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Postmodernisma literatūra (latīņu post "pēc, aiz" + modernus "jauns, tikko") ir literatūra, kas attīstījās pēc Otrā pasaules kara 20. gadsimta 50. gados un kuru raksturo dažādu stāstījuma tehniku, piemēram, fragmentācijas un paradoksa izmantojums un stāstītāja neuzticamība. Postmodernisma darbi tiek uzlūkoti kā pretreakcija Apgaismības laikmeta idejām un modernistu literatūrai.[1] Postmodernisma literatūra, tāpat kā postmodernisms kopumā, sliecas pretoties tās definēšanai vai klasificēšanai par literatūras kustību.

Postmodernās literatūras attīstība[labot šo sadaļu | labot pirmkodu]

Ietekmes avoti[labot šo sadaļu | labot pirmkodu]

Postmodernisma estētikas ietekmētāji bija gan dramaturgi, kuri rakstīja 19. gadsimta beigās un 20. gadsimta sākumā, to vidū zviedru dramatists Augusts Strindbergs, itāliešu autors Luidži Pirandello un vācu dramaturgs un teorētiķis Bertolds Brehts, gan no dadaisma virziens un no tā aizgūtais rotaļīgums, iespēju brīvība, parodija, mākslinieka autoritātes apšaubīšana un kolāžas elementi kā mākslas darba radīšanas metode. Mākslinieki, kas saistīti ar Andrē Bretona dibināto virzienu, kurš attīstījās no dadaisma - sirreālismu, turpināja tajā aizsāktos eksperimentus, papildinot to ar idejām par sapņu un zemapziņas ietekmi uz literatūras tapšanas procesu un izmantojot automātisko rakstību. Postmodernistus iedvesmoja arī Horhes Luisa Borhesa daiļrade, eksperimenti ar metanaratīviem un maģiskā reālisma estētiku.[2]

Salīdzinājums ar modernisma literatūru[labot šo sadaļu | labot pirmkodu]

Gan modernisma, gan postmodernisma literatūra atspoguļo nošķiršanos no 19. gadsimta reālisma. Tēlu attīstībā gan modernisms, gan postmodernisms pēta subjektīvismu, no ārējās realitātes pievēršoties iekšējās apziņas stāvokļiem. Fragmentārisms tiek izmantots gan stāstījuma, gan tēlu uzbūvē. Modernistu literatūrā fragmentācija un galēja subjektivitāte tiek skatīta kā eksistenciāla krīze vai kā Freida idejās balstīts iekšējs konflikts, problēma, kas ir jāatrisina māksliniekam. Turpretī postmodernisti demonstrē, ka haoss ir nepārvarams, mākslinieks ir bezspēcīgs pret to, un vienīgā iespēja, kā vērsties pret sabrukumu, ir spēlēšanās, paša atrašanās tajā. Lai gan šāds rotaļīgums ir raksturīgs daudziem modernistu darbiem (Džeimsa Džoisa "Finegana vāķēšana" vai Virdžīnijas Vulfas "Orlando") un tie var šķist ļoti līdzīgi postmodernisma darbiem, tomēr postmodernismā rotaļīgums iegūst centrālo vietu un patiesā uzdevuma jēga kļūst nebūtiska.[2]

Pāreja uz postmodernismu[labot šo sadaļu | labot pirmkodu]

Lai arī nepastāv konkrēts laiks, kuru definēt kā postmodernisma sākumu, nereti par aptuveno laikmetu robežu tiek pieņemts 1941. gads, kad mirst gan īru rakstnieks Džeimss Džoiss, gan angļu rakstniece Virdžīnija Vulfa. Prefikss "post" liecina par reakciju pret modernisma literatūru pēc Otrā pasaules kara, kas nāca ar noziegumiem pret cilvēci un cilvēktiesībām, nesa Hirosimas un Nagasaki traģēdiju, holokaustu, Drēzdenes bombardēšanu u.c. Postmodernisms iekļāva sevī reakciju arī pret zīmīgajiem pēckara notikumiem - Aukstā kara sākumu, pilsonisko tiesību kustību ASV (1955-1968), postkoloniālismu un ar to saistīto literatūru un personālo datoru ēras sākumu.[3][4][5]

