scholarly journals Postmodern writing & The Forty Rules of Love

2021 ◽  
Author(s):  
S M Nazmuz Sakib
Keyword(s):  
Thomas Pynchon ◽  
Vladimir Nabokov ◽  
Great War ◽  
Ishmael Reed ◽  
Kurt Vonnegut ◽  
John Barth ◽  
William Gaddis

Postmodern writing is depicted as a methodology that created in the time of post-The Second Great War. 'Discontinuity' is the acknowledgment of alienation of any person and is a noticeable component of postmodern writing. Kurt Vonnegut, Vladimir Nabokov, Thomas Pynchon, Ishmael Reed, John Barth and William Gaddis are some remarkable writers who have some association with postmodern writing. postmodern writing was officially started in 1972. Shafak's backing of a cosmopolitan, worldwide society, where public affiliations become old, conflicts with her open adherence to the requirements and style of the American scholarly market. 'Techno culture' is the mix of innovation with culture while 'fleeting mutilation' implies that occasions and activities in any account don't bring about sequential request, both of these attributes are utilized in postmodern writing. A connection between two abstract works is known as 'intertextuality' that is likewise a procedure utilized in postmodern writing. examine Elif Shafak’s novel The forty rules of love as an impression of her endeavor to rise above social limits through fiction. Postmodern writing addresses a culture which addresses postmodern life.

scholarly journals Postmodern writing & The Forty Rules of Love

2021 ◽  
Author(s):  
S M Nazmuz Sakib
Keyword(s):  
Thomas Pynchon ◽  
Vladimir Nabokov ◽  
Great War ◽  
Ishmael Reed ◽  
Kurt Vonnegut ◽  
John Barth ◽  
William Gaddis

Postmodern writing is depicted as a methodology that created in the time of post-The Second Great War. 'Discontinuity' is the acknowledgment of alienation of any person and is a noticeable component of postmodern writing. Kurt Vonnegut, Vladimir Nabokov, Thomas Pynchon, Ishmael Reed, John Barth and William Gaddis are some remarkable writers who have some association with postmodern writing. postmodern writing was officially started in 1972. Shafak's backing of a cosmopolitan, worldwide society, where public affiliations become old, conflicts with her open adherence to the requirements and style of the American scholarly market. 'Techno culture' is the mix of innovation with culture while 'fleeting mutilation' implies that occasions and activities in any account don't bring about sequential request, both of these attributes are utilized in postmodern writing. A connection between two abstract works is known as 'intertextuality' that is likewise a procedure utilized in postmodern writing. examine Elif Shafak’s novel The forty rules of love as an impression of her endeavor to rise above social limits through fiction. Postmodern writing addresses a culture which addresses postmodern life.

A vénember lábnyoma

2011 ◽  
Author(s):  
Norbert Gyuris
Keyword(s):  
Mark Twain ◽  
Vladimir Nabokov ◽  
Jonathan Swift ◽  
Italo Calvino ◽  
Umberto Eco ◽  
Kurt Vonnegut ◽  
Bret Easton Ellis ◽  
John Fowles ◽  
Edgar Allen Poe

A vénember lábnyoma – metafikció, szimuláció, hipertextualitás és szerzőség három szempontból vizsgálja meg a szerzőség kérdését. A hipertextualitást Italo Calvino Ha egy téli éjszakán az utazó című regényében, a szimulációelméletet J.R.R. Tolkien és Umberto Eco műveiben, a narratológiai szempontokat több amerikai és angol szerző könyvében (Alasdair Gray, Kurt Vonnegut, Mark Twain, Bret Easton Ellis, Jonathan Swift, John Fowles, Vladimir Nabokov, Edgar Allen Poe stb.) elemzi.

