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Salami presents, for instance, a critique of the self-conscious narrative of the diary form in The Collector, the intertextual relations of the multiplicity of voices, the problems of subjectivity, the reader's position, the politics of seduction, ideology, and history in The Magus and The French Lieutenant's Woman. The book also analyzes the ways in which Fowles uses and abuses the short-story genre, in which enigmas remain enigmatic and the author disappears to leave the characters free to construct their own texts. Salami centers, for example, on A Maggot, which embodies the postmodernist technique of dialogical narrative, the problem of narrativization of history, and the explicitly political critique of both past and present in terms of social and religious dissent. These political questions are also echoed in Fowles's nonfictional book The Aristos, in which he strongly rejects the totalization of narratives and the materialization of society.
First published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.
In the spring of 1736 four men and one woman, all traveling under assumed names, are crossing the Devonshire countryside en route to a mysterious rendezvous. Before their journey ends, one of them will be hanged, one will vanish, and the others will face a murder trial. Out of the truths and lies that envelop these events, John Fowles has created a novel that is at once a tale of erotic obsession, an exploration of the conflict between reason and superstition, an astonishing act of literary legerdemain, and the story of the birth of a new faith.
The ideal companion to the text and the film adaptation
The Handbook systematically charts the trajectory of the English novel from its emergence as the foremost literary genre in the early twentieth century to its early twenty-first century status of eccentric eminence in new media environments. Systematic chapters address ̒The English Novel as a Distinctly Modern Genreʼ, ̒The Novel in the Economy’, ̒Genres’, ̒Gender’ (performativity, masculinities, feminism, queer), and ̒The Burden of Representationʼ (class and ethnicity). Extended contextualized close readings of more than twenty key texts from Joseph Conrad’s Heart of Darkness (1899) to Tom McCarthy’s Satin Island (2015) supplement the systematic approach and encourage future research by providing overviews of reception and theoretical perspectives.
The Language and Literature Reader is an invaluable resource for students of English literature, language, and linguistics. Bringing together the most significant work in the field with integrated editorial material, this Reader is a structured and accessible tool for the student and scholar. Divided into three sections, Foundations, Developments and New Directions, the Reader provides an overview of the discipline from the early stages in the 1960s and 70s, through the new theories and practices of the 1980s and 90s, to the most recent and contemporary work in the field. Each article contains a brief introduction by the editors situating it in the context of developing work in the discipline and glossing it in terms of the section and of the book as a whole. The final section concludes with a ‘history and manifesto’, written by the editors, which places developments in the area of stylistics within a brief history of the field and offers a polemical perspective on the future of a growing and influential discipline.
In accordance with the notion that “identity” is absolutely central to ontological and discursive practices, this volume explores a multiplicity of “ways of being”, including the adoption of an ethnic position, the enactment of gender, the conception of childhood and artistic visions of urban life in addition to other pivotal modes of existence. Beyond discourses of identity featured in the first section of this work, “ways of performing” identity in literature are brought to light in the second half through studies into, for instance, the roles of enunciator and reader, the depiction of villainy and the portrayal of rebellious victimhood. Integrating research from Great Britain, Bulgaria, Iraq, Japan, Romania, Spain and Ukraine, this collection of fifteen chapters offers innovative and inspiring insights from a comparative stance into the complex dynamics and parameters which govern the construction of “identity” in cultural and literary space.
This volume examines the various processes at work in expressing silence and excessive speech in contemporary novels in English, covering the whole spectrum from effusiveness to muteness. Even if in the postmodern episteme language is deemed inadequate for speaking the unspeakable, contemporary authors still rely on voice as a mode of representation and a performative tool, and exploit silence not only as a sign of absence, block or withdrawal, but also as a token of presence and resistance. Logorrhoea and reticence are not necessarily antithetical as compulsive verbosity may work as a smokescreen to sidestep the real issues, while silences and gaps may reveal more than they hide. By submitting their texts to both expansion and retention, hypertrophy and aphasia, writers persistently test the limits of language and its ability to make sense of individual and collective stories. The present volume analyses the complex poetics of silence and speech in fiction from the 1960’s to the present, with special focus on Will Self, Graham Swift, John Fowles, Kazuo Ishiguro, Jenny Diski, Lionel Shriver, Michèle Roberts, Margaret Atwood, Jonathan Safran Foer, Salman Rushdie, Arundhati Roy, Zadie Smith, Jamaica Kincaid, Ryhaan Shah and J.M. Coetzee.