Attīstība pēc kara[labot šo sadaļu | labot pirmkodu]

Lai gan postmodernistu literatūra neaptver visu, kas rakstīts tās laikā, vairākās pēckara literatūrā sastopamajās kustībās, piemēram, absurda teātrī, bītu paaudzes un maģiskā reālisma literatūrā vērojamas līdzības ar postmodernistu darbiem. Šīs kustības tiek dažkārt apkopojoši dēvētas par "postmodernām", to pazīstamākie autori Semjuels Bekets, Viljams S. Berouzs, Horhe Luiss Borhess, Hulio Kortāsars un Gabriels Garsija Markess tiek minēti kā nozīmīgi postmodernās estētikas ietekmētāji. Līdzās Beketam un Borhesam bieži minēta figūra ir Vladimirs Nabokovs, kurš, tāpat kā Bekets un Borhess, sāka publicēties pirms postmodernisma sākuma (no 1926. gada krievu, no 1941. gada - angļu valodā). Lai gan viņa pazīstamākais romāns Lolita (1955) var tikt uzskatīts par modernisma vai postmodernisma darbu, viņa vēlākie darbi, īpaši romāns Blāvā uguns (1962) un Ada (1969) ir izteikti postmoderni.[6]

Amerikāņu autors un publicists Deivs Egers ir viens no vairākiem mūsdienu autoriem, kurš atspoguļo jaunākās kustības postmodernajā literatūrā, kuru daži uzskata par post-postmodernismu

Postmodernisms literatūrā nav organizēta kustība ar idejiskajiem līderiem vai centrālajām figūrām, līdz ar to grūti teikt, vai postmodernisma periods ir noslēdzies vai arī - kad tas noslēgsies (salīdzinot ar modernisma beigu iezīmēšanu ar Džoisa un Vulfas nāvi). Iespējams, postmodernisma kustības ziedu laiki ir 20. gadsimta 60. un 70. gadi, kad publicēti tika darbi Catch-22 (1961), Lost in the Funhouse (1968), Slaughterhouse-Five (1969), un daudzi citi. Daži pasludināja postmodernisma nāvi 80. gados, kad jaunu interesi par reālismu atspoguļoja un iedvesmoja Reimonds Kārvers, amerikāņu īso stāstu autors un dzejnieks[7].

Postmodernisms un latviešu literatūra[labot šo sadaļu | labot pirmkodu]

Kopīgās tēmas un tehnika[labot šo sadaļu | labot pirmkodu]

Ironija, rotaļīgums, melnais humors[labot šo sadaļu | labot pirmkodu]

Linda Hutcheon claimed postmodern fiction as a whole could be characterized by the ironic quote marks, that much of it can be taken as tongue-in-cheek. This irony, along with black humor and the general concept of "play" (related to Derrida's concept or the ideas advocated by Roland Barthes in The Pleasure of the Text) are among the most recognizable aspects of postmodernism. Though the idea of employing these in literature did not start with the postmodernists (the modernists were often playful and ironic), they became central features in many postmodern works. In fact, several novelists later to be labeled postmodern were first collectively labeled black humorists: John Barth, Joseph Heller, William Gaddis, Kurt Vonnegut, Bruce Jay Friedman, etc. It's common for postmodernists to treat serious subjects in a playful and humorous way: for example, the way Heller and Vonnegut address the events of World War II. The central concept of Joseph Heller's Catch-22 is the irony of the now-idiomatic "catch-22", and the narrative is structured around a long series of similar ironies. Thomas Pynchon's The Crying of Lot 49 in particular provides prime examples of playfulness, often including silly wordplay, within a serious context. For example, it contains characters named Mike Fallopian and Stanley Koteks and a radio station called KCUF, while the novel as a whole has a serious subject and a complex structure.[2][8][9]

Intertekstualitāte[labot šo sadaļu | labot pirmkodu]

