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Postmodern literary criticism
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Where does truth lie? Postmodernism is a literary movement of the twentieth century that attempts to show that the answer to this question cannot be completely determined. Characteristics of postmodern works include a mixing of different genres, random time changes, and the use of technology that all aid in presenting a common postmodern theme that truth doesn’t lie in one story, place or person. The novel Extremely Loud and Incredibly Close by Jonathan Safran Foer encompasses these postmodern characteristics combining together show how the truth cannot always be attained. Intertwined within the novel is the presence of many different genres including letters, articles and magazine clippings, and pictures. At first sight there is the whole book, a novel written in Oskar’s point of view, which tells of his trials and tribulations growing up in a post-September eleventh world. After closer examination, numerous letters from different characters are found placed within the story to provide an insight into the feelings of other characters. There is a letter from Oskar’s grandmother, letters from prisoners and other people for handwriting samples, and letters from Stephen Hawking among many. Also within the book are magazine and newspaper articles that relate to the story in different ways. For example the article about Chandra Levy parallels Oskar’s story of loss and continuous search. The other articles are apart of the game Oskar played with his dad. Oskar’s dad circled newspaper articles in red as clues to the answer to a search for item. Finally tactically Foer placed pictures relating to the novel throughout the book. The picture of the “Sixth Borough” (or lack of it) complements the story of the sixth borough and the picture ... ... middle of paper ... ...of others. In today's society, the Internet is the primary means by which people search for "truth”. Foer tries to point out that in the society based on the truth still cannot always be found. Through the use of many postmodern characteristics Foer has created a book that concerns with the questions, where does the truth lie? And how does someone obtain the truth? At the end of the novel Oskar never really finds what he was looking for, His questions are all left unanswered. By ending in this manor Foer suggests that the truth can’t be found not every question has a yes or no answer. People can choose to go through life constantly attempting to achieve the answers to life or they can choose to accept things for what they are. Truth can be defined as the body of real things, events, and facts. But knowing the definition still leaves the question does truth exist?
The internet is a hub of information. It is easy to access this information and resources by simple looking up a simple topic. How much of this information is actually true? In The New Yorker article “The Things People Say” author Elizabeth Kolbert explains the dangers of believing wholeheartedly the information given to us online. She uses logos to prove that the internet can be biased with information through “group polarization” and a site’s inability to upload contradictory information. She fails however with ethos in her paper because she is hypocritical.
Typically, a novel contains four basic parts: a beginning, middle, climax, and the end. The beginning sets the tone for the book and introduces the reader to the characters and the setting. The majority of the novel comes from middle where the plot takes place. The plot is what usually captures the reader’s attention and allows the reader to become mentally involved. Next, is the climax of the story. This is the point in the book where everything comes together and the reader’s attention is at the fullest. Finally, there is the end. In the end of a book, the reader is typically left asking no questions, and satisfied with the outcome of the previous events. However, in the novel The Things They Carried the setup of the book is quite different. This book is written in a genre of literature called “metafiction.” “Metafiction” is a term given to fictional story in which the author makes the reader question what is fiction and what is reality. This is very important in the setup of the Tim’s writing because it forces the reader to draw his or her own conclusion about the story. However, this is not one story at all; instead, O’Brien writes the book as if each chapter were its own short story. Although all the chapters have relation to one another, when reading the book, the reader is compelled to keep reading. It is almost as if the reader is listening to a “soldier storyteller” over a long period of time.
also the story that is implied by the author’s emotions and implications. One of the main
Since the earliest literature, many of the world’s greatest stories have been built around a quest. According to Thomas Foster, “when a character hits the road, we should start to pay attention” (Foster 3). Throughout Extremely Loud and Incredibly Close by Jonathan Foer, Oskar Schell, a young who boy who lost his father in the tragic events of September 11th, experiences a quest of his own. The journey he embarks on seemingly appears to follow the structure of the quest archetype set up by Foster in his novel, How to Read Literature Like a Professor, as it consist of the required elements of a quest being: a quester, a place to go and reason to go there, and challenges and trials along the way. These elements eventually culminate in the event
Throughout the book there were two ideas that kept reoccurring: Karl’s comics that he shared with his sister (“Winzig und Spatz”) and also when he realizes that all the people he knew were not who he thinks they were.
“Nothing is beautiful and true” (Foer, 43). Oskar tells this to his mom towards the beginning of the novel, and it is a surprisingly depressing and haunting thought for a the average nine year-old to have, let alone vocalize to an adult so off-hand. The reader could use this quote to show how Oskar’s worldview has changed since the death of his father. With is loss of innocence comes a darke...
