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Journal articles on the topic 'Vonnegut, Kurt. Slaughterhouse-five'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Sofyan, Ilhamdi Hafiz. "“There Is No Good War”: The Firebombing of Dresden and Kurt Vonnegut’s View Towards World War II in Slaughterhouse-Five." Vivid Journal of Language and Literature 6, no. 2 (July 23, 2019): 60. http://dx.doi.org/10.25077/vj.6.2.60-67.2017.

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This study discusses Kurt Vonnegut's view of war reflected in his novel Slaughterhouse-Five and also his efforts in conveying his views through his novel. This novel is based on the experience of Kurt Vonnegut during World War II when he was imprisoned in a German city called Dresden and witnessed the destruction of the city on February 13, 1945 in an Allied bombing operation. In the novel, Vonnegut rewrote his experience in the form of a fiction. In discussing this literary work, I used the expressive theory by M. H. Abrams which was supported by a historical and biographical approach. In analyzing this literary work, I took quotes from the novel Slaughterhouse-Five as the main data as well as other data as secondary data, such as the biography of the author, interviews with the author taken from various sources, as well as writings on author that is relevant to the discussion in this study. The result show that Kurt Vonnegut see war as something that was completely meaningless and only caused destruction and death for innocent residents. Kurt Vonnegut uses narrative techniques such as black humor, irony, and metaphysics at Slaughterhouse-Five so that his views on war can be conveyed to his readers.

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2

Khaleel(M.A), Intisar Rashid. "Time Travel in Kurt Vonnegut's Slaughterhouse- Five." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 224, no. 1 (March 1, 2018): 89–100. http://dx.doi.org/10.36473/ujhss.v224i1.250.

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For many years, time travel was the stuff of science fiction. This was all just part of the world's imagination until recently. Science authors, among them, Kurt Vonnegut (1922-2007) post-modern American writer, believe that one can travel through time forward or backward asking his memories and stream of consciousness to give sensory impressions of his thoughts and actions, that what Billy did in Vonnegut's Slaughter house- Five (1969). The protagonist Billy Pilgrim finds himself "unstuck in time" jumping between several periods of his life. Travelling between his experiences as a prisoner of war in World War II to his family life in 1950s, and 1960s and his time on Tralfmadorian Planet, Billy has the freedom and ability to travel; he has no control over these transitions. The present study falls into three sections plus a conclusion. The first section deals with the concept of time travel in literature and fiction. Section two presents historical and literary context to Vonnegut's novel. The treatment of time travel concept will be discussed in the third section. Then, the conclusions which sum up the findings of the research.

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3

Shi, Jing. "On the Postmodern Narrative Techniques in Slaughterhouse-Five." Theory and Practice in Language Studies 9, no. 5 (May 1, 2019): 553. http://dx.doi.org/10.17507/tpls.0905.09.

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Kurt Vonnegut is admitted as a great master of postmodern writer. Vonnegut’s success is mainly attributed to his unique narrative approaches, various expressive methods and dramatic artistic effects. The application of metafiction is particularly obvious and significant in his novels. Slaughterhouse-Five is one of typical examples of the successful adoption of metafiction. The metafiction of Vonnegut’s style, applied in Slaughterhouse-Five, shows itself in three distinctive approaches—non-linear narrative, collage and parody. Based on postmodern narrative theory, the application of these three distinctive narrative techniques will be analyzed in details in this thesis. The analysis mainly includes the reasons why they are applied in the novel and the functions how they work. The paper is mainly divided into five parts. Relevant information of Vonnegut, postmodern metafiction and previous researches are introduced in the first chapter. After getting better acquainted with basic knowledge, three narrative methods of Vonnegut’s metafiction including non-linear narrative, collage and parody are separately and detailedly analyzed in the following three chapters. Every method applied in the novel deepens the anti-war theme, and then exposes war’s evilness and absurdity further. Finally, the last part is a conclusion which is an emphasis on effects of Vonnegut’s unique narrative techniques.

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4

BABAEI, ABDOLRAZAGH, and AMIN TAADOLKHAH. "Portrayal of the American Culture through Metafiction." Journal of Education Culture and Society 4, no. 2 (January 7, 2020): 9–15. http://dx.doi.org/10.15503/jecs20132.9.15.

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Kurt Vonnegut’s position that artists should be treasured as alarm systems and as biological agents of change comes most pertinent in his two great novels. The selected English novels of the past century – Cat’s Cradle (1963), Slaughterhouse Five (1969), and Breakfast of Champions (1973) – connect the world of fiction to the harsh realities of the world via creative metafictional strategies, making literature an alarm coated with the comforting lies ofstorytelling. It is metafi ction that enables Vonnegut to create different understandings of historical events by writing a kind of literature that combines facts and fiction. Defi ned as a kind of narrative that “self-consciously and systematically draws attention to its status as artefact” metafiction stands against the duplicitous “suspension of disbelief” that is simply an imitation and interpretation of presumed realities. As a postmodern mode of writing it opts for an undisguised narration that undermines not only the author’s univocal control over fiction but also challenges the established understanding of the ideas. Multidimensional display of events and thoughts by Vonnegut works in direction of metafiction to give readers a self-conscious awareness of what they read. Hiroshima bombing in 1946 and the destruction of Dresden in Germany by allied forces in World War II are the subjects of the selected novels respectively. In them Vonnegut presents a creative account in the form of playful fictions. The study aims to investigate how the novelist portrayed human mentality of the American culture by telling self-referentialstories that focus on two historical events and some prevailing cultural problems.