Since postmodernism represents a decentered concept of the universe in which individual works are not isolated creations, much of the focus in the study of postmodern literature is on intertextuality: the relationship between one text (a novel for example) and another or one text within the interwoven fabric of literary history. Critics point to this as an indication of postmodernism's lack of originality and reliance on clichés. Intertextuality in postmodern literature can be a reference or parallel to another literary work, an extended discussion of a work, or the adoption of a style. In postmodern literature this commonly manifests as references to fairy tales – as in works by Margaret Atwood, Donald Barthelme, and many others – or in references to popular genres such as sci-fi and detective fiction. An early 20th century example of intertextuality which influenced later postmodernists is "Pierre Menard, Author of the Quixote" by Jorge Luis Borges, a story with significant references to Don Quixote which is also a good example of intertextuality with its references to Medieval romances. Don Quixote is a common reference with postmodernists, for example Kathy Acker's novel Don Quixote: Which Was a Dream. Another example of intertextuality in postmodernism is John Barth’s The Sot-Weed Factor which deals with Ebenezer Cooke's poem of the same name.[nepieciešama atsauce] Often intertextuality is more complicated than a single reference to another text. Robert Coover's Pinocchio in Venice, for example, links Pinocchio to Thomas Mann's Death in Venice. Also, Umberto Eco's The Name of the Rose takes on the form of a detective novel and makes references to authors such as Aristotle, Arthur Conan Doyle, and Borges.[10][11][12]

Pastišs[labot šo sadaļu | labot pirmkodu]

Related to postmodern intertextuality, pastiche means to combine, or "paste" together, multiple elements. In Postmodernist literature this can be an homage to or a parody of past styles. It can be seen as a representation of the chaotic, pluralistic, or information-drenched aspects of postmodern society. It can be a combination of multiple genres to create a unique narrative or to comment on situations in postmodernity: for example, William S. Burroughs uses science fiction, detective fiction, westerns; Margaret Atwood uses science fiction and fairy tales; Giannina Braschi mixes poetry, commercials, musical, manifesto, and drama; Umberto Eco uses detective fiction, fairy tales, and science fiction, Derek Pell relies on collage and noir detective, erotica, travel guides, and how-to manuals, and so on. Though pastiche commonly involves the mixing of genres, many other elements are also included (metafiction and temporal distortion are common in the broader pastiche of the postmodern novel). In Robert Coover's 1977 novel The Public Burning, Coover mixes historically inaccurate accounts of Richard Nixon interacting with historical figures and fictional characters such as Uncle Sam and Betty Crocker. Pastiche can instead involve a compositional technique, for example the cut-up technique employed by Burroughs. Another example is B. S. Johnson's 1969 novel The Unfortunates; it was released in a box with no binding so that readers could assemble it however they chose.[2][13][14]

Metafiction[labot šo sadaļu | labot pirmkodu]

Metafiction is essentially writing about writing or "foregrounding the apparatus", as it's typical of deconstructionist approaches,[15] making the artificiality of art or the fictionality of fiction apparent to the reader and generally disregards the necessity for "willing suspension of disbelief." For example, postmodern sensibility and metafiction dictate that works of parody should parody the idea of parody itself.[16][17][18]

Metafiction is often employed to undermine the authority of the author, for unexpected narrative shifts, to advance a story in a unique way, for emotional distance, or to comment on the act of storytelling. For example, Italo Calvino's 1979 novel If on a winter's night a traveler is about a reader attempting to read a novel of the same name. Kurt Vonnegut also commonly used this technique: the first chapter of his 1969 novel Slaughterhouse-Five is about the process of writing the novel and calls attention to his own presence throughout the novel. Though much of the novel has to do with Vonnegut's own experiences during the firebombing of Dresden, Vonnegut continually points out the artificiality of the central narrative arc which contains obviously fictional elements such as aliens and time travel. Similarly, Tim O'Brien's 1990 novel/story collection The Things They Carried, about one platoon's experiences during the Vietnam War, features a character named Tim O'Brien; though O'Brien was a Vietnam veteran, the book is a work of fiction and O'Brien calls into question the fictionality of the characters and incidents throughout the book. One story in the book, "How to Tell a True War Story", questions the nature of telling stories. Factual retellings of war stories, the narrator says, would be unbelievable and heroic, moral war stories don't capture the truth. Another example is David Foster Wallace's The Pale King, in which he claimed that the copyright page only claimed it was fiction for legal purposes, and that everything within the novel was non-fiction. He also employs a character in the novel named David Foster Wallace.