...ew paragraph every time someone new speaks. He uses phrases and words such as “Heavy Boots,” “Extremely,” and “I’m OK.” Oskar’s grandfather, one of the main characters, the renter, accounts often start with the title “Letters to my unborn son,” which allow you to see his deep sense of regret. He writes to express himself. Often he uses phrases such as, “Do you know what time it is?” and “I’m sorry I don’t speak.” He also uses big paragraphs, that show’s he has a lot he has not been able to say for years, and once he starts speaking it is very hard to stop him. Oskar’s grandmother’s chapters are titled,” My Feelings.” She loves puns, and phrases. Often she will speak in short sentences, and paragraphs. One gets the feeling that she is not used to sharing large details about her life, despite her self-consciousness she tries to tell her story and create her character.
This new movement expressed the feelings of people after war, when it showed “... Mixing and blending of cultures, ... a plurality or parallelism of intellectual and spiritual worlds … all consistent value systems collapse...” (Postmodernism). Struggles during post-war period, ideas about nuclear war and achieving stability and order had a tremendous effect on authors and their subject matter. Postmodern literature described author’s position in a society and other personal views. Kurt Vonnegut’s works displayed ideas about future and critiques of moral
Contemporary Writers No Longer Feel Duty Bound To Follow Major Historical And Social Changes The world after 1930’s has witnessed a number of changes and upheavals. World’s rich history gives plethora of details on such changes due to a number of factors including World War, scientific break-through, invention of scads of unbelievable sophisticated machines, mass genocide through nuclear bombings and all that. In fact, the sky is the limit. Despite such innumerable changes that took place after 1930’s, a number of literary masterpieces and best-selling written material seem as if they have no concern with the changes occurred in such periods. The famous authors and writers who are behind such writings seem to be quite callous with the prevailing miseries all over the world. In fact, they are just confined into shells of their own ego. As our thesis statement, “Contemporary writers no longer feel duty bound to follow major historical and social changes”, this paper reviews Cat’s Cradle written by Kurt Vonnegut, Jr. Kurt Vonnegut, Jr.'s Cat's Cradle demonstrates the particular effectiveness of the genre as an instrument of social criticism. A close study of Kurt Vonnegut's fiction reveals his interest in the epistemological question of mankind's ability to distinguish between reality and illusion. In Cat's Cradle, Vonnegut's attempt to resolve this question is basically pragmatic and pluralistic. Vonnegut's novel, Cat's Cradle, is his most detailed treatment of the epistemological problem, and in it he once again appears to be presenting a pragmatic approach to a pluralistic universe. Its very title suggests the difficulty in distinguishing between reality and illusion. Since Cat's Cradle is narrated by John, Kurt Vonnegutist, deal...
All of the character mentioned above have different ideas on life but sometime share the same ones. These views give the characters very special depths. Each of the items talked about help bring the book into a different dimension and allows the reader to make a connection with the book that is unattainable from watching a movie or reading a modern day novel. Because these connections are not often seen, it makes analyzing books like these special and very important to
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...
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.
To take things one aspect at a time, and to begin with the narrative structure. Whilst not exactly a key issue' of the story, the narrative structure can often inŸuence how those issues are revealed and detailed to readers, so still holds some relevance to the essay title. Chapter Six' overall structure is very similar to that of the story as a whole. It begins quietly, after the climax at the end of the previous chapter (as with the main part of The Turn of the Screw after the prologue, which creates a great deal of anticipation) and begins to increase in tension slowly throughout, with a slight lull in the middle, where the narrative becomes very reŸective and introspective, with the Governess writing her thoughts seemingly as they enter her head, creating a somewhat rambling, dense prose. Finally, when readers are least expecting it, the plot suddenly leaps into view once again, creating an exciting žnale ("Then I again shifted my eyes - I faced what I had to face.•) which leaves many plot threads open to inter...
Theo D’haen, a professor at the University of Leuven, synthesizes that a postmodernist writer is one who uses a “combination of any number of techniques that were seen as innovative and perhaps even transgressive, especially with regard to all forms of referentiality, be it reference to some “real” reality as in realism or to a “psychological” reality as in modernism”(Theo D’haen 272). Following this explanation, the self-reflectiveness, interdependency, parody and mimetic reality that readers are exposed to when reading a metafictional piece, branches into the different interpretations presented by D’haen: a ‘real’ reality and a ‘psychological’ reality. The act of judging any work of art in relation to its representation of reality is a parallel to the reader’s assimilation of a mimetic reality, acknowledged by a physiological th...
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).