Download American Fiction: Modernism-Postmodernism, Popular Culture, by Jaroslav Kusnir PDF

By Jaroslav Kusnir

Jaroslav Kušnír’s ebook American Fiction: Modernism-Postmodernism, pop culture, and Metafiction is a sequel to his past examine on American postmodern fiction entitled Poetika americkej postmodernej prózy: Richard Brautigan and Donald Barthelme [Poetics of yankee Fiction: Richard Brautigan and Donald Barthelme]. Prešov: Impreso, 2001. It explores a number of elements of yank postmodernist fiction as manifested within the works by means of Richard Brautigan, Donald Barthelme and different American postmodernist authors akin to Robert Coover, E. L. Doctorow, Kurt Vonnegut and Paul Auster. examining quite a few brief tales and novels, the writer indicates transformations among modernist and postmodernist literature within the works of Donald Barthelme; the way in which postmodern parodies of well known literary genres supply a critique of a few elements of yank cultural identification and event (the American Dream, individualism, consumerism); and he additionally indicates alternative ways postmodern authors equivalent to Robert Coover, Kurt Vonnegut and Paul Auster create metafictional influence as some of the most major facets of postmodern literature.

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Extra resources for American Fiction: Modernism-Postmodernism, Popular Culture, and Metafiction

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And if the 'return of the religious' was not. without relation to the return - modern or postmodern, for once - of certain phenomena, at least, of radical evil? ) Then, the book of Bergson, that great Judaeo-Christian, The Two Sources of Morality and of Religion {1932), between the two world wars and on the eve of events of which one knows that one does not yet know how to -think them, and to which no religion, no religious institution in the world remained foreign or survived unscathed, immune, safe.

Mechanical' would have to be understood here in a nwamng that is rather 'mystical'. Mystical or secret becaust· Ct>ntrad 1ctory and 42 jacques Derrida ' distracting, both inaccessible, disconcerting and familiar, unheim~ lich, uncanny to the very extent that this machinality, t • ineluctable automatization produces and re-produces what at t same time detaches from and reattaches to the family (heimis homely), to the familiar, to the domestic, to the proper, to t oikos of the ecological and of the economic, to the ethos, to t · place of dwelling.

And for this very reason it plays with place, putting distances and speeds to work. It delocalizes, removes or brings close, actualizes or virtualizes, accelerates or decelerates. But wherever this tele-technoscienrific critique develops, it brings into play and confirms the fiduciary credit of an elementary faith which is, at least in its essence or calling, • religious (the elementary condition, the milieu of the religious if , . not religion itself). We speak of trust and of credit or of trust;' worthiness in order to underscore that this elementary act of .

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