, reader, writer and the reading experience. More importantly, the exchange between the two media has resulted in exceptional experimental fiction both on screen and on paper. The conjunction between fiction and digital technology is of concern to this project which attempts to study hyperfiction, its roots in fiction and its printed descendants
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Morgan, Andrew Hugh, and andr morgan@gmail com. "Refrain: postmodern confessions." RMIT University. Creative Media, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080702.152100.
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The creative component of my project is a conteporary, confessional novel, Refrain. The narrator, Jake, has spent his youth chasing a life that matched his dreams - first as a would-be rock star and then by fleeing to India in search of exotic adventures with his girlfriend. Now he returns alone to the suburban backwater he'd tried so hard to escape, ready for stability and responsibility. However, his attempts to reinvent himself in this world of chronic unemployment and limited horizons are thrown into confusion by old friends, estranged fmaily members, an unresolved attachment, and by his musical successor - a volatile young woman with her own problems, who draws him back to things he'd rather forget and towards a future he isn't ready to face. Refain is a story of idealism and desire, fading hopes and unexpected opportunities, long-distance love and short-sightedness. The exegetical component of my project investigates the term 'portmodern confession' as an i ntersection of the confessional narrative mode and postmodernism, and its application to two recent texts: The sportswriter by Richard Ford, and The remains of teh day by Kazuo Ishiguro.
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Smethurst, Paul. "Space, time and place in the postmodern novel." Thesis, Birkbeck (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309297.
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Humphreys, Christopher John. "(Re-)Writing the End: Apocalyptic Narratives in the Postmodern Novel." Thesis, University of Canterbury. Humanities, 2011. http://hdl.handle.net/10092/6563.
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This thesis investigates the relationship between the apocalyptic narrative and the postmodern novel. It explores and builds on Patricia Waugh‟s hypothesis in Practising Postmodernism: Reading Modernism (1992) which suggests that that the postmodern is characterised by an apocalyptic sense of crisis, and argues that there is in fact a strong relationship between the apocalyptic and the postmodern. It does so through an exploration of apocalyptic narratives and themes in five postmodern novels. It also draws on additional supporting material which includes literary and cultural theory and criticism, as well as historical theory.
In using the novel as a medium through which to explore apocalyptic narratives, this thesis both assumes and affirms the novel‟s importance as a cultural artefact which reflects the concerns of the age in which it is written. I suggest that each of the novels discussed in this thesis demonstrates the close relationship between the apocalyptic and the postmodern through society‟s concern over the direction of history, the validity of meta-narratives, and other cultural phenomenon, such as war, the development of nuclear weaponry, and terrorism.
Although the scope of this thesis is largely confined to the historical-cultural epoch known as postmodernity, it also draws on literature and cultural criticism from earlier periods so as to provide a more comprehensive framework for investigating apocalyptic ideas and their importance inside the postmodern novel. A number of modernist writers are therefore referred to or quoted throughout this thesis, as are other important thinkers from preceding periods whose ideas are especially pertinent.
The present thesis was researched and written between March 2010 and August 2011 and is dedicated to all of those people who lost their lives in the apocalyptic events of the February 22nd Christchurch earthquake.
5
Helyer, Ruth. "Hyper-masculinity : the construction of gender in the postmodern novel." Thesis, University of Newcastle Upon Tyne, 2001. http://hdl.handle.net/10443/1835.
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This thesis takes as its subject the superficial nature of the normative masculine gender role. To investigate the creation of this role I have attempted to bring some understanding of recent theorisation of the postmodern, and of gendered identity, to readings of selected contemporary fiction. I have chosen to focus on several contemporary American texts. In a bid to avoid essentialising masculinity ever further I attempt to embrace the self-reflexive way in which these novels are written in conjunction with the various postmodernisms posited by Fredric Jameson, Jean-Francois Lyotard, John Frow and Jean Baudrillard. Despite differing in significant ways, these critics all explore the idea of multiple identities. The lack of fixity this multiplicity fosters ensures that masculinity as an intrinsic given becomes disputed. 'The dialogues this creates reveal a category that is insecure, mobile and fluctuating, regardless of attempts to present it as otherwise. 'The first novel looked at is 'Thomas Pynchon's Vineland. This narrative encourages the questioning of the 'standard' masculinity adopted in patriarchal society by displaying men vulnerable to Post Traumatic Stress disorder, hysteria and madness, due to the war in Vietnam and governmental law enforcement. Masculinity is portrayed as tentative, provisional and impossible to maintain to society's exacting requirements. Psychotherapy is shown to confusingly both offer a fixed and stable 'self, whilst also promoting the encouragement of potential multiple other' selves' . Don DeLillo's White Noise continues the search for these 'selves'. Jack Gladney's debilitating fear of death compromises his mental and physical health. His strivings to deal with this, whilst also fulfilling various strands of the desired male stereotype, are explored through life-threatening disasters, usually pre-empted by rapidly developing technology. Jack's career in academia raises questions about the circulation of knowledge and information. Like Vineland, White Noise also examines the role of the family unit as an inherent part of the enforcement of standardised identities. 'The Family', both in its domestic format and via its more violent reincarnation as The Mafia, plays a vital role in all of these texts. Within DeLillo's Underworld (Section Three), the protagonist's therapy brings him away from the influence of The Mob, transforming him from murderer to upstanding citizen. His career in Waste Management provides a metaphor for the text's exploration of the manner in which abject matter is expulsed as part of a bid to conform to societal requirements. I draw upon Julia Kristeva's work on abjection in this section. The ritualistic nature of what is discarded and what revered is further explored in the fourth novel, Bret Easton Ellis's American Psycho. This text offers an extreme picture of the potential results of stereotypical containment, with a protagonist who is determined to hyper-conform. Patrick Bateman not only espouses the thorough commodification of society, he also strives to exceed every stipulation pertaining to consummate masculinity. Bret Easton Ellis's Glamorama, provides the material for the final chapter, it offers a chilling portrayal of surface-obsessed society. Mediated images of celebrities provide role models for the characters' identity formation. Postmodernity's purported lack of depth is explored in the light of Baudrillard's theories. The potentialities of the cybernetic post-human are raised and discussed via the theorisation of Lyotard and Donna Haroway. The texts were selected for their usefulness in demonstrating a developing notion that rather than forming a new or extended sense of masculinity, men are acknowledging a growing awareness of the self-conscious, performative, indeed 'hyper', nature of any masculine identity. Contemporary films and television programmes are examined alongside the novels.
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Schumaker, Justin S. "Discovering the postmodern graphic novel in the works of Alan Moore." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1326.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
English
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Santos, Oscar de los. "The concealed dialectic : existentialism and (inter)subjectivity in the postmodern novel /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487843314695495.
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Humphrey, David James. "Liberty Horses (a novel) : narrative and cultural analysis in postmodern English and American texts." Thesis, University of Plymouth, 2006. http://hdl.handle.net/10026.1/2304.
