Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Atonement and McEwan
Literary 19th century novel
Atonement and McEwan
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Atonement and McEwan
Pre 20th century novels were mostly adopting a linear narrative, which was either chronological or according to structure of a beginning middle and end. By not conforming to the traditional method of structuring a novel they were attempting to create a mimesis of reality. At an individual and worldly level, religion viewed birth as the beginning and perhaps death as the end. On a greater scale perhaps it viewed the creation of the world as the beginning and according to the eschatological view, the ‘end of time’ or the ‘end of the world’. Post modernist believed that this view did not reflect reality and therefore attempted to adopt a similar mimesis in their works. They attempted to use fragmentation in the novels to reflect life as being more complicated. In the Bible the quote ‘in all your ways submit to him, and he will make your paths straight’ (King James Bible, Proverb 3:6) depicts life as an easy path as long as though you submit to God. Pre-modernist England saw two World Wars where between 1914-1945, 1270009 soldiers died (Hoffmann, (2001), pg.2). Although the loss of the soldiers was paramount, the psychological and economic effect was still felt by those during the postmodernist era. The fragmentation in novels heavily reflected these repercussions of war, rather than the alleged ‘straight path’ the Christians were promised by God in the Bible.
One of the most prominent changes that took place during the post modernist era was the focus on the self as opposed to a more societal and community type approach. Religion in particular has centred a great majority if the beliefs on the idea was about doing good to others, ‘This is my commandment, that you love one another as I have loved you’ (King James Bible, ...
... middle of paper ...
...rnism to Postmodernism: Concepts and Strategies of Postmodern American Fiction: Postmodern Studies 38; Textxet Studies in Comparative Literature. Cambridge, MA
8. Hopper, K, (2009) Flann O’Brien: A Portrait of the Artist as a Young Post-Modernist. Cork University Press, Ireland,
9. Hutcheon, L. (2004) A Poetics of Postmodernism: History, Theory, Fiction. NY: Routledge
10. King James Bible
11. McCaffery, L. (1986) Postmodern Fiction: A Bio-Bibliographical Guide. Greenwood Press: London
12. McEwan, I (2002). Atonement. Knopf Doubleday Publishing Group
13. McHale, B, (1987) Postmodernist Fiction. London: Routledge
14. Orr, M. (2003)Intertextuality: debates and contexts. Wiley-Blackwell, New Yorr
15. Waugh, P. (1984) Metafiction: the theory and practice of self-conscious fiction.Routledge,
16. Winterson. J, (1991). Oranges Are Not the Only Fruit. Grove/Atlantic, Inc
Perkins, Geroge, and Barbara Perkins. The American Tradition in Literature. 12th ed. Vol. 2. New York: McGraw Hill, 2009. Print
Macey, David. “Postmodernity.” The Penguin Dictionary of Critical Theory. London: Penguin Books, 2001. 307-309. Print.
Rpt. in Twentieth-Century Literary Criticism. Ed. Linda Pavlovski. Vol.
...n American Literature. By Henry Louis. Gates and Nellie Y. McKay. 2nd ed. New York: W.W. Norton &, 2004. 387-452. Print.
Ward & Trent, et al. The Cambridge History of English and American Literature. New York: G.P. Putnam’s Sons, 1907–21; New York: Bartleby.com, 2000.
“American Crisis.” The American Tradition in Literature, 12th ed. New York: McGraw Hill 2009. Print
The Postmodernist movement begun after World War II in which, high and low culture are questionable in the view of society and Art. The postmodernist movement in literature creates a new set of ideals for fiction, such as the metafiction, the fable like representation in novels, the pastiche, irony, and satire. Fredric Jameson speaks about the movement and its theory in his essay “Postmodernism and Consumer Society”. He questions postmodernism in society as it creates the new societal norm of popular culture. On the other hand, Jean Baudrillard analyzes the simulacra of postmodernism in “The Precession of Simulacra”. Baudrillard speaks of the “truth” and “reality” also as a questionable representation for the reader. Yet, both critics agree that postmodernist literature is depthless. Spiegelman’s Maus series is a metafiction, which tells the story of Art Spiegelman’s journey of writing this novel through the present-day retelling of Vladek Spiegelman’s life during the Holocaust. However, as a postmodernist text, Jameson and Baudrillard calls it depthless and an “unreal” representation. Nevertheless, the representation of Maus presents the characteristics of a postmodernist text, but argues that it is not depthless because of the representation of an authoritative view, a historical continuum, and the text does not depict itself as a mode of pop culture.