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5

Kavalir, Monika. "Modal structure in Kurt Vonnegut's Slaughterhouse-five." Acta Neophilologica 44, no. 1-2 (December 31, 2011): 103–11. http://dx.doi.org/10.4312/an.44.1-2.103-111.

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The article analyses modal structure (tense, polarity) in Kurt Vonnegut's novel Slaughterhouse-Five within the framework of Systemic-Functional Grammar. The analysis of the Mood element shows the prevailing pattern to be past positive; the use of present tenses embodies Vonnegut's specific non-linear concept of time. Similarly, the absence of negative polarity builds the deterministic belief that pervades the novel.

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6

Kavalir, Monika. "Kurt Vonnegut's Slaughterhouse-five : a functional grammar perspective." Acta Neophilologica 39, no. 1-2 (December 1, 2006): 41–50. http://dx.doi.org/10.4312/an.39.1-2.41-50.

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The paper tries to analyse the style of Kurt Vonnegut's Slaughterhouse-Five with the tool of Hallidayan systemic-functional grammar. Its aim is to explore in what way the syntactic and thematic structure helps construct the sentiment of fatalism and simplicity, and how it reinforces the novel's concept of time.

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7

Byungjoo Park. "Kurt Vonnegut’s Slaughterhouse-Five: Postmodern Narrative and History Rewriting." Jungang Journal of English Language and Literature 56, no. 4 (December 2014): 135–51. http://dx.doi.org/10.18853/jjell.2014.56.4.007.

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8

Fatma, Khalil Mostafa el Diwany. "So it goes: A postmodernist reading of Kurt Vonneguts Slaughterhouse-Five." International Journal of English and Literature 5, no. 4 (June 30, 2014): 82–90. http://dx.doi.org/10.5897/ijel2013.0548.

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9

Ansu Louis. "The Economy of Desire in Kurt Vonnegut's Slaughterhouse-Five." symplokē 26, no. 1-2 (2018): 191. http://dx.doi.org/10.5250/symploke.26.1-2.0191.

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10

Singh, Sukhbir. "Time, War and The Bhagavad Gita: A Rereading of Kurt Vonnegut's Slaughterhouse-Five." Comparative Critical Studies 7, no. 1 (February 2010): 83–103. http://dx.doi.org/10.3366/e1744185409000962.

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11

Brown, Kevin. "The Psychiatrists Were Right: Anomic Alienation in Kurt Vonnegut's Slaughterhouse-Five." South Central Review 28, no. 2 (2011): 101–9. http://dx.doi.org/10.1353/scr.2011.0022.

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12

Deutsche, Rosalyn. "Un-War: An Aesthetic Sketch." October 147 (January 2014): 3–19. http://dx.doi.org/10.1162/octo_a_00163.

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Attempts to abolish war—not a particular war but war as a social institution—are often dismissed as utopian idealism, wild fantasies far removed from the realm of real politics. War, we are told, is inevitable. Humans are territorial and predatory beings. Besides, there has always been war. Who can forget the opening pages of Kurt Vonnegut's Slaughterhouse-Five, wherein the narrator says that he is writing an antiwar novel and his interlocutor replies, “You know what I say to people when I hear they're writing antiwar books? … I say, ‘Why don't you write an anti-glacier book instead?’” “What he meant, of course,” the narrator explains, “was that there would always be wars, that they were as easy to stop as glaciers. I believe that, too.” (Of course, that was before global warming.)

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13

Hinchcliffe, Richard. "Would'st thou be in a dream: John Bunyan's The Pilgrim's Progress and Kurt Vonnegut's Slaughterhouse-Five." European Journal of American Culture 20, no. 3 (November 1, 2002): 183–96. http://dx.doi.org/10.1386/ejac.20.3.183.

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14

Whatley, Edward. "Book Review: 100 Great War Movies: The Real History Behind the Films." Reference & User Services Quarterly 58, no. 2 (January 18, 2019): 124. http://dx.doi.org/10.5860/rusq.58.2.6940.