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This thesis comprises an original work of fiction, entitled Liberty Horses, and a commentary which explores and compares postmodern English and American fiction, locating my own creative writing practice in that field of contemporary writing. My original work of fiction, Liberty Horses, is divided into two parts, being 'Part One: Liberty Horses' and 'Part Two: Dreamland'. The critical section of this thesis is divided into three chapters. Chapter One, 'American Postmodernism', shows how American writers, such as Richard Brautigan, William Gaddis and Don DeLillo, continually re-interpreted American fiction in regard to its Anglo-American tradition and explored the nature of Consumerism and Corporatism within American society and how such writers refuted the implications and ideals of the American Dream. Chapter Two, 'English Postmodernism', examines the development of postmodern theories within English fiction. In particular it discusses the ideas of History and Myth, as employed by such writers as Ian McEwan, Graham Swift, Peter Ackroyd, Angela Carter and Christine Brooke-Rose. The chapter also discusses the part played by the Booker Prize in the rise in commercial popularity of these writers as well as the acceptance of postmodern writing within a wider readership. Chapter Three, 'The Making of Liberty Horses', explores the ideas which went into the creation of my novel, namely the image of the circus, paranoia and social, political and sexual impotence, as well as the writers, including Patricia Duncker, Richard Brautigan and Don DeLillo and other artists, namely Andy Warhol, David Lynch and Wim Wenders, who directly influenced the work
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Le, Roux Marike. "Narrating an unstable memory : a postmodern study of fictional pasts in the (auto/bio)graphic novel." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79942.
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Thesis (MA)--Stellenbosch University, 2013.ENGLISH ABSTRACT: To write a life story the auto/biographer must reflect upon the past that was once experienced. When presented with this task of depending on memory and narrative, the auto/biographer often finds himself/herself in the position of creating and imagining, rather than reflecting or presenting the past as it was lived. Fragmentation, forgetfulness, selection, (re)construction and imagination are often inextricably connected to Memory which results in the reliance on an unstable memory to access the past. This dissertation explores how postmodern auto/biographies, specifically the (auto/bio)graphic novel, acknowledges the difficulty of writing about the past when concerned with truth. The (auto/bio)graphic novel disrupts the notion of truth by blurring the boundaries between fact and fiction, resulting in a hybrid form where text and image, reality and imagination co-exist to create new, and often more significant pasts (that can serve the present).
AFRIKAANSE OPSOMMING: Om ‘n lewensverhaal te skryf, reflekteer die outo/biograaf op dít wat eens geleef was in die verlede. Deur hierdie proses, wat ‘n afhanklikheid van die geheue behels, vind die outo/biograaf homself/haarself gereeld in ‘n situasie waar hy/sy ontwerp en verbeel, eerder as om die verlede weer te gee soos dit beleef was. Fragmentasie, vergeetagtigheid, selektering, (her)konstruering en verbeelding is soms onskeibaar van Geheue wat dui op die afhanklikheid van ‘n onstabiele geheue in die skryf- en illustreer-prosesse van ‘n outo/biografie. Hierdie verhandeling ondersoek hoe postmoderne outo/biografieë, spesifiek die (outo/bio)grafiese roman, bewus is van die kwessies rondom die skryf van die verlede in verhouding tot waarheid. Die (outo/bio)grafiese roman ontwrig die idee van waarheid deur die grense tussen feit en fiksie te ondermyn. Gevolglik onstaan ‘n hibriede vorm van outo/biografie waar teks en beeld, realiteit en verbeelding gekombineer word om nuwe en meer beduidende verledes te skep (wat so ook die hede op nuwe maniere kan dien).
mlb2013
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Hentschel, Graham N. "Balancing self with the world and others: Angela Krauß' Romanticism and novel escape from the postmodern." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307320622.
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Busonik, Stephen. "Epistemic structuralism in the postmodern novel : the examples of William Gaddis, J.G. Ballard, and Bret Easton Ellis /." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260971951.
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Porrata, Francisco Eduardo. "Relectura del discurso novomundista de Alejo Carpentier y Abel Posse en el contexto de la nueva novela histórica." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/40.
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The purpose of this dissertation was to analyze the narrative works of Alejo Carpentier and Abel Posse within the context of the new Latin American historical novel that revises the Old World-New World Encounter. Focusing on El arpa y la sombra and Los perros del paraíso, the dissertation studied the particular manner in which Latin American novelists, and particularly Alejo Carpentier and Abel Posse, approach and question traditional historiography. The research also compared different novels to identify various trends within the new historical novel that rewrites the foundational period of Latin American literature. This study considered the theories of the new historical novel as proposed by critics such as Seymour Menton, Fernando de Aínsa, Linda Hutcheon, and Brian MacHale. The new novel was examined within the frameworks of postmodern literary and historiographic theories. The study also contemplated the philosophical views that have influenced postmodern thought, and, especially, the ideas of Nietzsche, Heidegger, Lyotard, Harbermas, and Foucault. Research showed two major trends within the new Latin American historical novel. In the case of the first trend, initiated by Alejo Carpentier in 1949 with El reino de este mundo, the novelist’s approach is founded on historicism and factual rigor. The second trend, initiated by Reinaldo Arenas with El mundo alucinante in 1969, is marked by irreverence, parody, irony, and carnavalization. Characterized by intertextuality, dialogism, and anachronism, novels such as Carpentier´s El arpa y la sombra and Posse´s Los perros del paraíso, undermine the values and beliefs instituted by the traditional historiographic paradigm and the discourse of power.
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Busonik, Stephen. "Epistemic structuralism in the postmodern novel : the examples of William Gaddis, J. G. Ballard, and Bret Easton Ellis." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1260971951.
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Busonik, Stephen William. "Epistemic structuralism in the postmodern novel: The examples of William Gaddis, J. G. Ballard, and Bret Easton Ellis /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487847309053231.
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Starn, Natalie M. "Cognitive Mapping in the Postmodern Novel: Philip K. Dick's "Ubik", Kim Stanley Robinson's, The Gold Coast, and Don DeLillo's, White Noise." Kent State University Honors College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1367844337.
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D, Schooley Béatrice. "Personnes, Personnel et Impersonnel dans l’œuvre de Richard Powers." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030161/document.