Fabulation[labot šo sadaļu | labot pirmkodu]

Fabulation is a term sometimes used interchangeably with metafiction and relates to pastiche and Magic Realism. It is a rejection of realism which embraces the notion that literature is a created work and not bound by notions of mimesis and verisimilitude. Thus, fabulation challenges some traditional notions of literature—the traditional structure of a novel or role of the narrator, for example—and integrates other traditional notions of storytelling, including fantastical elements, such as magic and myth, or elements from popular genres such as science fiction. By some accounts, the term was coined by Robert Scholes in his book The Fabulators. Strong examples of fabulation in contemporary literature are found in Giannina Braschi's "United States of Banana" and Salman Rushdie's Haroun and the Sea of Stories.[19]

Poioumena[labot šo sadaļu | labot pirmkodu]

Poioumenon (plural: poioumena; from sengrieķu: ποιούμενον, "product") is a term coined by Alastair Fowler to refer to a specific type of metafiction in which the story is about the process of creation. According to Fowler, "the poioumenon is calculated to offer opportunities to explore the boundaries of fiction and reality—the limits of narrative truth."[20] In many cases, the book will be about the process of creating the book or includes a central metaphor for this process. Common examples of this are Thomas Carlyle's Sartor Resartus, and Laurence Sterne's Tristram Shandy, which is about the narrator's frustrated attempt to tell his own story. A significant postmodern example is Vladimir Nabokov's Pale Fire, in which the narrator, Kinbote, claims he is writing an analysis of John Shade's long poem "Pale Fire", but the narrative of the relationship between Shade and Kinbote is presented in what is ostensibly the footnotes to the poem. Similarly, the self-conscious narrator in Salman Rushdie's Midnight's Children parallels the creation of his book to the creation of chutney and the creation of independent India. In The Comforters, Muriel Spark's protagonist hears the sound of a typewriter and voices that later may transform into the novel itself. Jan Křesadlo purports to be merely the translator of a "chrononaut's" handed down homeric Greek science fiction epic, the Astronautilia. Other postmodern examples of poioumena include Samuel Beckett's trilogy (Molloy, Malone Dies and The Unnamable); Doris Lessing's The Golden Notebook; John Fowles's Mantissa; William Golding's Paper Men; and Gilbert Sorrentino's Mulligan Stew.[12][20][21][22][23]

Historiographic metafiction[labot šo sadaļu | labot pirmkodu]

Linda Hutcheon coined the term "historiographic metafiction" to refer to works that fictionalize actual historical events or figures; notable examples include The General in His Labyrinth by Gabriel García Márquez (about Simón Bolívar), Flaubert's Parrot by Julian Barnes (about Gustave Flaubert), Ragtime by E. L. Doctorow (which features such historical figures as Harry Houdini, Henry Ford, Archduke Franz Ferdinand of Austria, Booker T. Washington, Sigmund Freud, Carl Jung), and Rabih Alameddine's Koolaids: The Art of War which makes references to the Lebanese Civil War and various real life political figures. Thomas Pynchon's Mason and Dixon also employs this concept; for example, a scene featuring George Washington smoking marijuana is included. John Fowles deals similarly with the Victorian Period in The French Lieutenant's Woman. In regard to critical theory, this technique can be related to "The Death of the Author" by Roland Barthes.[2]

Laika izkropļojumi[labot šo sadaļu | labot pirmkodu]

