Postmodern Fiction

This doctoral dissertation investigates the development of the norm of sovereignty as responsibility by focusing on its institutionalization in the framework of the International Criminal Court (ICC). Prominent observers have regarded the emergence of a new norm of sovereignty as responsibility as one of the most significant normative shifts in international society since the aftermath of World War II. Against this backdrop, accounts have proliferated situating the ICC at the cutting edge of normative change. The present study critically engages with the whole set of theoretical foundations underlying this view, including the conventional constructivist understanding of norm development upon which the latter is premised. This, on the one hand, emphasizes the importance of norm institutionalization within “tangible” sets of rules or organizations. On the other, it understands institutionalization itself as a moment of clarity and stabilization, thus largely reducing it to an end-point of the norm emergence process. In other words, norm institutionalization is confined to a positivist view in which institutions fall back to the role of neutral fora. The result is a linear, static, and largely depoliticized account of norm content, which, while yielding to the traditional lack of communication between normative and empirical studies, ends up reiterating a dichotomic and simplistic view in which norms are scripts of emancipation, and power a practice of domination. The dissertation aims to unravel this dilemma altogether by offering a step forward in the development of a post-positivist constructivist approach. In other words, it takes a genuinely trans-disciplinary perspective and delves into the configuration of normativity as part of institutional practice, paying special attention to how the relative power of relevant actors reconstitutes norms during norm negotiation and implementation. Hence, the study  unfolds from an unusual location – at the intersection between normative international theory and the politics of international criminal law; and from there, it seeks to revive discussions about the power-laden nature of the normative fabric of international society, its own dis-symmetries, and its outright hierarchies. To this end, the dissertation asks two major sequential questions: how the overarching system negotiated by states at the Rome Conference affects the selection of situations and cases before the ICC and their outcomes; and how the selection of situations and cases and their outcomes, in turn, “feeds back” to the norm of sovereignty institutionalized through the Court’s practice. The resulting analysis shows the following. While the Rome Statute reflects the persistence of the state as the primary site of political authority and coercion, it also cuts against the normative aspirations of sovereignty as responsibility by leaving the Court specifically ill-equipped to break with a notorious pattern of hyper-protected sovereignty. Outstanding issues such as the ICC’s selectivity and African bias, as well as the Court’s future prospects, are then reconsidered under this light. Those findings are then discussed in the final part of the study. Focusing on questions of delegation to international institutions, this ends with a note of caution. It concludes that the prospects of sovereignty as responsibility, as well as the broader discussion about cosmopolitan governance, lie more with the re-politicization of the debate than a straightforward invocation of greater forms of supranationalism.

Most critics of contemporary literature have reached a consensus that what was once called " postmodernism " is over and that its signature modes—metafiction and irony—are on the wane. This is not the case, however, with videogames. In recent years, a number of self-reflexive games have appeared, exemplified by Davey Wreden's The Stanley Parable (2013), an ironic game about games. When self-awareness migrates form print to screen, however, something happens. If metafiction can be characterized by how it draws attention to its materiality—the artificiality of language and the construction involved in acts of representation—The Stanley Parable draws attention to the digital, procedural materiality of videogames. Following the work of Alexander R. Galloway and Ian Bogost, I argue that the self-reflexivity of The Stanley Parable is best understood in terms of action and procedure, as metaproceduralism. This essay explores the legacies of United States metafiction in videogames, suggesting that though postmodernism might be over, its lessons are important to remember for confronting the complex digital realities of the twenty-first century. If irony may be ebbing in fiction, it has found a vital and necessary home in videogames and we underestimate its power to challenge the informatic, algorithmic logic of cultural production in the digital age to our detriment.