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Plus connue pour le foisonnement et la richesse de ses thèmes, pour la densité de son contenu historique, socioéconomique, et pour la technicité avec laquelle elle manipule divers domaines scientifiques, l’œuvre de Powers laisse pourtant également une très large place à ses personnages. Jouant le double rôle de reflets de la société et de piliers narratifs organisant le récit, ces personnages expriment en effet la vision de Powers de l’Amérique contemporaine et constituent un lieu d’expérimentation littéraire. Ces romans s’intéressent aux façons dont les êtres entrent en lutte pour préserver et réinventer leur identité propre au sein d’un monde en perpétuelle mutation sociale et politique, et saturé de moyens technologiques nouveaux. Powers fait le choix d’une approche à la fois sociologique et philosophique en partageant le regard qu’il porte sur la société contemporaine américaine et en mettant au cœur de son œuvre la notion de relation à soi et aux autres. Les implications narratives de cet intérêt pour la complexité accrue d’un statut ontologique de la personne sont multiples et aboutissent à la construction de personnages mouvants et discontinus, réfractant plus qu’ils ne concentrent une énergie remise en circulation au triple niveau de la fiction, de la lecture et de l’écriture. Les modalités d’écriture des personnages, qui rendent compte de l’éclatement de l’unité de la personne dans le monde contemporain américain, font alors déborder la conception individualisante et personnelle qui leur est le plus souvent associée et lui substituent une vision fragmentaire, paradoxalement fédératrice, et en définitive impersonnelle, des êtresRichard Powers’ novels are best known for the diverse and rich quality of their themes, for the density of their historic and socio-economic contents, as well as for the level of technicality with which they handle a variety of scientific themes, yet they also leave a place of choice to the characters. Their role consists in both mirroring a social reality and holding the paramount function of organizing the course of the narrative, as they express Powers’ vision of contemporary America and constitute a space of literary experimentation. These novels focus on the ways human beings who are caught in a world saturated with new technological means and struggling through constant social and political mutations, can fight to preserve and reinvent their personal identity. The author chooses both a sociological and philosophical approach by expressing his vision of the contemporary American society and by putting at the very center of his works the notion of relationship to oneself and to others. The narrative implications of such interests in the increasing complexity of the ontological status of the individual are multiple and lead to the construction of changing and discontinuous characters who refract more than they absorb an energy that can be recirculated at the triple level of the fiction, the readers, and the act of writing. Accounting for the destruction of the unity of the individual in the contemporary American world, the modalities of Powers’ character writing push back the boundaries of the traditional individualistic and personal concept of literary character and substitute to it a paradoxically welcoming, fragmentary and impersonal vision of the human nature
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Kirca, Mustafa. "Postmodernist Historical Novels: Jeanette Winterson." Phd thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12610813/index.pdf.
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The aim of this dissertation is to study postmodern historical novels, which are labeled &ldquohistoriographic metafictions&rdquo
(Hutcheon 1989: 92), in terms of their allowing for different voices and alternative, plural histories by subverting the historical documents and events that they refer to. The study analyzes texts from feminist and postcolonial literature, Jeanette Winterson&rsquo
s The Passion and Sexing the Cherry, and Salman Rushdie&rsquo
s Midnight&rsquo
s Children and Shame as examples in which the transgression of boundaries between fact and fiction is achieved. Basing its arguments on postmodern understanding of history, the thesis puts forward that historiography not only represents past events but it also gives meaning to them, as it is a signifying system, and turns historical events into historical facts. Historiography, while constructing historical facts, singles out certain past events while omitting others, for ideological reasons. This inevitably leads to the fact that marginalized groups are denied an official voice by hegemonic ideologies. Therefore, history is regarded as monologic, representing the dominant discourse. The thesis will analyze four novels by Winterson and Rushdie as double-voiced discourses where the dominant voice of history is refracted through subversion and gives way to other voices that have been suppressed. While analyzing the novels themselves, the thesis will look for the metafictional elements of the texts, stressing self-reflexivity, non-linear narrative, and parodic intention to pinpoint the refraction and the co-existence of plural voices. As a result, historiographic metafiction is proved to be a liberating genre, for feminist and postcolonial writers, that enables other histories to be verbalized.
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Pratt, David Camak. ""Too many olives in my martini" W.C. Fields and Charles Bukowski as postmodern carnival kings /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1212601300.
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Germundson, Karen. "Postmodernism and the contemporary Canadian novel the works of Jack Hodgins, Robert Kroetsch, Michael Ondaatje and Audrey Thomas as responses to the postmodern philosophy of survival." Thesis, University of Ottawa (Canada), 1987. http://hdl.handle.net/10393/5516.
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Kelley, Alita. "Entropic comedy and the postmodern vision: An analysis of "Un mundo para Julius" by Alfredo Bryce Echenique, a poststructural approach, with a translation of the novel into English." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/186047.
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This first full length reading of the Peruvian Alfredo Bryce Echenique's 1970 novel Un mundo para Julius approached from a deconstructionist viewpoint shows how prior misreadings have led to its being interpreted primarily as a realist work with innovative passages. Through extended close reading, it is shown to be an early Latin American example of postmodern entropic comedy. Parody and the ludic aspects of the novelist's art in the work present a view of reality in which all metanarratives are negated. An analysis is included of deconstructionist theory/strategies showing deconstruction's contribution through non-belief in the primary text to recognition of the viability of translation studies as an academic discipline. The first translation into English of Bryce's novel accompanies the dissertation and is drawn upon extensively for interpretation of passages that have previously caused interpretative problems. The prominence of the comic in postmodern literature is discussed, along with the nature and provoking of laughter. Explanations are suggested for Bryce's highly comic novel not being read as such; rather, in prior criticism the tragic has been foregrounded at the expense of the comic elements. It is suggested that Bryce's and other Latin American novels of the 1960s and early 1970s be viewed as marking a transition from modernism to postmodernism, putting Latin American literature in line with the novelistic mainstream worldwide. The boom, far from being a new move in Latin American literature of the 1960s, is seen as belated critical recognition of a modernism which dates back at least to the 1920s, with sporadic manifestations of the postmodern spirit existing there from the same time. Since the nature of deconstruction is to affirm that no definite conclusions or final readings may be drawn, this dissertation is put forth in the spirit that it be conducive to refutation and to foster further readings of the work of Bryce and neglected modernist and postmodernist Latin American writers whose work should by now be seen as part of world literature and not as a local or exotic variant.
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Kapp, W. "The treatment of Historical space in selected works by Thomas Pynchon." University of the Western Cape, 2004. http://hdl.handle.net/11394/8199.
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Magister Artium - MAThe focus on space and spatiality is relatively new in literary studies and also not unproblematic. Problems arise from the way in which these concepts are constructed, described, defined and interpret~. It is possible to derive numerous kinds of space, such as historical space, physical space, metaphysical space and religious space, to name a few, from the structure or thematics of a novel. This in itself presents a problem, since the literary scholar must differentiate between these spaces in order to determine which will be most useful for study of a particular aspect. There does not seem to be a coherent theoretical position in literary scholar regarding space, and thus various views of theorists will be considered. Gullon (1975:21), in a seminal article on space entitled On Space in the Novel provides a possible definition of space, with reference to another seminal article, this time by Joseph Frank when he states that "Frank calls 'spatial' the form of those works that at a given instant in time concentrate actions that can be perceived, but not related, simultaneously". This definition denotes a further complication engendered by space, namely the notion that different spaces intersect and interrelate with each other, and consequently that it is very difficult - if not impossible - to separate the various kinds of literary spaces in order to analyse the occurrence of a single space in a text. It also seems bound to time, but in a sense bridges the temporal gaps in a novel since it brings together parts that are not necessarily adjacent to each other temporally. Time becomes spatialized by treating events in the novel as separate chunks which can be rearranged and linked to each other. 1bis creates a more coherent and comprehensive picture of events in a text. namely the notion that different spaces intersect and interrelate with each other, and consequently that it is very difficult - if not impossible - to separate the various kinds of literary spaces in order to analyse the occurrence of a single space in a text. The main point in this regard seems to be creating patterns. This brings together more elements for the reader to be viewed at once, allowing him or her to attain a broader perspective on the text.