This is a common technique in modernist fiction: fragmentation and non-linear narratives are central features in both modern and postmodern literature. Temporal distortion in postmodern fiction is used in a variety of ways, often for the sake of irony. Historiographic metafiction (see above) is an example of this. Distortions in time are central features in many of Kurt Vonnegut's non-linear novels, the most famous of which is perhaps Billy Pilgrim in Slaughterhouse-Five becoming "unstuck in time". In Flight to Canada, Ishmael Reed deals playfully with anachronisms, Abraham Lincoln using a telephone for example. Time may also overlap, repeat, or bifurcate into multiple possibilities. For example, in Robert Coover's "The Babysitter" from Pricksongs & Descants, the author presents multiple possible events occurring simultaneously—in one section the babysitter is murdered while in another section nothing happens and so on—yet no version of the story is favored as the correct version.[2]

Maģiskais reālisms[labot šo sadaļu | labot pirmkodu]

Magic realism may be literary work marked by the use of still, sharply defined, smoothly painted images of figures and objects depicted in a surrealistic manner. The themes and subjects are often imaginary, somewhat outlandish and fantastic and with a certain dream-like quality. Some of the characteristic features of this kind of fiction are the mingling and juxtaposition of the realistic and the fantastic or bizarre, skillful time shifts, convoluted and even labyrinthine narratives and plots, miscellaneous use of dreams, myths and fairy stories, expressionistic and even surrealistic description, arcane erudition, the element of surprise or abrupt shock, the horrific and the inexplicable. It has been applied, for instance, to the work of Jorge Luis Borges, the Argentinian who in 1935 published his Historia universal de la infamia, regarded by many as the first work of magic realism. Colombian novelist Gabriel García Marquez is also regarded as a notable exponent of this kind of fiction—especially his novel One Hundred Years of Solitude. The Cuban Alejo Carpentier is another described as a "magic realist". Postmodernists such as Salman Rushdie and Italo Calvino commonly use Magic Realism in their work.[2][12] A fusion of fabulism with magic realism is apparent in such early 21st-century American short stories as Kevin Brockmeier's "The Ceiling", Dan Chaon's "Big Me", Jacob M. Appel's "Exposure", and Elizabeth Graver's "The Mourning Door".[24]

Technoculture and hyperreality[labot šo sadaļu | labot pirmkodu]

Fredric Jameson called postmodernism the "cultural logic of late capitalism". "Late capitalism" implies that society has moved past the industrial age and into the information age. Likewise, Jean Baudrillard claimed postmodernity was defined by a shift into hyperreality in which simulations have replaced the real. In postmodernity people are inundated with information, technology has become a central focus in many lives, and our understanding of the real is mediated by simulations of the real. Many works of fiction have dealt with this aspect of postmodernity with characteristic irony and pastiche. For example, Don DeLillo's White Noise presents characters who are bombarded with a "white noise" of television, product brand names, and clichés. The cyberpunk fiction of William Gibson, Neal Stephenson, and many others use science fiction techniques to address this postmodern, hyperreal information bombardment.[25][26][27]

Paranoja[labot šo sadaļu | labot pirmkodu]

Perhaps demonstrated most famously and effectively in Joseph Heller's Catch-22, the sense of paranoia, the belief that there's an ordering system behind the chaos of the world is another recurring postmodern theme. For the postmodernist, no ordering is extremely dependent upon the subject, so paranoia often straddles the line between delusion and brilliant insight. Pynchon's The Crying of Lot 49, long-considered a prototype of postmodern literature, presents a situation which may be "coincidence or conspiracy – or a cruel joke".[28] This often coincides with the theme of technoculture and hyperreality. For example, in Breakfast of Champions by Kurt Vonnegut, the character Dwayne Hoover becomes violent when he's convinced that everyone else in the world is a robot and he is the only human.[2]

Maksimālisms[labot šo sadaļu | labot pirmkodu]

Dubbed maximalism by some critics, the sprawling canvas and fragmented narrative of such writers as Dave Eggers and David Foster Wallace has generated controversy on the "purpose" of a novel as narrative and the standards by which it should be judged. The postmodern position is that the style of a novel must be appropriate to what it depicts and represents, and points back to such examples in previous ages as Gargantua by François Rabelais and the Odyssey of Homer, which Nancy Felson hails as the exemplar of the polytropic audience and its engagement with a work.