John Fowles is an English novelist who produced works with a special interest in and emphasis on social and philosophical issues. He is famously known as the first representative of postmodernism. He makes use of postmodern narrative techniques and characteristics abundantly in his works. His short story, "The Enigma," is another work that reflects postmodern features. It centers on the disappearance of a highly respectable and socially expected man, John Marcus Fielding. The narrative proves to be an anti-detective novel through certain characteristics that subvert the classical detective story. It is an example of postmodernist crime fiction that does not provide the typical features expected from a detective story such as the resolution of a conundrum (Kravitz, 2013, p. 45). It also employs the literary devices that are commonly used by postmodernist authors. It parodies the conventional detective genre, introducing the readers a story that incorporates two distinct genres, detective story and romance, in itself. His characters are aware of their fictional status and the text's fictional quality. They highlight the text's self-reflexive nature time and again. The text offers no clues or a definitive ending. It calls the metanarratives (rationalism and logical positivism) and the limits of knowledge into question (Merivale and Sweeney, 2011, p. 1). This paper aims to highlight the postmodern techniques and characteristics to underline the postmodernist antidetective aspects in John Fowles' "The Enigma."

This essay analyzes the fate of peculiar postmodern variants of the picaresque, shape-shifting American romantic hero: Thomas Pynchon’s Lt. Tyrone Slothrop and Harold Pinter’s Quiller, in circumstances that confuse German and American identity.  The essay also considers ways that technology's mere functioning (not its creative use toward other ends) becomes synonymous with public policy or military success in the works examined.

The application of new media to 21st-century novels is the trigger of emerging narrative genres, which revolutionize the narrative panorama and leave space for innovative conceptual approaches. The influence of popular new media creates original circumstances for the development of new kinds of interaction between the storytelling and the reader/spectator, accentuating the rising need for social, multimedia engagements. The newest concepts and approaches of the emerging, wide fields of transmediality and intermediality in transmedial narratives are objects of the handbook ‘Fictions of the Internet’. From Intermediality to Transmedia Storytelling in 21st-Century Novels (2018) by Anna Weigel-Heller.

This papers attempts to investigate the representation of diasporic characters in fictional narrative discourse by Anglophone Arab woman writerwho lives in Britain namely Leila Aboulela. She seeks to negotiate issues of identity, home, hybridity and culture by dislocating the narrative linearity. These notions are interrogated in her recent novel The Kindness of Enemies (2015). It discusses the process of establishing a bridge of coexistence and tolerance amid cultural and religious differences .Moreover, the current paper traces the crisis of identity, particularly when it is difficult to assimilate and acculturate. The novel offers penetrations to construct a transformative transcultural spaces of belonging. Many diasporic narratives are produced by Anglophone women writers who have negotiated issues of home, cultural identity and hybridity. They try to excavate mosaic spaces by crossing cultural, national and religious boundaries, and break the centering dogma by establishing spaces of tolerance, coexistence , multi-cultural and international understanding. These narratives tend to shatter the conventional and stable norms of narrative structure; narrative that deconstructs the identity of the text and inserts notions of Diaspora, homelessness, displacement and cultural hybridity. In this context, immigrant discourses have experienced a sense of homelessness and fractured subjectivity and have tried to construct a stable subjectivity and a transformative transcultural spaces of belonging. Spaces that play a crucial role in an individual inward self-consciousness; they are utilized to express the inner world of emotions, thoughts and subjectivity, then, the object is the transcendence of the inner space. These narratives are now dispersed and relocated by Arab women Diasporic novelists such as Leila Aboulela. Indeed, Aboulela's writings deconstruct signs of centrality and compose juxtaposed mosaics of multiple cultures and micro narratives to construct a general human knowledge and experience drowning in the sea of tolerance, inclusion and acceptance. Leila Aboulela's The Kindness of Enemies (2015) is a well-written novel, intellectual, imaginative and creative. It demonstrates clear-cut meandrous spectrums of narrative experimentations that have become important approaches in contemporary Diasporic novel. The attracted totem of her novel is the imaginative and innovative matrix of inlaying diverse techniques. Aboulela has not been trussed to one narrative style, that she has pruned the concatenate narrative of its orthodox forms and infused it with tergiversation of Anglophone literature. Additionally, she has shadowed it with spaces of reality and their representations in the act of narration. The power of her novel arises from its experiment with narrative limits, that of the relationship between human perception and narrative. The stories within this novel dramatize the ways in which human subjects make experience intelligible through the storytelling process, activities mirrored by the narrators and characters in their struggle to bring the novel into being as narrative edifice. The Kindness of Enemies contains two different ages, i.e., 19th-century, twenty-first century and stories which are self-consciously woven into the narrative, they are synthesized through the act of narration. This amalgamation is a journey of space across ages and continents, explores new spaces of discourse; spaces raise questions of home, religion andidentity. Moreover, this juxtaposition creates new methods of discourse and paves for a reasonable and rational understanding of Jihad and terrorism. The Kindness of Enemies deals with the predicament of identity and the requirement to feel of inclusion and secure in a space of alienation and dislocation. Hall states that "this loss of a stable "sense of self" is sometimes called the dislocation or de-centering of the subject. This set of double displacements-de-centering individuals both from their place in the social and cultural world, and from themselves-constitutes a "crisis of identity" for the individual." (Hall, 1996, 597) In this regard, identity enters a zone of multiple ambivalences, moves into many ideological, theological, cultural and

