The fictional world is full of chaos, as people tend to prefer unstable theories to countless philosophies. Specifically, there is a literary shift from linearity and order to randomness and fragmentation. Consequently, Postmodernist writers understand that their works are subject to interpretation; however, they believe that the flexibility of understanding in texts is the basis for the development of innovative ideas in society. Moreover, Kurt Dinan writes in a nonlinear, flexible fashion by writing with a component of Mystery. Subsequently, the reader can make different predictions on what will occur throughout Don’t Get Caught, and the ability to predict and analyze uniquely is one of the principal ideals of Postmodernist literature.
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.
The fictional world is constantly evolving its philosophies relating to the understanding of texts with the new writing style, Postmodernism. Specifically, the works of Postmodernist writers are increasingly subject to interpretation, as there is a literary shift from linearity and order to randomness and fragmentation. However, Postmodernists believe in and promote different interpretations of texts, which in their opinion is the basis for creativity and ultimately the development of innovative ideas in society. One Postmodernist writer, Kurt Dinan chooses to write in a nonlinear, flexible fashion with a component of Mystery, allowing the reader to create different predictions on what will occur throughout the novel Don’t Get Caught. Moreover, the ability to predict and analyze uniquely is one of the principal ideals of Postmodernist literature because the Mystery genre allows the reader to make predictions based on clues planted by the author.
1. Introduction My aim in this project is to explore the secrecy—often identified with otherness—that many critics have perceived in literary works. However, as J. Hillis Miller says, literary studies has tried to cover this uniqueness of the literary text. Thus, I would like to underline it, following the ideas that some critics have offered. To illustrate my thesis, I have analyzed a total of four short stories, two of them written by Alice Munro and the other two written by Edgar Allan Poe, in which I have pointed out and discussed some of the main secrets.
By comparison, the critiques by David Kuebrich and Naomi C. Reed forwent some of the explicit suggestions of the text and instead focused on aspects of the character of Bartleby offered by circumstance and their own expertise as literary critics. It’s unsurprising that Kuebrich and Reed would view the story through a different lens than the Narrator based on the differing interpretive communities the two groups exist in. By analyzing these separate responses to “Bartleby” we can discover how these two different interpretive communities create meaning out of the tragic tale of a strange scrivener. First, we must allow ourselves to consider the Narrator as a “reader” of Bartleby’s story. I believe this is a valid position due to the Narrator’s unique perspective as a perpetually ineffectual nonparticipant in Bartleby’s fate.
Totalitarianism is one of the classical theories that have been widely used in the literature-based context in analyzing a text. There are several researches done previously using the same theory which is totalitarianism but on different texts. There are quite a number of dystopian novels that promoted totalitarianism. One of the famous texts is Pirates of the Universe (1996) by Terry Bisson that portrays a depressing and imaginative kind of living. According to Lyman, authors of dystopias distinguish perilous tendencies in contemporary society and intensify them in their fiction in order to notify and warn readers about these dangerous trajectories and also encourage them to take a step to prevent a possibility of dystopian futures (1979).
Within the generic label of autoethnography there are a number of different sub genres which various theorists have conceived upon analysis of the patterns emerging in autoethnographical writing. Scholars chart out the presence of two main approaches of autoethnography in literature - ‘analytic’ and ‘evocative’. Evocative autoethnography engages the reader in the understanding of the narrative and analytic autoethnography not only calls for a personal understanding of the text but also makes visible how the researcher’s memories combine with social science theories to construct interpretations of certain events. Van Mannen in his Tales of the Field (2011) has distinguished three forms of autoethnographic studies-realist; impressionist and confessionist.While
Both movements away from the apparent objectivity provided by omniscient third-person narrators, fixed narrative points of view, and clear cut moral positions. Another factor is that both postmodern and modern literature search into the problem of subjectivism in character development, as a result turning from external reality to examine into the inner states of consciousness. In many cases, both attach on modernist tradition of the stream of consciousness styles developed by Virginia Woolf and James Joyce, or the explorative poems style developed by T. S. Elliot in The Waste Land; these and other examples of various connections between modernist and postmodernist novels by different authors shows that the narrative art of fiction is many-faceted. Such an aesthetic, thematic, and narrative stylistic multiplicity invites explorations from different angles and issues a chain of high aesthetic literary
This adds a visual dimension to literary journalism and enables it not only to recount events to the readers or audience but to bring them there. The literary journalist, thus, “attempts to reconstruct the experience as it might have unfolded” through the use of “literary techniques to convey information and to provide background not usually possible in most magazine and newspaper reporting” (Hellmann, Fables of Fact 25). Motivated in part by their inner desire to be novelists as well as journalists, literary journalists attempt to achieve the Horatian pragmatic formula of literary writing, that is, to dulce et utile – “amuse and inform” – to justify their literary journalistic writings. In other words, literary journalism should aim to provide
Moreover, the novel can be considered as historical metafiction. The novel finds to combine the literary devices of metafiction and historical fiction. It is a self –reflexive novel or something which contradicts with fictional quality of the writing. But another dimension to the same novel arises from re- introduction of historical context and makes an awful distinction between functionality and the historical knowledge. Fowles’s metafiction envisages the wonder and fascination for history or rather past events.