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Efron, Corey. "Televisual Aesthetics in Postmodern Novels 1969-2006." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618733401371798.
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Bem, Isabella Vieira de. "Models of complexity in Robert Coover's John's wife and the adventures of Lucky Pierre." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/5841.
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Esta tese de doutorado analisa dois romances do escritor Norte-Americano Robert Coover como exemplos de escrita hipertextual e de hiperficção no suporte do livro de papel. A complexidade dos romances John's Wife e The Adventures of Lucky Pierre integra os elementos culturais característicos da atual fase do capitalismo e as práticas tecnologizadas que vêm forjando uma subjetividade diferente na escrita e leitura hipertextual, a subjetividade pós-humana. Os modelos da complexidade dos romances derivam do conceito de atratores estranhos da Teoria do Caos e de rizoma da Nomadologia. As transformações no grau de corporeidade dos personagens estabelecem o plano em que se discute a turbulência e a pós-humanidade. As noções de padrões dinâmicos e atratores estranhos e os conceitos do Corpo sem Órgãos e do Rizoma são interpretados para se revisar a narratologia e chegar a categorias apropriadas ao estudo dos romances. A leitura exercitada nesta tese põe em prática a proposta de leitura corpórea de Daniel Punday. As mudanças no grau de materialidade dos personagens são associadas aos estágios de ordem, turbulência e caos na estória, agindo sobre a constituição da subjetividade ao longo do processo de leitura. A inscrição dos planos de consistência que Coover realiza para se contrapor à linearidade e acomodar as feições hipertextuais nas narrativas em papel descreve a trajetória rizomática dos personagens. O presente estudo leva a concluir que a narrativa hoje se constitui antes como um regime numa relação rizomática com outros regimes na prática cultural do que como forma e gênero predominantemente literários. Também se conclui que a subjetividade pós-humana emerge alinhada a uma identidade de classe que tem nos romances hipertextuais a sua forma literária predileta.This doctoral dissertation analyzes two novels by the American novelist Robert Coover as examples of hypertextual writing on the book bound page, as tokens of hyperfiction. The complexity displayed in the novels, John's Wife and The Adventures of Lucky Pierre, integrates the cultural elements that characterize the contemporary condition of capitalism and technologized practices that have fostered a different subjectivity evidenced in hypertextual writing and reading, the posthuman subjectivity. The models that account for the complexity of each novel are drawn from the concept of strange attractors in Chaos Theory and from the concept of rhizome in Nomadology. The transformations the characters undergo in the degree of their corporeality sets the plane on which to discuss turbulence and posthumanity. The notions of dynamic patterns and strange attractors, along with the concept of the Body without Organs and Rhizome are interpreted, leading to the revision of narratology and to analytical categories appropriate to the study of the novels. The reading exercised throughout this dissertation enacts Daniel Punday's corporeal reading. The changes in the characters' degree of materiality are associated with the stages of order, turbulence and chaos in the story, bearing on the constitution of subjectivity within and along the reading process. Coover's inscription of planes of consistency to counter linearity and accommodate hypertextual features to the paper supported narratives describes the characters' trajectory as rhizomatic. The study led to the conclusion that narrative today stands more as a regime in a rhizomatic relation with other regimes in cultural practice than as an exclusively literary form and genre. Besides this, posthuman subjectivity emerges as class identity, holding hypertextual novels as their literary form of choice.
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Wright, Nicholas. "Towards tenderness : postmodern empathy in the novels of Damien Wilkins." Thesis, University of Canterbury. English, 2000. http://hdl.handle.net/10092/7033.
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The following represents an attempt to outline the significance of an author (Damien Wilkins) about whom little or no critical work has, as yet, been written. Primarily the context for this 'outlining' is postmodernism, and what I shall argue is that Wilkins' novels represent a treatment of the postmodern (essentially a process of aestheticisation) whereby the possibility for a social and interpersonal mode of empathetic, meaningful and coherent relation is, in fact, seen as a possibility of postmodernism itself. For myself the possibility of postmodern empathy is something Wilkins invests in his term "tenderness" which, in relation to this context of postmodernism, operates as an abstraction or metaphor for an aesthetics/politics of contingency, irony and affect. In Wilkins' texts this tender aesthetic is examined and foregrounded by what I see as the primary concerns of the fiction, subjectivity, history and language. However, it is language which represents the basis for the sort of empathy Wilkins outlines; just as it is in the structure of language (a polar model proposed by linguist Roman Jakobson) that Wilkins is best able to perform his critique of postmodernism. Essentially it is on the question of language (and the aesthetic) that, as Wilkins seems to argue, claims to social and inter-relational empathy and continuity may be heard. For this reason Wilkins' fiction (and its treatment of postmodernism) connects with a tradition of aesthetics through which something like fiction (in Wilkins case it is more accurate to say metafiction) or art are metaphor for a politics of social engagement, affect and the expression of intimacy and "tenderness". In Wilkins' figure of the 'little master' we find a figure of a certain authority who, because of their abilities with language, is able to 'write' or construct contiguous relationships with others, and with history, within the contingency of the postmodern condition. In Wilkins' fiction it is the characters I refer to as 'little masters' who represent the postmodern empathy Wilkins, as I see it, sets out to record.
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Kawakami, Akane. "Postmodern fictions : narrative and structure in the novels of Patrick Modiano." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339164.
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Kong, Kim-Por Paul, and 江劍波. "The child in time: postmodern representationsof childhood in the novels of Ian Mcewan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31952045.
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Gerbrandt, Amy Lyn. "Beyond the postmodern facade : textual performativity in novels and plays of the Americas /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.
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Chabrier, Isabelle. "La carnavalisation dans le roman cubain contemporain." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030183.
