innashpitzberg 7 августа 2012 г., 16:11 Пожаловаться This is essentially a one-idea book—an admission that probably ought to embarrass me more than it in fact does. That idea is simply stated: postmodernist fiction differs from modernist fiction just as a poetics dominated by ontological issues differs from one dominated by epistemological issues. All the rest is merely a… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 7 августа 2012 г., 16:07 Пожаловаться This book falls under the category of descriptive poetics (librarians and compilers of bibliographies, please note). That is, it does not aspire to contribute to literary theory, although there is plenty of theory in it—too much for some people, no doubt, and not nearly enough for others. Nor does it aim to establish… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 19 декабря 2016 г., 13:58 Пожаловаться What is strange and disorienting about the postmodernist author is that even when s/he appears to know that s/he is only a function, s/he chooses to behave, if only sporadically, like a subject, a presence. Postmodernist Fiction Brian McHale 3,8
innashpitzberg 19 декабря 2016 г., 13:55 Пожаловаться Postmodernist fiction has brought the author back to the surface. Free once again, as we have seen, to break in upon the fictional world, as in Chapter 13 of The French Lieutenant’s Woman, the postmodernist author is even free to confront us with the image of himself or herself in the act of producing the text, as in… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 27 ноября 2016 г., 15:21 Пожаловаться In Finnegans Wake, finally, nothing is literal, everything is tropological. Every expression belongs simultaneously to several frames of reference, none of them identifiable as the basic world of the text, relative to which the other frames are metaphorical; instead, there is a perpetual jostling and jockeying for… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 27 ноября 2016 г., 13:42 Пожаловаться We seem in the last quarter of the twentieth century to have reentered an allegorical age,” writes Maureen Quilligan. This is due partly to our renewed capacity to recognize and appreciate allegory; through the efforts of critics and theorists such as Edwin Honig, Angus Fletcher, Paul DeMan, and Quilligan herself, the… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 27 ноября 2016 г., 10:52 Пожаловаться Postmodernist writing seeks to foreground the ontological duality of metaphor, its participation in two frames of reference with different ontological statuses. This it accomplishes by aggravating metaphor’s inherent ontological tensions, thereby slowing still further the already slow flicker between presence and absence.… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 27 ноября 2016 г., 10:47 Пожаловаться metaphor by its very nature foregrounds the ontological dimension of the text. Devices such as “realization of metaphor,” by rescuing metaphorical objects from the limbo of nonexistence and reintroducing them as existents in the presented world of the text, further foreground this ontological dimension, in effect… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 26 ноября 2016 г., 19:54 Пожаловаться “Excluded middles,” muses Pynchon’s heroine Oedipa Maas, are “bad shit, to be avoided.” 20 She is lamenting the absence, in her world—as indeed in our world, according to conventional logics—of any third alternative to the polarity of true and false, any mode of being between existence and nonexistence. Pynchon would go… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 26 ноября 2016 г., 18:50 Пожаловаться Narrative self-erasure is not the monopoly of postmodernist fiction, of course. It also occurs in modernist narratives, but here it is typically framed as mental anticipations, wishes, or recollections of the characters, rather than left as an irresolvable paradox of the world outside the characters’ minds. In other… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 22 декабря 2016 г., 12:12 Пожаловаться 14: LOVE AND DEATH IN THE POSTMODERNIST NOVEL since my college studies, When the thought was made available to me, I have never been able to make any sort of really reasonable connection Between Love and Death (Ron Padgett, “When I Think More of My Own Future Than of Myself,” 1968) Postmodernist Fiction Brian McHale 3,8
innashpitzberg 19 декабря 2016 г., 12:38 Пожаловаться 13: AUTHORS: DEAD AND POSTHUMOUS I think you will agree that I am alive in every part of this book; turn back twenty, thirty, one hundred pages—I am back there. That is why I hate the story; characters are not snakes that they must shed their skins on every page—there can only be one action: what a man is. When you have… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 19 декабря 2016 г., 12:34 Пожаловаться Model kits Novels like Hopscotch and The Unfortunates appear to give us the opportunity to build our own texts and, to an extent, our own fictional worlds. In this sense they are like model kits. 27 Now, as Umberto Eco tells us, every text is in some sense a model kit, or, as he puts it, a “machine for producing possible… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 29 ноября 2016 г., 12:46 Пожаловаться Mock-allegory, indeed, is a characteristic mode of postmodernist writing. Postmodernist Fiction Brian McHale 3,8
innashpitzberg 27 ноября 2016 г., 13:06 Пожаловаться Instead of poising an expression between “style” and “World” one can, for example, openly display its metaphoricity but then so extend and elaborate the metaphorical frame of reference that it approaches the status of an independent fictional world of its own, an autonomous (or at any rate quasi-autonomous) imaginative… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 27 ноября 2016 г., 10:39 Пожаловаться Secondary frames, such as the absent “hospital” of “Prufrock,” may be co-opted or expropriated, so to speak, from the world of existents, the fictional world of the text; or, alternatively, they may begin as nonexistents relative to the fictional world but subsequently enter that world as full-fledged existents. The first… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 27 ноября 2016 г., 10:27 Пожаловаться 9: TROPOLOGICAL WORLDS The marvelous obscurity of Rilke Where what begin as metaphors all turn To autonomous imaginative realities all pursuing Their infinitely complicated ways on ampler pinions Than sailed yon azure deep. (Hugh MacDiarmid, “The Progress of Poetry”, from Stony Limits, 1934) Postmodernist Fiction Brian McHale 3,8
innashpitzberg 26 ноября 2016 г., 21:47 Пожаловаться PART FOUR: WORDS Language…constructs immense edifices of symbolic representations that appear to tower over the reality of everyday life like gigantic presences from another world. (Peter L. Berger and Thomas Luckmann, The Social Construction of Reality, 1966) Postmodernist Fiction Brian McHale 3,8
innashpitzberg 26 ноября 2016 г., 21:40 Пожаловаться Postmodernist fiction shares with classic modernist fiction an affinity for cinema (and more recently for television), drawing upon it for models and raw materials. There are radical differences, however, in the uses to which modernism and postmodernism have put the movies. For modernist fiction, the movies served… Развернуть Postmodernist Fiction Brian McHale 3,8
innashpitzberg 26 ноября 2016 г., 18:42 Пожаловаться PART THREE: CONSTRUCTION In the literature of this hemisphere…ideal objects abound, invoked and dissolved momentarily, according to poetic necessity. (Jorge Luis Borges, “Tlön, Uqbar, Orbis Tertius,” from The Garden of Forking Paths, 1941) Postmodernist Fiction Brian McHale 3,8