in the manner of Hitchcock, across a corridor at Watermouth University in The History Man. John Barth corresponds with his characters in Letters. He explains as ‘J.B.’ his role along with the computer WESAC in producing the novel Giles Goat-Boy (1966) in the first few pages of the novel. B. S. Johnson foregrounds autobiographical ‘facts’, reminding the reader in Trawl (1966): ‘I . . . always with I . . . one starts from . . . one and I share the same character’ (p. 9). Or, in See the Old Lady Decently, he breaks off a description in the story and informs the reader: ‘I have just broken off to pacify my daughter . . . my father thinks she is the image of my mother, my daughter’ (p. 27). Steve Katz worries in The Exaggerations of Peter Prince (1968) – among many other things – about the fact that he is writing the novel under fluorescent light, and wonders how even this aspect of the contemporary technological world will affect its literary products. Alternatively, novelists may introduce friends or fellow writers into their work. Thus, irreverently, in Ronald Sukenick’s 98.6 (1975) the ‘hero’ decides to seduce a girl and her roommate: ‘Besides the roommate is a girl who claims to be the lover of Richard Brautigan maybe she knows something. . . . I mean here is a girl saturated with Richard Brautigan’s sperm’ (p. 26). Federman, Sukenick, Katz and Doctorow make appearances in each others’ novels. Steve Katz, in fact, appeared in Ronald Sukenick’s novel Up (1968) before his own first novel, The Exaggerations of Peter Prince, had been published (in which Sukenick, of course, in turn appears). Vladimir Nabokov playfully introduces himself into his novels very often through anagrams of variations on his name: Vivian Badlock, Vivian Bloodmark, Vivian Darkbloom, Adam von Librikov (VVN is a pun on the author’s initials). Occasionally authors may wish to remind the reader of their powers of invention for fear that readers may assume fictional information to be disguised autobiography. Raymond Federman writes:

Metafiction ◽  
2002 ◽  
pp. 142-142
Keyword(s):  
Vladimir Nabokov ◽  
Fluorescent Light ◽  
The Novel ◽  
John Barth ◽  
Richard Brautigan ◽  
Technological World

scholarly journals Inarticulate plots: Pynchon

2018 ◽  
Vol 25 (15) ◽  
Author(s):  
Sonja Valčić
Keyword(s):  
Vladimir Nabokov ◽  
Saul Bellow ◽  
John Barth ◽  
Crying Of Lot 49

Suprotno nekim novijim tendencijama pisaca američke književnosti kao što su Saul Bellow koji prikazuje neartikuliranost svojih junaka kao odraz destruktivnog kaosa što ga stvaraju njihovi mozgovi — analitička razmišljanja, postoje i pisci — John Barth, Vladimir Nabokov koji stvaraju mentalni red, ne iz kaosa već putem inventivne imaginacije. Ti pisci u svojim tendencijama da prikažu svijet kao zagonetku često ruše tradicionalnu vezu između svijeta tišine i svijeta kolokvijalnog izraza. No veza s tradicijom da se naslutiti čak i u okviru novih formi, posebice je to uočljivo kod Thomasa Pynchona. Pynchon je pisac koji se bavi problemom komunikacije, jezičnog izražaja te njegovih poruka ili »curki« u porukama. Prikazana je poruka i sistem komunikacije u noveli The Crying of Lot 49, noveli detektivskog žanra i poruke koje se naslućuju preko glavnih aktera radnje u toj noveli. Prikazan je negativni alternativnii status Pynchove vizije tihe, razbaštinjene mase otpadnika iz društva, što je zapravo ne samoisključivo Pynchova vizija, već i drugih američkih pisaca, od Thoreaua — transcendentalista do Hemingwaya, Fitzgeralda, Faulknera. Taj tihi, bezimeni svijet doista demoralizira, ali ostaje otvoreno pitanje pozitivne poruke i pokušaja komunikacije sadržane u neartikuliranoj afirmaciji.

Matrices and Metaverses

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Thomas Pynchon ◽  
American Fiction ◽  
William Gibson ◽  
Ishmael Reed ◽  
Digital Code ◽  
Neal Stephenson ◽  
Electronic Writing ◽  
Post War

The final chapter examines post-War American fiction and the imaginative connection forged, in theory and in fiction, between hieroglyphs and code, computers, and electronic writing. It contends that the association of hieroglyphs with universal languages and mixtures of media gets passed down to the newest of new media, digital code. From the postmodern novels of Thomas Pynchon through the literary-inflected sci-fi of William Gibson and Neal Stephenson, from the Afro-Futurist works of Ishmael Reed to the mass market novels of Dan Brown, this pairing of hieroglyphs and digital code recurs across genre and style. By linking code with Egyptian writing, these writers emphasize the performativity of their language; just as code can create a simulation of reality, so words can call characters and settings into being.

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