Many modernist critics, notably B.R. Myers in his polemic A Reader's Manifesto, attack the maximalist novel as being disorganized, sterile and filled with language play for its own sake, empty of emotional commitment—and therefore empty of value as a novel. Yet there are counter-examples, such as Pynchon's Mason & Dixon and David Foster Wallace's Infinite Jest where postmodern narrative coexists with emotional commitment.[29][30]

Minimālisms[labot šo sadaļu | labot pirmkodu]

Literary minimalism can be characterized as a focus on a surface description where readers are expected to take an active role in the creation of a story. The characters in minimalist stories and novels tend to be unexceptional. Generally, the short stories are "slice of life" stories. Minimalism, the opposite of maximalism, is a representation of only the most basic and necessary pieces, specific by economy with words. Minimalist authors hesitate to use adjectives, adverbs, or meaningless details. Instead of providing every minute detail, the author provides a general context and then allows the reader's imagination to shape the story. Among those categorized as postmodernist, literary minimalism is most commonly associated with Samuel Beckett.[31]

Fragmentārisms[labot šo sadaļu | labot pirmkodu]

Fragmentation is another important aspect of postmodern literature. Various elements, concerning plot, characters, themes, imagery and factual references are fragmented and dispersed throughout the entire work. In general, there is an interrupted sequence of events, character development and action which can at first glance look modern. Fragmentation purports, however, to depict a metaphysically unfounded, chaotic universe. It can occur in language, sentence structure or grammar. In Z213: Exit, a fictional diary by Greek writer Dimitris Lyacos an almost telegraphic style is adopted, devoid, in most part, of articles and conjunctions. The text is interspersed with lacunae and everyday language combines with poetry and biblical references leading up to syntax disruption and distortion of grammar. A sense of alienation of character and world is created by a language medium invented to form a kind of intermittent syntax structure which complements the illustration of the main character's subconscious fears and paranoia in the course of his exploration of a seemingly chaotic world.[32]

Atšķirīgas perspektīvas[labot šo sadaļu | labot pirmkodu]

John Barth, the postmodernist novelist who talks often about the label "postmodern", wrote an influential essay in 1967 called "The Literature of Exhaustion" and in 1980 published "The Literature of Replenishment" in order to clarify the earlier essay. "Literature of Exhaustion" was about the need for a new era in literature after modernism had exhausted itself. In "Literature of Replenishment" Barth says,

My ideal Postmodernist author neither merely repudiates nor merely imitates either his 20th-century Modernist parents or his 19th-century premodernist grandparents. He has the first half of our century under his belt, but not on his back. Without lapsing into moral or artistic simplism, shoddy craftsmanship, Madison Avenue venality, or either false or real naiveté, he nevertheless aspires to a fiction more democratic in its appeal than such late-Modernist marvels as Beckett's Texts for Nothing... The ideal Postmodernist novel will somehow rise above the quarrel between realism and irrealism, formalism and "contentism," pure and committed literature, coterie fiction and junk fiction...[33]

Many of the well-known postmodern novels deal with World War II, one of the most famous of which being Joseph Heller's Catch-22. Heller claimed his novel and many of the other American novels of the time had more to do with the state of the country after the war:

The antiwar and anti government feelings in the book belong to the period following World War II: the Korean War, the cold war of the Fifties. A general disintegration of belief took place then, and it affected Catch-22 in that the form of the novel became almost disintegrated. Catch-22 was a collage; if not in structure, then in the ideology of the novel itself ... Without being aware of it, I was part of a near-movement in fiction. While I was writing Catch-22, J. P. Donleavy was writing The Ginger Man, Jack Kerouac was writing On the Road, Ken Kesey was writing One Flew Over the Cuckoo's Nest, Thomas Pynchon was writing V., and Kurt Vonnegut was writing Cat's Cradle. I don't think any one of us even knew any of the others. Certainly I didn't know them. Whatever forces were at work shaping a trend in art were affecting not just me, but all of us. The feelings of helplessness and persecution in Catch-22 are very strong in Cat's Cradle.[34]