A study of the limits of multilingual literary expression in print culture. Beginning with the insight that multilingual literature defies simple translation, Brian Lennon examines the resistance multilingual literature offers to book publication. Looking closely at the limit of multilingual literary expression and the literary journalism, criticism, and scholarship that comments on multilingual work, In Babel’s Shadow presents a critical reflection on the fate of literature in a world gripped by the crisis of globalization.

U radu se analiziraju suvremeni hrvatski romani obilježeni destrukcijom pripovjedne linearnosti, pri čemu se naglasak u analizama romana stavlja na fabulu. Najprije se teorijski razmatra žanr romana, njegovi konstitutivni elementi te, konačno, fabula i načini gradbe, a zatim
se u analiziranim romanima fokusira na destruiranost njihove fabule te njoj bliskih elemenata: gradbu, likove, pripovjedače, prostor, vrijeme i žanr. Ukazuje se na posljedične povezanosti destruiranja pojedinih elemenata te pokušava prikazati kako to utječe na linearnost naracije. Analizirani su romani Šest smrti Veronike Grabar Lj. Domić, Kutija žigica V. Bobana, Balade o Josipu M. Stojevića, Bizarij J. Horvat i Viljevo L. Bekavca.

“Nowe przygody Królewny Śnieżki. Donald Barthelme i jego szalona bajka” (“New Adventures of Snow White. Donald Barthelme and His Fairy Tale Gone Mad”), afterword to the Polish edition of Donald Barthelme, Królewna Śnieżka (Snow White), Poznań: Dom Wydawniczy Rebis, 1999, pp. 194-201.
“Nowe przygody Królewny Śnieżki. Donald Barthelme i jego szalona bajka” (“New Adventures of Snow White. Donald Barthelme and His Fairy Tale Gone Mad”), posłowie tłumacza do Donald Barthelme, Królewna Śnieżka (Snow White), Poznań: Dom Wydawniczy Rebis, 1999, pp. 194-201.

Jeannette Winterson’s novels can always be studied from a postmodern perspective. Postmodernism, though a loosely-defined term, makes reference to a cultural, intellectual, or artistic condition which does not
have a direct predominant hierarchy, and epitomizes extreme entanglement, discrepancy, uncertainty, diversity, and heterogeneity. In this sense, The Passion (1987) is written to deconstruct the various domineering cultural, social and moral conventions or constructed realities and norms of Western civilisation. Techniques of postmodernism – temporal and spatial distortions, gender roles, parody, pastiche, historiographic metafiction, irony – are often used by postmodernist writers in their works. This article aims to pinpoint that Winterson is resisting dominant ideologies and discourses in The Passion, and trying to reconstruct a free and alternative discourse in the same society through postmodernist techniques in the narrative of the novel.

Suddenly Don Quijote doubts his squire’s embassy. It would be miraculous for Sancho to have returned in just over three days because El Toboso is more than thirty leagues away, seventy-five miles or one hundred and twenty-five kilometers from where Don Quijote was in the Sierra Morena.