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Cette étude met en lumière la dimension carnavalesque telle que théorisée par Mikhaïl Bakhtine chez Rabelais dans le roman cubain contemporain (El arpa y la sombra d’Alejo Carpentier, Paradiso de José Lezama Lima, De donde son los cantantes de Severo Sarduy, Tres tristes tigres de Guillermo Cabrera Infante, El color del verano o Nuevo “Jardín de las Delicias” de Reinaldo Arenas, La piel y la máscara de Jesús Díaz). Il s’agira principalement de montrer comment les caractéristiques de « ce monde à l’envers » qui marque la « vision carnavalesque » proposée par le théoricien russe s’inscrivent dans l’écriture, tant dans l’intégration des codes du carnaval comme motifs littéraires que dans les techniques narratives employées. Dans une lecture dépassant le concept baroque associé jusqu’ici aux romans cubains de notre corpus, nous envisageons la résurgence de traditions populaires anciennes de la fête carnavalesque, le mélange entre hommage et irrévérence, sacralisation et désacralisation, comme le symptôme d’une crise du sujet cubain, l’expression postmoderne du rejet des idoles en même temps que la manifestation d’un désir profond de retrouver une liberté provisoire dans la représentation littéraire carnavalisée et de se plonger dans l’âge d’or célébré par la fêteThis study sets out the Bakhtine “carnival dimension” in the Cuban contemporary novel (El arpa y la sombra by Alejo Carpentier, Paradiso by José Lezama Lima, De donde son los cantantes by Severo Sarduy, Tres tristes tigres by Guillermo Cabrera Infante, El color del verano o Nuevo “Jardín de las Delicias” by Reinaldo Arenas, La piel y la máscara by Jesús Díaz). Our main concern is to demonstrate that “upside down world characteristics” that fixe the “carnavalesque vision” proposed by the Russian theorist is part of the writing in the integration of the carnival’s codes both as literary themes as narrative techniques. In a reading exceeding the baroque concept associated up to now with the Cuban novels of our corpus, we envisage the resurgence of the carnival’s former popular traditions, the mixture between tribute and irreverence, sacralization and deconsecration, as the symptom of the Cuban subject’s crisis, the postmodern expression of the rejection of the idols at the same time as the demonstration of a deep desire to recover a temporary freedom in the carnivalized literary representation and to plunge into a golden age celebrated by the carnival
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Davidson, Amanda Anne. "Uncertainty in Postmodern literature : with special reference to the novels of Alasdair Gray and Salman Rushdie." Thesis, Queen Mary, University of London, 1999. http://qmro.qmul.ac.uk/xmlui/handle/123456789/28820.
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This thesis is a selective study of Postmodern literature, focusing on the work of Alasdair Gray and Salman Rushdie. Postmodern literature is an expression of and response to the profound uncertainty that characterises the late-twentieth century. The works of many diverse authors attempt to come to terms with the Postmodern situation, which Jürgen Habermas has described as `the legitimation crisis'. The Enlightenment metanarratives that legitimise Western, industrial societies, have been undermined by Capitalism and events. We no longer accept general metanarratives and this generates profound uncertainty. As Postmodern literature challenges the incomplete certainties of grandnarratives, such as religious and political ideologies, it adopts uncertain forms. Texts create series of debates because these dramatise our conflicting uncertainties and our reluctance to accept, set positions, and answers that erroneously claim to be universal and absolute. By presenting issues in conflict without offering a set conclusion, fiction is able to bring its readers actively into the arguments and find a role for itself within society. The uncertainty of the present has contributed to an impression that we have lost a sense of connection with the past and future and therefore continuous identity. Postmodern novels tend to concentrate upon the struggles of the present in order to free the future from both restrictive traditional visions and the paralysing present. The future finally emerges as the direct product of the past and present, but we can also begin to imagine it as something radically different. Postmodern literature does not create new metanarratives, it legitimises a tense and provisional relationship with society that helps peoples to live in an uncertain world while not surrendering to it.
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Kong, Kim-Por Paul. "The child in time : postmodern representations of childhood in the novels of Ian Mcewan /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161720.
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Ndomaina, Aiah K. "Repetition, Resistance, and Renewal: Postmodern and Postcolonial Narrative Strategies in Selected Francophone African Novels." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392392192.
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Ndomaïna, Aiah K. "Repetiton, resistance, and renewal : postmodern and postcolonial narrative strategies in selected francophone African novels /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487950658545574.
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Padwicki, Robyn Sharlene. "Intertextual echoes : violence, terror, and narrative in the novels of Ian McEwan and Graham Swift." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2800.
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Numerous studies have pointed to the historiographic and metafictional aspects of Ian McEwan’s and Graham Swift’s fiction, although few have examined the connections between McEwan and Swift. This study develops from that work by proposing that McEwan’s and Swift’s fictions explore similar themes, beyond those of just history and metafiction. By situating McEwan and Swift as postmodern writers who are strikingly intertextual, in the sense initially coined by Julia Kristeva, this study will show that both authors are deeply concerned with the violence of the twentieth and early twenty-first centuries, and the role that violence has played in the failure of metanarratives, as well as the resulting terror subjects face as they seek replacements for the personal authenticity, legitimacy, and meaning once provided by totalizing metanarratives. This study also illustrates that McEwan and Swift recognize the persistence of the metanarrative of science, as well as the psychic violence inherent in trying to replace metanarratives with received literary traditions. By developing on these ideas, this thesis argues that McEwan and Swift are actively engaged not only in exploring the anxiety subjects face as they realize there is nothing left upon which they can base their personal legitimacy, but also that the authors are suggesting there is no easy replacement for the lost, albeit fictitious, authenticity once situated in metanarratives and received genres. Finally, this paper will demonstrate that while these two contemporary novelists significantly problematize narrative and narrative frameworks, McEwan and Swift ultimately convey only one sure method to cope with the mourning and terror of the postmodern condition: continue writing.
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De, Zwaan Victoria. "Postmodern pirates, metaphoric experiments in the novels of Donald Barthelme, Thomas Pynchon, and Kathy Acker." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ28164.pdf.
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Wixted, John P. "On boredom and being saved postmodern malaise and emancipation in the novels of Zadie Smith /." Click here fordownload, 2007. http://proquest.umi.com/pqdweb?did=1280151481&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Allison, Ryan. "Style is entertainment, style is morality : contradiction and subjectivity in the postmodern novels of Martin Amis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0019/MQ43827.pdf.
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Moichi, Yoriko. "Losing Utopia? a study of British and Japanese Utopian novels in the face of postmodern consciousness." Thesis, University of Edinburgh, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488682.
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Amico, Arellano Andrés Alberto. "El asomo postmoderno : crisis de la modernidad en salón de belleza de Mario Bellatín." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2011. http://tesis.pucp.edu.pe/repositorio/handle/123456789/848.
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Salón de belleza es una novela de la que se podría afirmar que funciona como una metáfora
de la época en la que se produjo. Por ello, sostengo que las imágenes que configuran sus
personajes y la trama de la novela evidencian las contingencias, malestares y características
propias de la época posmoderna. Un proyecto literario similar se llevó a cabo en el año
1947 cuando George Orwell publicó su obra maestra 1984. En esa novela, Orwell describe
la situación política y social de una época en el futuro (exactamente el año 1984) en la que
se evidencian los principales descontentos respecto de las políticas sociales modernas. El
personaje principal de la novela se inserta en una sociedad hipervigilada bajo el régimen del
Ingsoc (socialismo inglés) y la tutela de su gobernante máximo: el Gran Hermano. La vida
que en esta novela se representa está regida por una serie de restricciones y de normas
impuestas a los ciudadanos. Normas que buscaban regular su estilo de vida de los y ejercer
el control más absoluto de sus actitudes y pensamientos. El lector conoce, a partir de la
experiencia de Winston, personaje principal de la novela, las tensiones, los temores y los
cuestionamientos a dicha sociedad. No obstante, pese a estar orientado hacia un futuro
incierto y obviamente irreal, la novela se configura como una proyección de lo que la
sociedad de esa época sugería y los descontentos y turbaciones propios de la etapa de la
modernidad.Tesis
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Fabregat, Aguiló Laura. "Les tendències de la novel·la catalana del segle XXI." Doctoral thesis, Universitat Rovira i Virgili, 2020. http://hdl.handle.net/10803/669415.
