From beginning to end, Irving demolishes the credibility of the myth, with things such as the invention of the historian Knickerbocker to the judge. Irving points out the flaws that exist in America through the use of Rip. When he does not recognize himself this is synonymous with America’s inability to recognize or define themselves. The society is not in harmony with its thought’s and action’s which disillusions the purpose of the myth giving them a sense of identity. Irving plays off of various inspirations and his character Rip undergoes the typical heroic journey.
It is 'perversity’ that, more than any other word in Symons’ vocabulary, oscillates uneasily between the aesthetic and erotic pre-occupations of late-Victorian literary Decadence. […] Symons sought to legitimize a form of perversity that was sexual as well as stylistic.5 His definition of the term Decadence failed to acknowledge the diversity of the art that was produced at the time in addition to the fact that Symons did not even acknowledge any other form of art except for literature. Symons actively contributed to the stigma attributed to Decadence as an art movement and “support[ed] the popular view that the 1890s comprised nothing less than a period exuding ʻsensational or lurid
The reality he and the other prisoners had their backs turned to. The escaped prisoner realized his life was a lie and that the shadows and the voices he thought were coming from them were a great big lie. Through this Plato teaches the reader that perception is not always reality especially when that perception isn’t their own discovery rather another's forced ideas. In relation to today, the stereotypes of race, culture, and gender in the American media have played the role of the shadows that cause discrimination and judgement towards to innocent people. Gun violence and mass shooting terrorist attacks have
Historiographic metafiction according to Hutcheon displays both “ a world of fiction … self–consciously presented as a constructed one and also a world of public experience” (poetics 6).She also defines histriographic metafiction as a sphere that challenges ideas such as historical truth and precise knowledge of the past; Historiographic metafiction refutes the natural or common sense methods of distinguishing between historical fact or fiction. It refuses the view that only history has a truth claim, both by questioning the ground of that claim in historiography and by asserting that both history and fiction are discourses, human constructs, signifying systems, and both derive their major claim to truth from that identity ( poetics 93
Historical criticism strives to cognize a literary work by examining the social, cultural, and intellectual context that essentially includes the artist’s biography and milieu. Historical critics are more concerned with guiding readers through the use of identical connotation rather than analyzing the work’s literary significance. (Brizee and Tompkins). The journey of a historical reading begins with the assessment of how the meaning of a text has altered over time. In many cases, when the historical context of a text is not fully comprehended, the work literature cannot be accurately interpreted.
The Politics and Poetics of Literary Journalism 2in Norman Mailer’s The Armies of the Night Abstract This paper delineates how the various tropes of literary journalism envision new ways of negotiating the interstice of literature and journalism in a way that challenges the conventions of both genres. The paper limns three interrelated tropes for the new narrative genre. These tropes are the intertextual, the narcissistic, and the autobiographical. Within this framework of the three tropes, 1Mailer’s The Armies of the Night is discussed and analyzed. Through a close analysis of the poetics of literary journalistic narrative, this paper seeks a better understanding of the specific fictional poetics shared by both journalism and literature in Mailer’s text.
ABSTRACT The purpose of this study is to discuss how John Barth represents the masked modern society in his novel The Floating Opera .The novel is realistic by premise however; the reality of an experience is curiously unconvincing. The novel is a comedy of existential absurdity. The uncertainties, the fears, the debilitating angst, and the pervasive temper of near nihilistic despair that the protagonist Todd experiences are the dominant dispiriting tensions of the century. Barth did not intend the rendition of Todd’s free associations to be a sincere representation of a man’s inner reality. In this novel he wanted to illustrate the futility of asking the reason for living while acknowledging the futility of human existence.
Technology is a great causes of destruction, death and sadness. The literary theory of postmodernism is start from the tension and sadness after the World War 2. The idea of the postmoden condition is sometimes characterised as a cultural stripped of its capacity to function in any linear states as opposed to the
Was the old world end? Writers reacted to this question by turning toward Modernist emotion. Modernist fiction spoke of the inner self and consciousness. Instead of progress, the Modernist writer saw a decline of civilization. Instead of new technology, the Modernist writer saw cold machinery and increased capitalism, which alienated the individual and led to loneliness.
2. The English Novel 1945-1990 The history of the post-war novel in English, and also that of drama and poetry, cannot be understood without reference to the coexistence in the first half of the twentieth century of Modernism and the more traditional approaches to literature inherited from the Victorian period. The Modernist writers reacted against realism in fiction and the remains of Romantic sentimentalism in poetry by introducing technical innovations that could be used to look at reality from the point of view of the irrational, the subconscious, the anti-sentimental, or the highly individualistic. In drama, the revolution followed other lines, with G. B. Shaw 's introduction to the English stage of the naturalistic drama developed by