In my essay, I am going to study this theme by referring to the various modernist works such as Rebecca, A Haunted House and The Painted Veil. The theme of haunting with its distinctiveness is widely associated with Modernism and it is highly studied in the novels of the Modernist type. Since the Modernist writers downplay the content for the sake of the investigation of form, the use of haunting theme is an advantage for this aim.It contributes to the unusual fragmented and non-chronological writing style, it goes well with it. The circular, fragmented, jumping narration from here to there reinforces the sense of haunting. The narrator suddenly and let’s say constantly goes back to the past with flashbacks then ... ... middle of paper ... ...s still under the influence of Rebecca.
Artists of various disciplines found that traditional codes of representations were not adequate to present a true reflection of modern human experience. The changing nature of human experience called for modern representations of it. Such ideas led to the inception of the avant-garde, modernist period which brought radical experimentation in literary form and expression. The avant-garde challenges former modes of representations of reality and experience by breaking away from them. The formal experimentalism and subjective realism of the modernist novel often contrasts with the literary realism of pre-modern times which conveys experiential reality objectively.
Heavy Versus Light Reading: The Decipherment of Literary and Non-Literary Texts In attempting to discriminate between the nature of a "literary" text and a "non-literary" text, a metaphor from Milan Kundera's The Unbearable Lightness of Being comes to mind. Especially in considering this same novel in contrast with a novel such as Danielle Steele's Vanished, the idea of lightness versus heaviness presents itself, and with it, a new way of approaching the decipherment of any high/low dichotomy of "literariness". When the "literary" text is imagined as "heavy" and the "non-literary" as "light", an interesting illumination is cast upon the scene, and parallels emerge alongside ideas originally presented in the writings of A. Easthope and Wolfgang Iser. In the novel The Unbearable Lightness of Being, Kundera (in writing a "weighty" novel himself), presents a distinction between the light and the heavy. The lightness of human existence resides in the idea of a life being lived only once - decisions being made only once.
LITERATURE I. FICTION A. What fiction is Fiction (from the Latin fictio, “a shaping, a counterfeiting”) is a name for stories not entirely factual, but at least partially shaped, made up, imagined. It is true that in some fiction, such as historical novel, a writer draws upon factual information in presenting scenes, events, and characters. But the factual information in a historical novel, unlike that in a history book, is of secondary importance. Fiction as we know it today is considered to be a relatively new genre compared to poetry and drama.
Metafiction, loosely defined as fiction about fiction, provides an intriguing perspective on literature. J.M. Coetzee’s novel Foe and Margaret Atwood’s short story “Happy Endings” are able to provide a commentary on fiction writing while still retaining their own identities. Both authors offer criticism of fiction writing as connected to gender issues, societal expectations, and the process and components of fiction writing itself. In order to become metafictional, Coetzee and Atwood had to make readers aware of what they were reading.
Ironies and Paradoxes ABSTRACT: In contemporary literary culture there is a widespread belief that ironies and paradoxes are closely akin. This is due to the importance that is given to the use of language in contemporary estimations of literature. Ironies and paradoxes seem to embody the sorts of a linguistic rebellion, innovation, deviation, and play, that have throughout this century become the dominant criteria of literary value. The association of irony with paradox, and of both with literature, is often ascribed to the New Criticism, and more specifically to Cleanth Brooks. Brooks, however, used the two terms in a manner that was unconventional, even eccentric, and that differed significantly from their use in figurative theory.
The mind initially reels at such a statement. After all, writing itself is often seen as a self-serving and somewhat autobiographical practice. However, Eliot supposes that using Impersonal Theory to develop a “consciousness of the past” and a “more finely perfected medium in which special, or very varied, feelings are at liberty to enter into new combinations” is the true mark of a mature poet (958). His proposal for the craft of quality writing is summed up in one of his final remarks, “the emotion of art is impersonal,”(961). While this is entirely contradictory to the commonly accepted idea of the deeply personal nature of storytelling, it actually emphasizes the primary reason for writing for an audience.
Since Modernistic outlooks on society tended to be realistic, the view of culture was very pessimistic in comparison to the more positive nineteenth-century view (“Modernism and the Modern Novel”). This change insinuated many new values that were once ignored. Experimentation and individualism became respected and desirable, while before these were considered improper (“Modernism”- Literature Periods and Movements). Many writers from this era, called Modernists, were experimenting with their writing by coming up with new ways to explain their thoughts, which made them different from preexisting authors. Dylan Thomas is an example of a Modernist who clearly shows Modernistic characteristics in his work by breaking away from traditional Victorian era proprieties.
In both of the articles, each author is trying to share his view, or theory on the short story. The view of Edgar Allen Poe is very pessimistic toward the novel and other forms of long fiction, while B.M. Ejxenbaum takes a more analytic approach. Poe writes, 'The novel certainly requires what is denominated a sustained effort—but this is a matter of perseverance, and has but a collateral relation to talent. '; Is the main difference between the authors of short stories and those of novels that the novel writers are just non-talented over-achievers?
How postmodernism defines ambiguity in The Handmaids Tale Postmodernism in art and literature includes many aspects that define a novel or piece of writing to be “postmodern”. A postmodern novel often leaves the reader ambiguous to some of the most obvious forms of literature, but this ambiguity serves a purpose to the postmodernism in the metafictional story that embeds the theme or the purpose of the novel. One of the greatest examples of postmodern fiction/literature would be The Handmaids Tale by Margret Atwood. Certain aspects of this novel allow this novel to be characterized as “postmodern”, this novel was also written in time when postmodernism was just on a moral zenith in people’s consciousness. The main narrative from of this novel