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Contemporary aesthetics is characterized by generic mixing on the level of both form and content. The barriers between different media and different genres have been broken down in all literary art forms, whether it be theatre, poetry, or the novel. While the publishing industry is increasingly keen to label novels according to genre or sub-genre (“Chick Lit”, “Lad Lit”, “Gay fiction”, “Scottish fiction”, “New Historical Fiction”, “Crime fiction”, “Post-9/11 Fiction”), the novel itself (and novelists) persist in resisting generic categorizations as well as inviting them. Is this a move towards a new artistic liberty or does it simply testify to a confusion of identity? The “aesthetic supermarket” evoked by Lodge in 1992 does indeed seem to sum up the variety of choices open to writers of fiction today and a literary landscape characterized by crossover and hybridization. The familiar dialectic of realism versus experimentation has segued into a middle ground of consensus which is neither radical nor populist, but both at the same time. The techniques of postmodernism have become selling points for novels, and the Postmodern Condition itself seems little more than a narrative posture marketed for an increasingly wide audience. Whether they have recourse to a “repertoire of imposture” (Amis, Self, Winterson), as Richard Bradford would have it (The Novel Now, 2007), in other words “the abandonment of any obligation to explain or justify their excursions from credulity and mimesis”, or, like the New Puritans, make use of narrative minimalism in order to foreground their own peculiarities, contemporary novelists consistently draw attention to the fundamental instability of narrative process and genre. The much-feared apocalypse of the novel has failed to take place with the arrival of the new millennium, but generic game-playing and flickering, narrative hesitation and uncertainty continue to pose the question of what constitutes a novel today and to challenge its identity in a world where all culture is increasingly public, increasingly contested and increasingly multifarious. Thanks to theoretical approaches as well as analyses of specific works, this collection of essays aims to examine the concepts of generic instability and cross-fertilization, of narrative postures and impostures, and their constant redefinition of identity, which contaminates the very concept of genre. It demonstrates the diversity of generic practices in the novel today and furnishes us with undeniable evidence of how generic instability is fundamentally constitutive of the contemporary novel’s identity.
This collection of essays offers a rich variety of approaches to how people and institutions in greater New York have sought to find meaning in the 9/11 attacks on the World Trade Center, now a decade on. The views and practices documented here join memory, recovery, and rebuilding together to form a vital new chapter in New York’s metropolitan history. Contributors contest the dominant nationalist narrative about 9/11 to generate a more local and socially-engaged form of scholarship that connects directly with the experiences of people who lived or came to work in New York that fateful day and the years that followed. In doing so, these essays give academics and clinical professionals an opportunity to reflect upon and work with the people of a community – in this case, metropolitan New York – as essential partners, and even the main protagonists, in creating new paradigms to capture the significance of these events and their aftermath. The collection is comprised of sixteen essays by experts drawn from a wide range of scholarly and professional fields. They investigate how people across the New York metropolitan region initially responded to and have since remembered the events of September 11th as they rippled out into the city, the surrounding metropolitan region, and the nation at large. They engage directly with the emotional and psychological aftermath of the attacks, approaching the questions of healing and teaching from a variety of institutional, professional, and non-professional perspectives. The volume concludes with a selection of essays that grapple with the challenge of “Representing 9/11.” Contributors to this section evaluate contemporary novels and films that have risked engagement with deep narrative traditions to translate the recent memory of public events into resonant stories and imaginative language. Readers are invited to consider how all these responses – in literature, memorials, media representations, and the words and actions of diverse individuals – still contribute to the complex, yet inescapable challenge of making meaning of 9/11.
Intersectionality and decolonisation are prominent themes in contemporary British crime fiction. Through an in-depth critical and contextual analysis of selected contemporary British crime fiction novels from the 1990s to 2018, this distinctive book examines representations of race, class, sexuality, and gender by John Harvey, Stella Duffy, M.Y. Alam, and Dorothy Koomson. It argues that contemporary British crime fiction is a field of contestation where urgent cultural and social questions are debated and the politics of representation explored. A significant resource which will be valuable to researchers and scholars of the crime genre, as well as British literature, this book offers timely critical engagement with intersectionality and decolonisation and their representation in contemporary British crime fiction.
This book explores the use of literary fantasy in the construction of identity and ‘home’ in contemporary diasporic Chinese women’s literature. It argues that the use of fantasy acts as a way of undermining the power of patriarchy and unsettling fixed notions of home. The idea of home explored in this book relates to complicated struggles to gain a sense of belonging, as experienced by marginalized subjects in constructing their diasporic identities — which can best be understood as unstable, shifting, and shaped by historical conditions and power relations. Fantasy is seen to operate in the corpus of this book as a literary mode, as defined by Rosemary Jackson. Literary fantasy offers a way to rework ancient myths, fairy tales, ghost stories and legends; it also subverts conventional narratives and challenges the power of patriarchy and other dominant ideologies. Through a critical reading of four diasporic Chinese women authors, namely, Maxine Hong Kingston, Adeline Yen Mah, Ying Chen and Larissa Lai, this book aims to offer critical insights into how their works re-imagine a ‘home’ through literary fantasy which leads beyond nationalist and Orientalist stereotypes; and how essentialist conceptions of diasporic culture are challenged by global geopolitics and cultural interactions.
This book offers a valuable contribution to the practice of literary criticism and cultural studies by seeking to explore “transgression” as a literary theme. Based on the analyses of six representative twentieth century novels, it deals with the fictional representation of various transgressive acts, from murder and incest to forbidden love affairs and adultery. A detailed consideration of major reader-response theories establishes a useful context for the textual analyses, as the readers are encouraged to integrate knowledge about style, narrative structure, and formal interpretive strategies with knowledge about social norms and moral values embedded in each text. Focusing on the evolving relationship between text and reader, the book exposes the potential of narrative strategies revealed in the act of narrating a story in an unconventional manner. “Broken” narratives, “unreliable narrators”, and “self-referentiality” are only some of the features discussed in the book with the aim of stimulating the readers to reflect on the narrative complexity of the twentieth century novel and to question their reading expectations. Designed for use in small and large classes organized by Literature, Comparative Literature and Cultural Studies Departments in colleges and universities around the world, this systematic, in-depth novel study aims to increase the students’ capacity to interpret challenging narrative texts, appreciate the aesthetic value of world literature, and experience the pleasure of reading beyond the limits of their own field.
Discusses the problem of identity as a theme in modern literaure. Most of the book deals with Yeats and Lawrence, but also discusses Wordsworth, Arnold, Eliot, and Beckett.
An exploration of the commodification of autobiography 1820-1860 in relation to shifting fictional representations of identity.
An innovative reading of a wide range of contemporary Scottish novels in relation to literary tradition and modern philosophy, Contemporary Scottish Gothic provides a new approach to Scottish fiction and Gothic literature, and offers a fuller picture of contemporary Scottish Gothic than any previous text.
In Salman Rushdie’s novels, images are invested with the power to manipulate the plotline, to stipulate actions from the characters, to have sway over them, seduce them, or even lead them astray. Salman Rushdie and Visual Culture sheds light on this largely unremarked – even if central – dimension of the work of a major contemporary writer. This collection brings together, for the first time and into a coherent whole, research on the extensive interplay between the visible and the readable in Rushdie’s fiction, from one of the earliest novels – Midnight’s Children (1981) – to his latest – The Enchantress of Florence (2008).