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Aquest estudi extreu les tendències literàries que sobresurten en el panorama novel·lístic en llengua catalana del segle XXI a partir de l’anàlisi de set eixos definidors i característics d'aquesta narrativa: la relació temàtica amb la crisi identitària, la incertesa i la manca de sentit general; la plasmació de la quotidianitat i el context immediat per mitjà de personatges amb actituds i patologies molt properes als individus coetanis; la inclusió normalitzada del fantàstic en textos de temàtica i ambientació realistes a través del gènere del realisme màgic o el neofantàstic; l’auge del mètode de la fragmentació discursiva mitjançant diverses tècniques que trenquen amb la coherència, la lògica i la uniformitat; l’increment en l’ús de la pràctica metaliterària, és a dir, aquella narrativa que es refereix a ella mateixa; la tendència creixent a l'elaboració de narracions d’autoficció, en què l'autor s'introdueix de manera parcial dintre de la història, generalment a partir de la primera persona narrativa, i la forta instauració del formalisme literari, que es fa visible en obres que avantatgen la forma (el com) al contingut (el què).Este estudio extrae las tendencias literarias que sobresalen en el panorama novelístico en lengua catalana del siglo XXI a partir del análisis de siete ejes definidores y característicos de esta narrativa: la relación temática con la crisis identitaria, la incertidumbre y la falta de sentido general; la plasmación de la cotidianidad y el contexto inmediato por medio de personajes con actitudes y patologías muy cercanas a los individuos coetáneos; la inclusión normalizada del fantástico en textos de temática y ambientación realistas a través del género del realismo mágico o el neofantástico; el auge del método de la fragmentación discursiva mediante diversas técnicas que rompen con la coherencia, la lógica y la uniformidad; el incremento en el uso de la práctica metaliteraria, es decir, aquella narrativa que se refiere a ella misma; la tendencia creciente a la elaboración de narraciones de autoficción, en que el autor se introduce de forma parcial dentro de la historia, generalmente a partir de la primera persona narrativa, y la fuerte instauración del formalismo literario, que se hace visible en obras que aventajan la forma (el cómo) al contenido (el qué).
This study extracts the literary trends that emerge in the 21st century Catalan-language novel scene from an analysis of seven defining and characteristic axes of this narrative: the thematic relation with the identity crisis, the uncertainty and the lack of general sense; the expression of everyday life and immediate context through characters with attitudes and pathologies which are very close to contemporary individuals; the normalized inclusion of the fantastic in texts of realistic topic and setting by the genre of magical realism or neofantastic; the rise of the method of discursive fragmentation through various techniques that break with consistency, logic and uniformity; the increase in the use of metaliterary practice, that is to say, the narrative that refers to itself; the growing tendency to elaborate autofiction narratives, in which the author is partially introduced into the story, usually from the first narrative person, and the strong implementing of literary formalism, which becomes visible in works that put the form (the how) before the content (the what).
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Trombert, Riquelme Eduardo. "Radiografía del Ethos postmoderno: el determinismo hacia el colapso en 2010: Chile en llamas de Darío Oses." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/109980.
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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención LiteraturaComo es posible apreciar en los medios de comunicación, el tan mentado Bicentenario de Chile se ha postulado como una fecha de celebración y de orgullo nacional por los logros alcanzados. A tal punto llega la manipulación mediática, que el presidente actual recrea un simbólico brindis en el Café Torres para festejar tal cual lo hizo su respectivo par cien años atrás. El problema es que ambas celebraciones ocultaron la otra cara de la moneda, que en líneas generales se traduce en las malas condiciones en que vive parte de la sociedad; pues sólo basta contraponer los medios de transporte, la educación y el trabajo de las distintas clases para dar cuenta de la desigualdad. Tal como lo expreso Emilio Recabarren en 1910, la brecha que separa a ricos y pobres es inconcebible y extingue cualquier espíritu de celebración. Así, tanto en el Centenario como en el Bicentenario más que celebrar, se deberían conocer y (auto)criticar los sucesos que han configurado la sociedad actual, la cual se encuentra en un estado de resquebrajamiento debido a los procesos de individuación de los habitantes en relación al desarrollo acelerado de la civilización, el sistema neoliberal impuesto, la fugacidad de las relaciones interpersonales, etc.
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Donovan, Christopher. "Postmodern counternarratives : irony and audience in the novels of Paul Auster, Don DeLillo, Charles Johnson, and Tim O'Brien /." New York : Routledge, 2005. http://catalogue.bnf.fr/ark:/12148/cb39975904p.
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Correa, Sotelo Ruth Elvira. "The concept of identity in postmodern literature: the urban subject in the dystopian city : Paul Auster's In the country of last things." Tesis, Universidad de Chile, 2012. http://repositorio.uchile.cl/handle/2250/112718.
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Facultad de Filosof?a y HumanidadesDepartamento de Ling??stica
Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Inglesa
Introduction From the emergence of the term Utopia in Thomas More?s book of the same name, many controversial and prolific discussions have appeared throughout time. These discussions involved not only cultural and sociological aspects, but also those concerned more with the inner dimension of the self: his desires, ambitions and transformations. What More really meant by using this term we have no certainty, because in it he refers to several different factors that have an effect in the life of the island portrayed in his book. In opposition to Utopia, meaning ?a happy place where a person has nothing to worry about because his/her government provides everything they need?, there is Dystopia, which could be defined as ?a society being controlled by a repressive state, in both individual and collective ways?. Starting from this point, the general topic that gives rise to the object of study in this work is the urban subject, Anna Blume in Paul Auster?s In the Country of Last Things, immersed in a dystopian city nearly to be extinguished and conditioned by spaces that exert powerful forces on the prevalence of the self.
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Howard, Nicole Marie. "Irrational paratext : manipulated paratext in the gothic postmodern novels house of leaves, the adventuress, and the three incestuous sisters." Thesis, University of Canterbury. English, 2015. http://hdl.handle.net/10092/10092.
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Mark Z. Danielewski's House of Leaves and Audrey Niffenegger's two visual novels The Three Incestuous Sisters and The Adventuress all contain examples of manipulated paratext - paratexts being the devices involved in the presentation of the text such as titles, author names, font, introductions, illustrations, appendices, advertising, and interviews. The emphasis these authors place on these usually inconspicuous devices is an expression of the irrational themes contained within these texts. The irrational is an underlying theme of the Gothic genre and through examining the use of manipulated paratexts this thesis demonstrates how these texts make use of the irrational Gothic elements that are present within the postmodern. While Danielewski and Niffenegger both have these similar themes, the effects they create are extremely different. Niffenegger creates écriture feminine, or feminine writing as described by Hélène Cixous, by prioritising illustrations that feature marginalised bodily expression in order to convey the narrative rather than text. Danielewski, on the other hand, produces a text that is a pure pastiche of Gothic and postmodern devices in order to emulate the postmodern media in its creation of hyperreality and to reproduce the sensation of a media that possesses and changes its consumers. House of Leaves is the instigator for a number of similar texts that have been published since the turn of the millennium which will be considered an emerging literary movement.
