The reader of a metafiction raises the question-which is the real world? The ontology of “any fiction is justified/validated/vindicated in the context of various theories of representation in the field of literary art and practice. Among these theories the seminal and the most influential is the mimetic theory. The theory of mimesis (imitation) posits that there is a world out there, a world in which we all live and act, which we call “the real world”. What fiction does (for that matter any art) is to try and (re) present this world using narrative techniques (or artistic techniques)” (Thaninayagam 12).
Historiographic metafiction is an offshoot of postmodern art form. The term historiographic metafiction was coined by Linda Hutcheon in her book A Poetics of Postmodernism : History, Theory, Fiction. According to Linda, historiographic metafictions are “those well-known and popular novels which are both intensely self-reflective and yet paradoxically also lay claim to historical events and personages” (5).
Historiographic metafictions self-consciously distort history by blending history and fantasy or with the help of apocryphal history and anachronisms. Such a fiction uses textual play, parody and historical re-presentation. “Traditionally history is considered to be an obsolete science having recourse to verifiable facts and a chronological record of events. But the postmodernist views history with a pinch of skepticism and as a form that is not entirely objective but highly informed by subjectivity. As a result, historiographic metafiction considers history to be a discourse, context – specific or context – bound” (Thaninayagam 20-21).
Some of the common metafictional devices include:
• A work of fiction within a fiction.
• A...
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... main character is Tyrone Slothrop, an American army lieutenant assigned to an Allied Intelligence Unit. Strangely, the pattern of his sexual conquests coincides with V-2 bombing sites, and his erections are good predictions of incoming rockets. Molly Hite observes:
Gravity’s Rainbow deals with the development during the Third Reich of the V-2 rocket, the prototype of all guided missiles, which would become the delivery system for the nuclear armaments being developed in the United States during the same period. The merging of the two technological “advances” culminates a “dream of annihilation” that according to Pynchon’s visionary historicism has obsessed Western civilization for centuries. Gravity’s Rainbow symbolizes both the arc of the rocket and the possible trajectory of civilization itself, as it proceeds toward seemingly inevitable self-destruction” (718).
Waugh, Patricia. "What is Metafiction and why are they saying Such Horrible Things About It?" Metafiction. Ed. Mark Currie. Harlow: Longman, 1995. 39-54.
Among its detractors, literary theory has a reputation for sinful ignorance of both literature and the outside world; literary critics either overemphasize the word at the expense of context (as in formalistic criticisms) or overemphasize context at the expense of the word (as in political and historical criticisms). However, deconstruction holds a particularly tenuous position among literary theories as a school that apparently commits both sins; while formalistically focusing on the words on the page, deconstruction subjects those words to unnatural abuse. Thus, deconstruction seems locked in the ivory tower, in the company of resentful New-Critical neighbors.
The black comedy follows the story of a paranoid U.S. Air Force Commander, General Ripper, who irrationally orders a group of patrol B-52 bombers to attack their targets in Russia. This character’s full name, Jack D. Ripper, is a parody of the notorious murderer of prostitutes, Jack The Ripper. The duration of the narrative involves the President and military personnel’s frantic effort to abort the attack. In conclusion, a single bomber follows through with the attack, triggering the detonation of Russia’s secret “Doomsday Device” and ending civilization.
An example of literature is brought up, where for no apparent reason the historical novel became a popular genre and everyone was reading and writing them despite the fact that the genre had been around for a very long time. He used this example to give a concrete example if his idea, and it appeals to the audience’s
To unpack this we need to look at how literary precedents express the relationship between player and character—creator and creation—and the extent to which a creator and the society in which s/he lives prescribes the creation’s role. We also need to investigate how one’s role—and concomitantly, one’s creator and one’s society—limit our opportunities, or to put it in other terms, our personal plotlines and narrative possibi...
From the author of Gravity's Rainbow (1973), the famous apocalyptic novel of World War II, comes Vineland (1990), a trip into the California of 1984: a Reagan-era wasteland of yuppies, malls, food-preservatives and, above all, the Tube: the Cathode-Ray Tube. The opening line of Gravity's Rainbow, "A screaming comes across the sky," which describes a V-2 rocket on its lethal mission, finds a way into Pynchon's latest work, albeit transformed: "Desmond was out on the porch, hanging around his dish, which was always empty because of the blue jays who came screaming down out of the redwoods and carried off the food in it piece by piece."
Through this sympathetic faculty, a writer is able to give flesh, authenticity and a genuine perspective to the imagined. It is only in this manner that the goal of creating living beings may be realized. Anything short of this becomes an exercise in image and in Kundera’s words, produces an immoral novel (3). The antithesis of liv... ...
Consequently, one can broach a series of querries about literature and the nature of literary theories : what is literature ? What is the novel and what is its function ? And finally, to what extent does criticism affect the quality of literature ? This welter of questions is nothing but the tip of the ice berg.
Since his arrival in the mid-seventies, Martin Amis has been the enfant terrible of the British lit scene. Many critics consider him to be a masterful writer enginned by a banal, unoriginal mind, while others think he is simply one step ahead. The same critics would probably argue that style and technique supersedes feeling, sensibility and morality in Time's Arrow. Indeed, there are occasions when Amis' cleverness does undercut the moralism he is trying to convey, but that is not due to faulty morals, but to the extraordinary flair that he possesses. Even if you don't want to hear what Amis has to say about the holocaust, read this book - if nothing else, going through time backwards might just teach you the good parts of life that people tend to miss going forwards.
Raman Selden, Peter Widdowson, and Peter Brooker. A Reader's Guide to Contemporary Literary Theory. 4th ed. London: Prentice Hall and Harvester Wheatrsheaf. 1997.
Weixlmann, Joe. "Dealing with the Demands of an Expanding Literary Canon." College English 50 (1988) 273-283
Web site 1: Source: The American Heritage Dictionary of the English Language, Fourth Edition 2000 by Houghton Mifflin Company- (definition of metafiction)
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).
Literary masterpieces are a reflection of society that helps educate by using spiritual, intellectual, and political themes. According to Woolf (2014), “…masterpieces are not single and solitary births; they are the outcome of many years of thinking in common, of thinking by the body of the people, so that the experience of the mass is behind the single voice” (para. 12). This paper will explore the powerful literary masterpieces from different cultures where their lessons are still relevant today. The characters and their interactions make the story entertaining, while the lesson to be learned from the characters makes it a masterpiece. Societies come and go, but the lessons from these stories never change. The purpose of this paper is to define what a masterpiece is, how it reflects on society, the qualities it contains, and how they are still relevant today.
History is no more confined to a monolithic collection of facts and their hegemonic interpretations but has found a prominent space in narratives. The recent surge in using narrative in contemporary history has given historical fiction a space in historiography. With Hayden White’s definition of history as a “verbal structure in the form of a narrative prose discourse” literature is perceived to be closer to historiography, in the present age (ix). History has regained acceptance and popularity in the guise of fiction, as signified by the rising status of historical fiction in the post colonial literary world.