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. Ultimately, the central purpose of an author’s novel is to engross the reader, by writing in a genre and movement that is appropriate the book. Appropriately, Kurt Dinan engages the reader with both a Mystery genre and Postmodernist elements in his novel, Don’t Get Caught. Postmodernists believe that traditional authority is false and corrupt, and the central theme of Don’t Get Caught is that the powerful students play pranks and humiliate the less influential students. There exists a social elite club known as the Chaos Club that plays pranks on the school and faculty, and nobody can figure out the leader of the club is or who the members’ are.
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).
Science fiction is built on the feeling of wonder – wonder drives and generates science fiction as a genre and so science fiction requires a sense of wonder to work and move forward as a genre. In order to understand the importance of ‘a sense of wonder’ in the works of science fiction, it is key to highlight the definition attached to ‘wonder’ and the ‘sense of wonder’. Jeff Prucher specifically defines a ‘sense of wonder’ as: A feeling of awakening or awe triggered by an expansion of one’s awareness of what is possible or by confrontation with the vastness of space and time, as brought on by reading science fiction. Prucher explicitly attaches a sense of wonder to be a feeling ‘brought on by reading science fiction’, as opposed to a feeling prompted by any other forms of work. This feeling of awe emphasises science fiction as a mode of work which
The future is full of chaos, as people 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; furthermore, the flexibility of understanding in texts is the basis for the development of innovative ideas in society. Accordingly, different predictions on what will occur throughout the novel are the ideals of postmodernist literature. Moreover, one way an author can write in a nonlinear, flexible fashion is to write with a component of mystery.
Greene's thrillers represent a serious attempt to establish the spy novel as an appropriate vehicle for exploring the tensions, ambiguities, darkness and sense of alienation which characterize the experience of modernity in the twentieth century. The most significant feature of formulaic narratives-spy novels, westerns, gothic romances, science fiction fantasies, detective thrillers-as defined by Warshow is self-referentiality: “One goes to any individual example of the type with very definite expectations, and originality is to be welcomed only in the degree that it intensifies the expected experience without fundamentally altering it.... It is only in an ultimate sense that the type appeals to its audience's experience of reality; much more
It gathers different genres as the science fiction, fantasy and fantastic that are recognized as literatures of the imagination. However, it is also possible to include fairytales, myths and legends because we can find in these works there, stories with more or less strange characters who have extraordinary adventures too. The imagination is the space of free creation, anti-conformism. It is linked to the faculty that allows us to exceed the real and constraints. Indeed, I think that in Imaginary literatures, readers can be carried in different worlds
Dark Romanticism evolves from works of the Romantic Period (1798-1870) with characteristics of horror fiction and death. It is taken as a reaction of the Transcendental Movement, which originated abreast the Romantic Period from 1830 to 1860. Known writers like Edgar Allan Poe, Herman Melville, and Nathaniel Hawthorne found that the ideas displayed in the Transcendental works were idealistic and rose-colored, as a result, they opt to alter these works adding their own element hence this was the birth of the subgenre. To explore more about this subgenre we have three Americans mentioned above that are considered as major Dark Romantics authors. Edgar Allan Poe was born in Boston, Massachusetts on January 19, 1809.
Also of value in the novel’s analysis are the terms simulacra and white noise. Postmodernism, according to Matterson and pbs.org is “skepticism toward the "grand narratives" that seek to explain and plot human life and history”, which is reflected by the plentiful short scenes that form the essence of this novel in its depiction of American society. Also evident in DeLillo’s work is a “discontinuity of tone” and the “random unexpected intrusions and disruptions in the text”, which strengthen the novel’s plot and message. Furthermore, point of view is crucial to the novel’s portrayal of America in that Jack Gladney reflects, critically and naively on his own country. In a broader context, postmodernism deals with the creation of hyper realities and “stems from a recognition that reality is not simply mirrored in human understanding of it, but rather, is constructed as the mind tries to understand its own particular and personal reality” This is in accord with the novel’s theme of media diffusing reality as opposed to the environment the Gladney’s are surrounded by.
One of the most popular pieces in literature giving a position on psychological conditioning is Aldous Huxley’s satirical fiction novel, Brave New World. The author takes a strong position, imagining a world with a society completely subjected to psychological conditioning, with people having their life and jobs predetermined to make for a more stable society. Numerous
In her book, A Poetics of Postmodernism, Linda Hutcheon sees postmodernism, when used in fiction, to describe fiction that is metafictional and historical at the same time by presenting the texts and contexts of the past (Hutcheon, 40). This is what she calls historiographic metafiction. Most of the historiographic novels emphasize self-reflexivity and our paradoxical relations of past events. Historiographic metafiction somehow acknowledges the paradox of the past, that is to say, the past that is accessible to us today only in the form of text. As Fredric Jameson reminds us, “history is not a text, but it is only accessible in textual form (Homer, w8, slide 4)”.