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Svilarova, Emanuela. "Le récit personnel dans l’œuvre des écrivains du Nouveau roman et dans celle d’auteurs bulgares contemporains : étude comparée." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA082/document.
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La présente étude se propose de faire une comparaison typologie et historique d’un phénomène littéraire très présent dans l’espace littéraire français et bulgare des dernières décennies du XXe et des premières décennies du XXIe siècle, à savoir le récit personnel fictionnalisé ou mis en cause. L’émergence de ce processus a été notre préoccupation majeure, et pour cette raison nous avons choisi des romans-clés paraissant à des époques différentes : pour la sphère française, l’orientation du Nouveau roman vers une écriture autobiographique pendant les années 1980 ; pour la sphère bulgare, l’émergence d’une « nouvelle écriture » à la faveur des changements sociopolitiques à partir de 1989. L’entrée en littérature de nouvelles conceptions philosophiques touchant plusieurs autres sphères de la vie artistique, comme la déconstruction ou la pensée de la postmodernité, affecte grandement le récit qu’un sujet de l’époque ferait de sa propre vie, d’autant plus s’il est déjà écrivain. Les questions que soulèvent aussi bien les œuvres bulgares que les œuvres françaises : questions d’abord de référentialité, d’« adhésion à l’époque », ensuite de composition, de voix narratives et, en fin de compte, de prise en charge du texte comme le récit de sa propre vie, sont extensivement traitées tout au long de l’étude. Il en résulte que le doute de la parole régit tout récit, et que le témoignage d’une expérience personnelle est la seule caution de sa véracité. Le récit personnel s’éloigne des genres purement informatifs ou référentiels et prend ainsi place du côté de la littérature, des œuvres de création et de fictionThe present study is set to make a typological and historical comparison of a very widespread phenomenon in French and Bulgarian literary fields in the last decades of XXth century and the first decades of the XXIst century: the fictionnalised or biased personal story. This phenomenon’s emergence has been our main subject of concern, and for that reason we chose key novels published in different periods: for the French domain it was the « Nouveau roman »’s orientation towards autobiographical writing in the 1980’s; for the Bulgarian domain, the emergence of a « new writing » in the wake of the change in 1989. The introduction in literature of new philosophical conceptions touching other spheres of art such as deconstruction and postmodernism affects greatly the story a subject would make of his own life, moreover if he is already a writer. The questions raised as well by the Bulgarian as by French works: first about reference to reality, historical verisimilitude, then about composition, narrative voices and finally, about taking in charge the story itself as the story of one’s life, are extensively dealt with along the study. The resulting account is that hesitation governs thoroughly the story, and that the sole fact of giving testimony of one’s life is its caution of veracity. The personal story moves away from purely informative genres, ranging to fictional literature’s side
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Rascle, Floriane. "Écritures dramatiques et romanesques des XXe et XXIe siècles à l’épreuve des arts non verbaux. Modèles et dispositifs." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA110.
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L’observation de la présence des arts non verbaux au cœur des œuvres de Marguerite Duras, Lawrence Durrell, Elfriede Jelinek et Péter Nádas nous invite à considérer la musicalité et l’iconicité des écritures dramatiques et romanesques contemporaines en termes de modèle mais aussi de dispositif. Des phénomènes de dialogue, d’hybridation, de polyphonie, de dialogisme, d’intermédialité, de ce que Jacques Rancière nomme « l’impurification » au cœur d’un « régime esthétique de l’art » révèlent les rêves, désirs et pulsions du verbal pour d’autres arts, mais aussi pour des représentations à l’artisticité discutable. La fabrique d’un corps organique, sexuel, érotique voire pornographique par les écritures contemporaines nous convie à envisager le métissage entre art et non-art en termes de dispositif performatif et à proposer une lecture queer des œuvres. À l’heure du postmodernisme, le recours des écritures au non-verbal se donne à lire à la fois comme la manifestation d’une crise du logos et de la représentation et comme l’enjeu d’une rénovation esthétique et politique de la littérature. Qu’ils modélisent le verbal ou fassent brutalement irruption et déchirure en son sein, les arts non verbaux concourent au renouvellement des formes littéraires, mais aussi à leur politicité et au renouveau de la fiction. Cette étude ambitionne donc d’explorer le carrefour esthético-politique que dessinent, entre le milieu du XXe siècle et ce début de XXIe siècle, les relations plurielles entre les arts verbaux et non verbaux dans l’art verbal par excellence, la littératureThe observation of the presence of non verbal arts within the works of Marguerite Duras, Lawrence Durrell, Elfriede Jelinek and Péter Nádas leads us to examine the musicality and the iconicity of contemporary dramatic and novelistic writings in terms of model, pattern and devices. Dialogue, hybridization, polyphony, dialogism, intermediality, and what Jacques Rancière calls “impurification” within the “Aesthetic Regime of Art”, display the dreams, desires and longings of verbal art for other arts, but also for representations whose artistic content is arguable. The fact that contemporary writings produce an organic, sexual, erotic, even pornographic body invites us to focus on the interactions between arts and non-arts with regard to their performative devices and to propose a queer reading of the works. In Postmodernism, the fact that writings draw on non verbal forms can be understood as the expression of the failure of Logos – both language and reason – and of representation. Moreover, what is also at stake is an aesthetic and political reform of literature. Whether they tend to impose new verbal models or break into them, non verbal arts contribute not only to reshape literary forms but also to emphasize their political substance and renew their fictional content. This dissertation aims to investigate the crossroads between aesthetics and politics that the various relationships between verbal and non-verbal arts display, from mid-20th century to the beginning of the 21st century, within Literature, the verbal art par excellence
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Birchler, Susan. "Ecological Art: Ruth Wallen and Cultural Activism." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001969.
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Link, Alex. "Postmodern spatialities in the contemporary urban gothic novel /." 2003. http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99204.
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Thesis (Ph.D.)--York University, 2003. Graduate Programme in English.Typescript. Includes bibliographical references (leaves 355-368). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99204
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Chien, Hsiu-Ju Chang, and 張簡琇如. "Historical Heteroglossia: E. L. Doctorow and the Postmodern Historical Novel." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/tw9du8.