« Postmodernité et postradiomorphoses : contexte, enjeux et limites », in Sebastien Poulain (sous la direction de), « La radio du futur : du téléchromophotophonotétroscope aux postradiomorphoses », Cahiers d’histoire de la radiodiffusion, n°132, avril-juin 2017, https://radiodufutur.wordpress.com/2017/10/24/sebastien-poulain-postmodernite-et-postradiomorphoses-contexte-enjeux-et-limites/, http://cohira.fr/cahier-n-132-avril-juin-2017/ et https://fr2.slideshare.net/SebastienPoulain/postmodernit-et-postradiomorphoses-contexte-enjeux-et-limites

The monograph, "John Banville," offers a close analysis of most of Banville’s major novels, as well as the ‘Quirke’ crime novels he has written under the pseudonym Benjamin Black and his dramatic adaptations of Heinrich von Kleist’s plays. From the beginning, Banville’s work has been marked both by the presence of a complex, embedded discourse about the significance of art and by a concurrent self-conscious obsession with its own status as art. His novels perpetually reveal an overt fascination with the visual arts in particular, and with the aesthetic principle of literature as art. This study argues that, as a whole, Banville’s work presents an elaborate and richly-textured coded account of his relationship with art and with the self-referential fictional world that his novels have conjured. It is from this critical context that John Banville’s central argument is derived. This book asserts that Banville’s fiction can be viewed both as an extended interrogation into the meaning and status of art as well as itself being a representative of the type of art that is admired in the pages of the novels. As such, it also represents an extremely sophisticated enactment of the novel form that goes beyond the “self-reflexivity” of late twentieth-century fiction to chart new developments in the literary arts. The book’s critical process involves several specific reference points. Firstly, Banville’s own theoretical statements about art in interviews, essays, reviews and journalistic writing over the past 40 years are synthesized into a coherent interpretation of the author’s artistic vision which is thereafter used as a conceptual touchstone when considering his major works of fiction. This is done in conjunction with investigating specific theoretical perspectives about the relationship between literature and art by critics such as Denis Donoghue and Susan Sontag, and by philosophers of art, Graham Gordon, Etienne Gilson, Peter Lamarque, and Susanne Langer.

Książka "Allotopie. Topografia światów fikcjonalnych" powstała z bardzo przyziemnej potrzeby: stworzenia swego rodzaju kompendium zbierającego teorie fikcji i narracji przydatne w analizowaniu literatury fantastycznej i światotwórczej. W odróżnieniu jednak od większości typowych monografii fantasy i SF tutaj głównym celem stała się próba zrozumienia fenomenu tytułowej allotopii – czyli takiego osobliwego świata, który mimo całej swej fantastyczności dąży do ukazywania się czytelnikowi jako wręcz bardziej realny aniżeli świat rzeczywisty. Z tej jednakowoż racji, że allotopia jest raczej rodzajem fikcyjnego świata niż gatunkiem czy nawet konwencją, przywoływane w książce powieści i cykle powieściowe – m.in. Płasklandia Edwina Abbotta Abbotta, Silmarillion J.R.R. Tolkiena, Peanatema Neala Stephensona czy Inne pieśni Jacka Dukaja – ukazują konieczność interdyscyplinarnego otwarcia badań literaturoznawczych, którym przychodzi nieraz kapitulować przed złożonością obecnych w nich konstrukcji narracyjnych. Opisywany tu szczególny przypadek fantastyki światotwórczej ma w konsekwencji niewiele wspólnego z typowym zabiegiem fantastyki, porywającym czytelnika z przydomowego ogródka do „nibylandii” i dziedziny ułudy – za to o wiele więcej ze świadomym zamieszkaniem w „nigdylandii”, i to w dodatku z wszelkimi konsekwencjami wydziedziczenia z wszystkiego tego, co naturalne, prawdziwe, faktycz¬ne, swojskie i znajome. Allotopii w odróżnieniu od klasycznej fantastyki nie wystarcza zatem proste przeciwstawienie świata zwyczajnego światu niezwyczajnemu dla prostego wydobycia dzielącej je cechy niezwyczajności. Bo choć z pewnością jest wówczas łatwiej odróżnić to, co faktyczne, od tego, co fantastyczne, to nieporównanie już trudniej doświadczyć tego, bez czego allotopia nie miałaby racji bytu – a zatem imersywnego zanurzenia w realia takiego świata, z którym można się do tego stopnia związać, by chcieć doń powracać i móc za nim tęsknić.

