"Transforming bewilderment into understanding and pleasure while preserving a sense of Robbe-Grillet's considerable richness and complexity, Smith elucidates the defining elements of the writer's fictional world - characters that barely exist, changeable narrators, plots that defy logic, notoriously meticulous descriptions that never quite form a complete story. Smith examines Robbe-Grillet's embrace of discontinuity, circularity, indeterminacy, and linguistic play. Smith also poses questions about how we should view this perplexing writer: as an author of hyperobjective novels and short stories, a subjective novelist, a realist, or a writer who undermines the narrative's claim to represent reality. In addition Smith evaluates the sado-erotic imagery of Robbe-Grillet's middle and late novels as a metaphorical play with textual and social conventions."--BOOK JACKET.
A Study Guide for Alain Robbe-Grillet's "The Replacement," excerpted from Gale's acclaimed Short Stories for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Short Stories for Students for all of your research needs.
A study of Pop art and metafiction which highlights the relationship between Alain Robbe-Grillet, a French novelist and cinematographer, and Jasper Johns, a renowned artist. This book shows how Johns's targets and Robbe-Grillet's writing subvert social codes and the observer's expectations in order to produce unexpected perceptions.
French novels such as "Madame Bovary" and "The Stranger" are staples of high school and college literature courses. This work provides coverage of the French novel since its origins in the 16th century, with an emphasis on novels most commonly studied in high school and college courses in world literature and in French culture and civilization.
From Aristotle to the present, memory has been grasped as a trace or impression of lost reality – bridging physiological experience and consciousness. Philosophers have vainly sought the nature of this bridge. The present-day physiologizing/naturalizing of consciousness is not resolving their congenital continuity, in which the very existence and practice of life is rooted. We have to change our approach (Erwin Straus). The Aristotelian congenital ties between memory and temporality, acquire crucial significance in our primogenital ontopoiesis of life (Tymieniecka). It reveals memory to be the factor that carries this coalescence and the becoming of life itself. This can be the fruit only of the generative springs of life, first phenomenology/philosophy, the ontopoietic logos of life. In this collection we explore memory in the constitution of reality: rememorizing and interpretation, consciousness/action, facts/imagination, history/myths, self-realization/metamorphosis.
This second edition of Historical Dictionary of Postmodernist Literature and Theater contains a chronology, an introduction, and a bibliography. The dictionary section has over 400 cross-referenced entries on postmodernist writers, the important postmodernist aesthetic practices.
Breaking with linearity – the ruling narrative model in the Jewish-Christian tradition since the ancient world – many 20th-century European writers adopted circular narrative forms. Juan Luis Toribio Vazquez shows this trend was not a unified nor conscious movement, but rather a series of works arising sporadically in different countries at different times, using a variety of circular structures to express similar concerns and ideas about the world. This study also shows how the renewed understanding of narrative form leading to this circular trend was anticipated by Nietzsche's critiques of truth, knowledge, language and metaphysics, and especially by his related discussions of nihilism and the eternal recurrence. Starting with an analysis of the theory and genealogy of linear narrative, the author charts the emergence of Nietzsche's idea of eternal return, before then turning to the history of the circular narrative trend. This history is explored from its inception, in the works of August Strindberg, Gertrude Stein and Azorín; through its development in the interwar years, by writers such as Raymond Queneau and Vladimir Nabokov; to its full flowering in the work of authors James Joyce or Samuel Beckett, among others; and its later employment by post-war writers, including Alain Robbe-Grillet, Italo Calvino and Maurice Blanchot. Through a series of close readings, the book aims to highlight the various ways in which narrative circularity serves to break with an essentially teleological and theological thinking. Finally, Toribio Vazquez concludes by proposing a new typology of non-linear narratives, which builds on the work of recent narratologists.
Understanding Barthes, Understanding Modernism is a general assessment of the modern literary and philosophical contributions of Roland Barthes. The first part of the volume focuses on work published prior to Barthes's death in 1980 covering the major periods of his development from Writing Degree Zero (1953) to Camera Lucida: Reflections on Photography (1980). The second part focuses both on the posthumously published material and the legacies of his work after his death in 1980. This later work has attracted attention, for example, in conjunction with notions of the neutral, gay writing, and critiques of everyday life. The third part is devoted to some of the critical vocabulary of Barthes in both the work he published during his lifetime, and that which was published posthumously.
Postmodernist literature embraces a wide range of forms and perspectives, including texts that are primarily self-reflexive; texts that use pastiche, burlesque, parody, intertextuality and hybrid forms to create textual realities that either run in opposition to or in parallel with an external reality; fabulations that develop both of these strategies; texts that ironize their relationship to reality; works that use the aspects already noted to more fully engage with political or cultural realities; texts that deal with history as a fiction; and texts that elude categorization even within the variety already explored. For example, in fiction, a postmodernist novel might tell a story about a writer struggling with writing (only, perhaps, to find that he is a character in a book by another writer struggling to write a book). The A to Z of Postmodernist Literature and Theater examines the different areas of postmodernist literature and the variety of forms that have been produced. This is accomplished through a chronology, an introductory essay, a bibliography, and several hundred cross-referenced dictionary entries on individual postmodernist writers, the important postmodernist aesthetic practices, significant texts produced throughout the history of postmodernist writing, and important movements and ideas that have created a variety of literary approaches within the form. By placing these concerns within the historical, philosophical, and cultural contexts of postmodernism, this reference explores the frameworks within which postmodernist literature of the late twentieth and early twenty-first century operates.
From the first stirrings of modernism to contemporary poetics, the modernist aesthetic project could be described as a form of phenomenological reduction that attempts to return to the invisible and unsayable foundations of human perception and expression, prior to objective points of view and scientific notions. It is this aspect of modernism that this book brings to the fore. The essays presented here bring into focus the contemporary face of ongoing debates about phenomenology and modernism. The contributors forcefully underline the intertwining of modernism and phenomenology and the extent to which the latter offers a clue to the former. The book presents the viewpoints of a range of internationally distinguished critics and scholars, with diverse but closely related essays covering a wide range of fields, including literature, architecture, philosophy and musicology. The collection addresses critical questions regarding the relationship between phenomenology and modernism, with reference to thinkers such as Edmund Husserl, Maurice Merleau-Ponty, Martin Heidegger, Michel Henry and Paul Ricoeur. By examining the contemporary philosophical debates, this cross-disciplinary body of research reveals the pervasive and far-reaching influence of phenomenology, which emerges as a heuristic method to articulate modernist aesthetic concerns.