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碩士國立中興大學
外國語文學系所
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E. L. Doctorow is the most famous American author of postmodern historical novels. In these novels, Doctorow uses historical figures, fictional characters, objects and newspapers to express his ideas about history. This thesis attempts to read Doctorow’s novels Ragtime, World’s Fair, and Homer and Langley using Mikhail Bakhtin’s notions of heteroglossia and carnival. However, it also considers Marxist and postmodernist readings of Doctorow’s works. Introduction briefly summarizes background of the author, theorists’ perspectives about the historical novel and my motivation of the structure of this thesis. Chapter One describes social and financial condition, the rise of female consciousness, the importance of mental problems and racial issues around the 1900s in Ragtime. Chapter Two explains the author selects family history to narrate his family how to face predicaments during the Great Depression and join the carnival activity of the World’s Fair in World’s Fair. Chapter Three illustrates the author chooses objects and newspapers rather than characters around the 1940s to express his ideas about history in Homer and Langley which are different from the previous novel. The conclusion briefly summarizes this thesis and explains how Bakhtin’s theory offers new ways of understanding the historical novel.
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Mitras, Joao Luis. "Postmodern or post-Catholic? : a study of British Catholic writers and their fictions in a postmodern and postconciliar world." Diss., 1997. http://hdl.handle.net/10500/18636.
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This thesis is an investigation into the nature of the 'postmodern' narrative strategies and fictional
methods in the work of two British Catholic writers. The work of David Lodge and Muriel Spark is
here taken as an example ofthe 'Catholic novel'. In order to determine ifthe overlap ofpostmodern.
and Christian-influenced narrative strategies constitutes more than a convergence or coincidence of
formal concerns, narrative form in these novels is analyzed in the light of neo-Tho mist and Tho mist
aesthetics, a traditional Catholic Christian theory of the arts. The 'postmodern' in these 'Christian'
texts becomes largely a coincidence of terminology. Narrative forms which can be classified as
'postmodern' can also be categorized using the terminology of Thomas Aquinas. The apparent
similarities betray radically divergent metaphysical presuppositions, however. The nature of the
Catholic 'difference' lies in the way postmodern forms are used to challenge the metaphysical
bases of those forms.English Studies
M.A. (English)
50
Blustein, David. "Forms of the Postmodern Historical Novel : Christoph Ransmayr, Daniel Kehlmann, Wolfgang Hildesheimer." Thèse, 2015. http://hdl.handle.net/1866/16106.
Full textAbstract:
L’émergence du postmodernisme aux Etats-unis, mouvement esthétique rejetant les dogmes modernistes, date des années 1960. En s’imposant, durant les dernières décennies du 20ème siècle, comme le paradigme esthétique de l’architecture, des arts et de la littérature, le postmodernisme a également créé les conditions propres à une renaissance du roman historique. Cependant, la fiction historique postmoderne constitue maintenant une nouvelle forme du genre basée sur la parodie, l’ironie et le scepticisme envers les discours dominants. Cette nouvelle forme ne se limite plus à la présentation des récits dans un cadre historique réaliste. Elle remet plutôt en question la validité et par conséquent la nature même du discours historique, problématisant et mettant ainsi à l’avant le processus d’interprétation et de reconstruction du passé. Dans cette optique, la fiction historique contemporaine reflète les débats actuels sur les formes de l’historiographie, débats lancés par Hayden White.
Dans les années 1980, la fiction historique a de nouveau fleuri dans l'espace culturel allemand tout comme ailleurs. Le présent mémoire analyse des formes postmodernes de la fiction historique en se basant sur trois romans historiques de langue allemande parus entre 1981 et 2005: Die Schrecken des Eises und der Finsternis de Christoph Ransmayr, Die Vermessung der Welt de Daniel Kehlmann et Marbot : Eine Biographie de Wolfgang Hildesheimer. L’analyse s'appuie sur divers modèles de la fiction postmoderne, en particulier sur le schéma de catégorisation du roman historique élaboré par Ansgar Nünning. Le mémoire montre dans quelle mesure ces romans appliquent des moyens stylistiques typiques pour le postmodernisme et portent un regard critique ou comique sur l’histoire et la culture allemande et autrichienne.Postmodernism, an aesthetic movement that rejects modernist dogmas, emerged in the U.S.A. in the 1960s and became, over the last decades of the twentieth century, the paradigmatic aesthetic in architecture, literature and the arts. Postmodernism also created the conditions for a renaissance of the historical novel. However, the postmodern historical novel now constitutes a new form of the genre which confronts the dominant discourses with parody, irony and skepticism. This new form does not limit itself to narratives situated in a realist historical setting. Rather, it questions the validity and, consequently, the very nature of historical discourse, problematizing and often foregrounding the process of interpretation and reconstruction of the past. In this manner, contemporary historical fiction reflects current debates about the forms of historiography, debates triggered by the work of Hayden White. The 1980s saw a renewed flowering of historical fiction in the German cultural space and elsewhere. This paper examines postmodern forms of historical fiction through an analysis of three postmodern historical novels in the German language published between 1981 and 2005: Christoph Ransmayr’s Die Schrecken des Eises und der Finsternis, Daniel Kehlmann’s Die Vermessung der Welt and Wolfgang Hildesheimer’s Marbot: Eine Biographie. The analysis is based upon various models of postmodern fiction, in particular Ansgar Nünning’s five level categorization schema of the historical novel. This paper illustrates the extent to which these novels deploy postmodern stylistic devices and comment critically and comically upon German and Austrian history and culture.
Die Postmoderne, eine ästhetische Bewegung, die modernistische Dogmen ablehnte, entstand in den USA in den 1960er Jahren und wurde in den letzten Dekaden des 20. Jahrhunderts die paradigmatische Ästhetik in der Architektur, der Literatur und den Künsten. Die Postmoderne schuf ebenfalls die Voraussetzungen für eine Renaissance des historischen Romans. Jedoch stellt der postmoderne historische Roman eine ganz neue Form der Gattung dar, die herrschenden Diskursen parodistisch, ironisch und skeptisch begegnet. Es handelt sich nicht mehr um eine Erzählung mit einem realistischen historischen Rahmen. Diese neue Form historischer Fiktion stellt das Wesen des historischen Diskurses in Frage und rückt häufig den Vorgang der Sinngebung und die historische Rekonstruktion der Vergangenheit in den Vordergrund. Somit spiegelt diese postmoderne Literaturgattung gegenwärtige Debatten über die Formen der Geschichtsschreibung, wie sie von Hayden White angestoßen wurden. In den 1980er Jahren setzte eine neue Blütezeit des historischen Romans auch im deutschen Kulturraum ein. Das Ziel meiner Arbeit ist, postmoderne Formen des historischen Romans zu untersuchen, und zwar durch eine Analyse dreier deutschsprachiger historischer Romane die zwischen 1981 und 2005 erschienen sind: Christoph Ransmayrs Die Schrecken des Eises und der Finsternis, Daniel Kehlmanns Die Vermessung der Welt und Wolfgang Hildesheimers Marbot: Eine Biographie. Die Romane werden anhand verschiedener narratologischer Modelle analysiert, insbesondere des von Ansgar Nünning entwickelten fünfstufigen Modells des historischen Romans. Meine Arbeit veranschaulicht, in welcher Weise diese Romane postmoderne Stilmittel einsetzen und Geschichte und Kultur Deutschlands und Österreich auf kritische und komische Weise beleuchten.