In his Reflections on 'The Name of the Rose', the novelist and theorist Umberto Eco explains his idea of postmodernism as a kind of double-coding, and as a transhistorical phenomenon:

[P]ostmodernism ... [is] not a trend to be chronologically defined, but, rather, an ideal category – or better still a Kunstwollen, a way of operating. ... I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows that he cannot say to her "I love you madly", because he knows that she knows (and that she knows he knows) that these words have already been written by Barbara Cartland. Still there is a solution. He can say "As Barbara Cartland would put it, I love you madly". At this point, having avoided false innocence, having said clearly it is no longer possible to talk innocently, he will nevertheless say what he wanted to say to the woman: that he loves her in an age of lost innocence.[35]

Novelist David Foster Wallace in his 1990 essay "E Unibus Pluram: Television and U.S. Fiction" makes the connection between the rise of postmodernism and the rise of television with its tendency toward self-reference and the ironic juxtaposition of what's seen and what's said. This, he claims, explains the preponderance of pop culture references in postmodern literature:

It was in post-atomic America that pop influences on literature became something more than technical. About the time television first gasped and sucked air, mass popular U.S. culture seemed to become High-Art-viable as a collection of symbols and myth. The episcopate of this pop-reference movement were the post-Nabokovian Black Humorists, the Metafictionists and assorted franc-and latinophiles only later comprised by "postmodern." The erudite, sardonic fictions of the Black Humorists introduced a generation of new fiction writers who saw themselves as sort of avant-avant-garde, not only cosmopolitan and polyglot but also technologically literate, products of more than just one region, heritage, and theory, and citizens of a culture that said its most important stuff about itself via mass media. In this regard one thinks particularly of the Gaddis of The Recognitions and JR, the Barth of The End of the Road and The Sot-Weed Factor, and the Pynchon of The Crying of Lot 49 ... Here's Robert Coover's 1966 A Public Burning, in which Eisenhower buggers Nixon on-air, and his 1968 A Political Fable, in which the Cat in the Hat runs for president.[36]

Hans-Peter Wagner offers this approach to defining postmodern literature:

Postmodernism ... can be used at least in two ways – firstly, to give a label to the period after 1968 (which would then encompass all forms of fiction, both innovative and traditional), and secondly, to describe the highly experimental literature produced by writers beginning with Lawrence Durrell and John Fowles in the 1960s and reaching to the breathless works of Martin Amis and the "Chemical (Scottish) Generation" of the fin-de-siècle. In what follows, the term 'postmodernist' is used for experimental authors (especially Durrell, Fowles, Carter, Brooke-Rose, Barnes, Ackroyd, and Martin Amis) while "post- modern" is applied to authors who have been less innovative.[37]

Postmodernās literatūras piemēri pasaules literatūrā[labot šo sadaļu | labot pirmkodu]

Daži pazīstami postmodernās literatūras piemēri (hronoloģiskā kārtībā):

Postmodernās literatūras piemēri latviešu literatūrā[labot šo sadaļu | labot pirmkodu]

Daži pazīstami postmodernās literatūras piemēri (hronoloģiskā kārtībā):

Skatīt arī[labot šo sadaļu | labot pirmkodu]

Atsauces[labot šo sadaļu | labot pirmkodu]

  1. Felluga, D. (n.d.). General Introduction to Postmodernism. College of Liberal Arts : Purdue University. http://www.cla.purdue.edu/english/theory/postmodernism/modules/introduction.html
  2. 2,0 2,1 2,2 2,3 2,4 2,5 2,6 2,7 Lewis, Barry. Postmodernism and Literature // 'The Routledge Companion to Postmodernism. NY: Routledge, 2002.
  3. Postmodern American Fiction: An Anthology, Chapter 6: Technoculture, p. 510
  4. Cyberpunk and the Dilemmas of Postmodern Narrative: The Example of William Gibson
  5. «Hypertext fiction: The latest in postmodern literary theory». Findarticles.com. Skatīts: 2014-06-21.
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