The modernist period was a time of change. After World War II many people found themselves unhappy, lonely, and depressed. With the groundbreaking influences of Karl Marx, Freud, and Nietzsche, many people began to question their own reality. What did it mean to exist? What was life, and what was death? The modernist author reflected this change, and confronted these questions with enthusiasm. Together modernist artists became the representative voice of the people. This voice transcended all forms of art, but was most successful in the written word. Through the experimentation of language and form, the modernist author managed to convey the meaninglessness felt by many, and created a light in the darkness of an uncertain world. Ernest Hemingway's short stories titled "A clean well-lighted Place", and F. Scott Fitzgerald's "Babylon Revisited" are two notable examples of literary art during the modernist period.
In the early nineteenth century, America was undergoing profound changes in the political, economic, and social realms. The rise of international commerce and the development of industrialization displaced previous Republican ideologies that valued the community (Matthews 5). Instead, the market became the principal societal system. Significantly, the major agent driving this system was the individual. Thus, a new philosophy of liberal individualism was born that honored the rights and independence of the individual man. It maintained that the individual’s “drive for success” would naturally contribute to the overall good of the community (5). Indeed, “setting free the creative energy of individuals would naturally produce a prosperous order in which all would benefit” (5). These socio-economic changes coincided with radical transformations in the political sphere as well.
Post-modernism noun a movement in the arts that takes many features of Modernism to new and more playful extremes, rejecting Modernism's tendency towards nihilistic pessimism and replacing it with a more comfortable acceptance of the solipsistic nature of life. There is also an inclination towards mishievous self-referentiality and witty intertextualizing. postmodernist noun, adj.
In the 1950s, authors tended to follow common themes, these themes were summed up in an art called postmodernism. Postmodernism took place after the Cold War, themes changed drastically, and boundaries were broken down. Postmodern authors defined themselves by “avoiding traditional closure of themes or situations” (Postmodernism). Postmodernism tends to play with the mind, and give a new meaning to things, “Postmodern art often makes it a point of demonstrating in an obvious way the instability of meaning (Clayton)”. What makes postmodernism most unique is its unpredictable nature and “think o...
To define the term postmodern is very difficult, we can start off by saying it is representative of now, of today’s society. Bette Goldstone in, ‘Postmodern Experiments,’ describes it as being an example of societies ethical values, bestowing this to future generations. Goldstone recognises picture books as giving the author and reader a stage to be able to interpret the stories through the flexibility of pictures and words. Picturebooks are rapidly developing into a more, ‘Sophisticated genre,’ than has been before, (Goldstone, 2008, p.321).
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
The Edwardian, modern and postmodern times were three essential and compelling periods in British literature. Throughout these periods prolific writers arouse and were able to write and express their feelings about their eras. Amid both of these eras society was significantly changing and there was development all over, new advances in innovation were being made and the lifestyles of individuals, families, and women were drastically changing. The changing scene brought on a hullabaloo of productive authors and artists who would write about the positive and negative things affecting their general public. Some of these amazing authors that we studied this semester included Oscar Wilde, Rudyard Kipling, Joseph Conrad, W.H. Auden, Dylan Thomas, Virginia Woolf and J.K. Rowling. These writers and poets expounded on comparable topics that were influenced by their day and age.
Postmodern literary criticism asserts that art, author, and audience can only be approached through a series of mediating contexts. "Novels, poems, and plays are neither timeless nor transcendent" (Jehlen 264). Even questions of canon must be considered within a such contexts. "Literature is not only a question of what we read but of who reads and who writes, and in what social circumstances...The canon itself is an historical event; it belongs to the history of the school" (Guillory 238,44).