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The one hundred films covered by Robert Niemi’s 100 Great War Movies: The Real History Behind the Films were selected using an eclectic array of criteria (the preferences of the author based on his experience as a film teacher, the preferences of his friends and colleagues, and a survey of numerous best-of lists), and the result is of course a rather eclectic collection of entries. Coverage includes famous well-regarded films that most readers will expect to find in a collection such as this: The Bridge on the River Kwai, From Here to Eternity, and Saving Private Ryan. But readers will also encounter films with which they may not be as familiar, such as Merry Christmas, Mr. Lawrence starring David Bowie, and the film adaptation of Kurt Vonnegut’s Slaughterhouse-Five. The films included also cover a wide range of ideological viewpoints: from patriotic World War II–era films to more recent films that take a more skeptical view of warfare.

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15

Yaeger, Patricia. "Introduction: Dreaming of Infrastructure." PMLA/Publications of the Modern Language Association of America 122, no. 1 (January 2007): 9–26. http://dx.doi.org/10.1632/pmla.2007.122.1.9.

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Baghdad, Banda Aceh, Beirut, Detroit, Dhaka, Harare, New Orleans. In these times chronicling the devastation and annihilation of cities—through capital flight, natural disaster, slum eviction, and war—I gravitate to stories about restoring ruined cities. Halfway through Slaughterhouse Five, Kurt Vonnegut's novel about the firebombing of Dresden, we find an eccentric scene. After surviving Dresden's conflagration, Billy Pilgrim, optician and ex-GI, escapes traumatic memories by becoming “unstuck in time” (93). He journeys with the Tralfamadorians, creatures from outer space who teach him to time-switch so that he can move fluidly through his own private and public histories. Finding a war movie intolerable, Pilgrim imagines it in reverse: “American planes, full of holes and wounded men and corpses took off backwards from an airfield in England. Over France, a few German fighter planes flew at them backwards, sucked bullets and shell fragments from some of the planes and crewmen.” Pilgrim changes space by changing time. German guns suck bomb fragments from wounded American airmen as “the formation flew backwards over a German city that was in flames. The bombers opened their bomb bay doors, exerted a miraculous magnetism which shrunk the fires, gathered them into cylindrical steel containers, and lifted the containers into the bellies of the planes” (93–94). How can we shelter or care for, how can we nurture, the ruined city in the belly of the text?

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16

Simpson, Josh. ""This Promising of Great Secrets": Literature, Ideas, and the (Re) Invention of Reality in Kurt Vonnegut's God Bless You, Mr. Rosewater, Slaughterhouse-Five, and Breakfast of Champions "Fantasies of an Impossibly Hospitable World": Science Fiction and Madness in Vonnegut's Troutean Trilogy." Critique: Studies in Contemporary Fiction 45, no. 3 (April 2004): 261–72. http://dx.doi.org/10.3200/crit.45.3.261-272.

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17

Hooti, Noorbakhsh, and Vahid Omrani. "Kurt Vonnegut‟s Slaughterhouse-Five: A Postmodernist Study." Journal of Language Teaching and Research 2, no. 4 (July 1, 2011). http://dx.doi.org/10.4304/jltr.2.4.816-822.

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18

Azevedo, Mail Marques de. "Memory and Testimony in Extraordinary Times." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 74, no. 2 (June 7, 2021). http://dx.doi.org/10.5007/2175-8026.2021.e75258.

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This paper analyzes two parallel and opposed testimonies of mass annihilation in World War II: Primo Levi’s report of his gruesome experiences in Auschwitz, in The Drowned and the Saved; the testimony of the fire-bombing of Dresden, that killed 130,000 civilians in 1945, recorded by a young American POW, private Kurt Vonnegut Jr, in his novel Slaughterhouse-five. It is basically structured along the phases of the historiographic operation proposed by Paul Ricoeur – testimony and recording of testimonies; questioning of the records and written historical representation of the past – with the objective of drawing conclusions about the role of literature in keeping alive memories that might prevent further atrocities. Steppingstones include the urge to bear witness, the paradoxical links between victims and perpetrators and the choice of literary genders to convey messages. References are made to René Girard’s concept of the scapegoat mechanism as an explanation for the eruption of violence in social groups.

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19

Jweid, Abdalhadi Nimer Abdalqader Abu, Arbaayah Binti Ali Termizi, and Abdulhameed A. Majeed. "Postmodern Narrative in Kurt Vonnegut’s Slaughterhouse-Five." Journal of Foreign Languages, Cultures and Civilizations 3, no. 1 (2015). http://dx.doi.org/10.15640/jflcc.v3n1a10.

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20

Babaee, Ruzbeh, Wan Roselezam Bt Wan Yahya, and Shivani Sivagurunathan. "Dystopian Cybernetic Environment in Kurt Vonnegut’s Slaughterhouse-Five." Theory and Practice in Language Studies 4, no. 2 (February 1, 2014). http://dx.doi.org/10.4304/tpls.4.2.237-243.

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21

Raj, Ankit, and Nagendra Kumar. "The Hero at a Thousand Places: Kurt Vonnegut’s Slaughterhouse-Five as Anti-Monomyth." Critique: Studies in Contemporary Fiction, August 4, 2020, 1–14. http://dx.doi.org/10.1080/00111619.2020.1800583.

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