Titlebook: Literature after Postmodernism; Reconstructive Fanta Irmtraud Huber Book 2014 Palgrave Macmillan, a division of Macmillan Publishers Limite

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極小

dearth

Post-post, Beyond and Back: Literature in the Wake of Postmodernismd responsible, being, after all, the one who is dreaming it all up. After nearly half a century of postmodernist literary experiments and philosophical revisions, such metaleptic breaches of ontological boundaries may seem all too familiar and could easily strike one as just another tired narrative trick.

畸形

Pragmatic Fantasies: From Subversion to Reconstructionst to modernism, which rejected and reformed realist aesthetics without necessarily giving up its belief in truthful representation, postmodernist writers tended to reject the ideal of representing reality itself. Instead, many of them developed a wide-ranging fascination with non-realist modes of writing.

遺留之物

Fibrinogen

Introduction: Epitaph on a Ghost, or the Impossible End of Postmodernismhose innocent-looking four numbers after the dash, declared an end to something that had claimed to be endless. Postmodernism, which proposed the end of history, has apparently become dated. Its style, its subversion, it seems, has petered out and lost its force sometime around the beginning of the

多節(jié)

Post-post, Beyond and Back: Literature in the Wake of Postmodernismil war. In what has become an all too familiar postmodernist metaleptical short-circuiting of narrative levels, Owen Brick, the protagonist of this inset narrative, is sent on a mission to murder the narrator himself in order to put an end to the war for which the latter is in every sense of the wor

Engaging

折磨

Leaving the Postmodernist Labyrinth: Mark Z. Danielewski’s ,hover perfectly in between postmodernism and the reconstructive impulse that hopes to go beyond it. The novel is obviously and explicitly indebted to both postmodernist thought and aesthetics. Nevertheless, as I will argue, it suggests venues for thinking (and living) which continue to take postmode

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