美国后现代主义小说PPT文档格式.ppt
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美国后现代主义小说PPT文档格式.ppt
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TheAmericanPost-ModernismnovelPostmodernismFollowsmostofthesameideasasmodernismwithsomeexceptionsEmergedinthe1960s,becameprominentinthelate1970sandearly1980sDefinition:
@#@Relatingtoart,architectureorliteraturethatreactsagainstearliermodernistprinciples,byreintroducingtraditionalorclassicalelementsofstyleorbycarryingmoderniststylesorpracticestoextremesCharacteristics:
@#@Characteristics:
@#@RejectionofrigidgenreRejectionofrigidgenredistinctions,emphasizingdistinctions,emphasizingparody,ironyandplayfulnessparody,ironyandplayfulnessFavorsreflexivityandself-Favorsreflexivityandself-consciousness,fragmentationconsciousness,fragmentationanddiscontinuityanddiscontinuityEmphasisonthede-Emphasisonthede-structured,de-centered,structured,de-centered,dehumanizedsubjectdehumanizedsubjectHistoricalBackgroundofthePostmodernistNovelTheperiodsincethe1960shasbeenatimeofmorethanusualfermentinAmericansocial,political,andartisticlife.TheunpopularwarinVietnam,thepoliticalassassination,theraceriots,thehippiecounterculture,popart,masspoetryreadings,streettheater,vigorousavant-gardisminallthearts,predictionsofthedeathofthenovel,etc.-allthesewereallassailingthethinkingmindsatthesametimeinthedecadesof1960sand1970s.Sincethensocialconcernshavebecomeintensewheninformationbeginstoexplodeontheamazedpublicfromdifferentchannels.Therehasappearedamarkedchangeinthenatureofthingsliketheidealsofdemocracy,individualism,andthecredibilityofthegovernmentalongwithasimilarmarkedchangeinpopularawareness.Peoplehavefoundtheboundariesbetweenfactandfictionobscuredornolongerexisting.ClassificationofthePostmodernistNovelTherewasthenoveloftheabsurd,metafiction,andavant-gardism.
(1)Thenovelistsoftheabsurdtendtoburlesquetraditionalnovelisticdevices.Theyholdthattruthandrealityaremultiple,elusive,anduncertain;@#@theyregardanypretensionofanytraditionalformtorepresentrealityauthenticallyasillegitimateandmisleading.Thetragicabsurdityofthehumanblackhumor,orblackcomedy,whichisoneofthecommonlyemployeddevicesofthenovelistsoftheabsurd.whatoccursoftenisasenseofgriefandpaincomingthroughthelaughter,afeelingoffrustrationandbeingbottledup.
(2)Metafictionisaformwritingaboutfictionintheformoffiction.Itisastyleoffictivenarrativethattriestotellthereadersthatfictionisfictionandisnotanillustrationofrealityasherealistshavetriedtodeceivethereadersintobelieving.Notablemetafictionalstrategiesincludesuchastextwithintext,authorialpersonae,andundecidabilitywithnorealstory.(3)Astoavant-gardism,ithasbeenusedasatermofpreferenceforpostwarwritingwhichhasenjoyedsomevanguardstatus.Anavant-gardenovelrepresentsacleanbreakawayfromnormalnovelisticconventions,haslittleornostoryinterest,oftendull,notsatisfying,evenoffensivetomiddle-browtaste,andisoftennotreadableCommonthemesandtechniquesAllofthesethemesandtechniquesareoftenusedtogether.Forexample,metafictionandpasticheareoftenusedforirony.Thesearenotusedbyallpostmodernists,noristhisanexclusivelistoffeatures.Irony,playfulness,blackhumorLindaHutcheonclaimedpostmodernfictionasawholecouldbecharacterizedbytheironicquotemarks,thatmuchofitcanbetakenastongue-in-cheek.Thisirony,alongwithblackhumorandthegeneralconceptofplay(relatedtoDerridasconceptortheideasadvocatedbyRolandBarthesinThePleasureoftheText)areamongthemostrecognizableaspectsofpostmodernism.Thoughtheideaofemployingtheseinliteraturedidnotstartwiththepostmodernists(themodernistswereoftenplayfulandironic),theybecamecentralfeaturesinmanypostmodernworks.Infact,severalnovelistslatertobelabeledpostmodernwerefirstcollectivelylabeledblackhumorists:
@#@JohnBarth,JosephHeller,WilliamGaddis,KurtVonnegut,BruceJayFriedman,etc.Itscommonforpostmoderniststotreatserioussubjectsinaplayfulandhumorousway:
@#@forexample,thewayHeller,Vonnegut,andPynchonaddresstheeventsofWorldWarII.ThecentralconceptofJosephHellersCatch-22istheironyofthenow-idiomaticcatch-22,andthenarrativeisstructuredaroundalongseriesofsimilarironies.ThomasPynchoninparticularprovidesprimeexamplesofplayfulness,oftenincludingsillywordplay,withinaseriouscontext.TheCryingofLot49,forexample,containscharactersnamedMikeFallopianandStanleyKoteksandaradiostationcalledKCUF,whilethenovelasawholehasaserioussubjectandacomplexstructure.ThemajornovelistofPostmodernistNovelJosephHeller(1923-1999)约瑟夫.海勒JosephHelleristhemostprominentAmericannovelistoftheabsurdinthepostwarperiod.Hewroteabookabouthisexperienceinthewar.Thisisthefamouscatch-22,thetitleofwhichhasbecomeanewadditiontotheEnglishlanguage.1.MajorworksCatch-22第二十二条军规SomethingHappened出了毛病WeBombedinNewHaven我们轰炸了纽黑文GoodasGold好的不得了GodKnows上帝知道2.Analysisofmajorwork:
@#@Catch-22(第二十二条军规)
(1)Catch-22wasthefirstbookinAmericatotreattheabsurditythemewithabsurdisttechniques.ItprotestsagainsttheabsurdityofmodernAmericaasembodiesbythemilitarypowerstructureitdescribes.
(2)Theprotagonist,Yossarian,isafraidofdeath.HehaslostfaithinGod,andfeelsnosenseofsecurityanymore.Alongwithhisfellowpilots,heishorrifiedasthesightofdeathan
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- 美国 后现代主义 小说