Во македонската книжевна критика и воопшто во современата македонска книжевност значајно место зазема Венко Андоновски – писател, поет, есеист, драмски автор, публицист и универзитетски професор. Овој труд претставува осврт кон книжевно-критичката и книжевно-теориската мисла што Андоновски ја презентира во книгата „Дешифрирања (литературни студии)“. Прво се презентираат општи податоци за творештвото на Андоновски, а потоа се елаборираат суштинските специфики на текстовите што се дел од оваа книга. Во заклучокот од овој труд се нагласува дека во книгата „Дешифрирања (литературни студии)“ се елаборираат суштински прашања од повеќе спознајни дисциплини како што се книжевната теорија со нејзините базни поддисциплини (наратологија, драматургија, теорија на поезијата), книжевната историја, книжевната критика, семиологијата и филозофијата.

Postmodern literature, fiction in particular, is, according to Barth (1984), a literature of exhausted possibility due to its entangled thematic and technical approach which defies the conventional modern fictional form. It reflects the zeitgeist or the spirit of postmodernism which is regarded as a revaluation of the modern enterprise; an enterprise that embodies universality and coherence. The present research paper attempts to address the recurrent thematic element that postmodern fiction revolves around: that of the presence of the historiographic element in postmodern fiction which reflects in itself the evaluation of past history; such a fictional preoccupation reflects the major postmodern philosophers' and thinkers' concerns, such as those of Lyotard and Baudrillard, on the impossibility for the existence of a universal coherent history. This criterion is one amongst other criteria that justify the exhaustion of postmodern fiction.

"L' Epoca Lucas" è l' epoca che ha contraddistinto la genesi e lo sviluppo della saga Star Wars prima dell' era Disney, e nel contempo è anche l' epoca che porta, proprio grazie a Lucas, la rivoluzione digitale nel mondo del cinema. Il saggio utilizza il cinema d'animazione quale inedita chiave di lettura della saga e della figura del suo autore, e offre una analisi inedita e approfondita degli aspetti sociologici, estetici e simbolici di un  fenomeno culturale globale che può essere considerato il primo esempio di storytelling  transmediale e di cinema postmoderno.  Testo corredato di note, cronologia comparata e glossario cinematografico.

This paper will deal with the four-part 2008 Tv-series, Lost in Austen, written by Guy Andrews and adaptation of Pride & Prejudice, novel by Jane Austen. Aim of this paper is showing how and why Lost in Austen can be rightfully considered a Pride & Prejudice not only an adaptation, but, to be precise, a postmodern adaptation and try and figure out the effect of this kind of adaptation on the audience. In order to do that I will refer to some of the theories of adaptation and to two of the postmodern theories.

Throughout his literary career, African American novelist Ishmael Reed has shown constant concern for historical issues and for their expression through reflexive narratives. This blend of the historical and the aesthetic is one of the many amalgamations that are achieved in his texts. In terms of both form and ideology his work is characterized by syncretism. In form, all novels he has published to date overstep the boundaries among genres, as well as the gulf between academic and popular culture; in ideology, Reed supports multiculturalism as an expression of the plurality that constitutes US society. This essay explores how Reed's novels seek to produce a narrative hybrid that blends fiction and reality, satire and mysticism, the mass media and the AfrÍcan and Western literary traditions.

Professor Noam Chomsky, one of the greatest linguists in the XXth century, philosopher, cognitive scientist, historian, social critic, and political activist criticizes postmodernism which is infiltrating humanities (literature, discourse analysis, etc.) since the 70s-80s and up to now.

Thomas Pynchon's longest novel to date, Against the Day (2006), excited diverse and energetic opinions when it appeared on bookstore shelves nine years after the critically acclaimed Mason & Dixon. Its wide-ranging plot covers nearly three decades—from the 1893 World's Fair to the years just after World War I—and follows hundreds of characters within its 1085 pages. The book’s eleven essays by established luminaries and emerging voices in the field of Pynchon criticism, address a significant aspect of the novel's manifold interests. By focusing on three major thematic trajectories (the novel's narrative strategies; its commentary on science, belief, and faith; and its views on politics and economics), the contributors contend that Against the Day is not only a major addition to Pynchon's already impressive body of work, but also a defining moment in the emergence of twenty-first century American literature.

To evaluate Ubik, written Philip K. Dick, in terms of postmodernism, this paper is going focus on the characters, their conflicts, experiences and on the general chains of events in the book. In addition to this, this paper is going to examine the main subjects such as reality, existence, perception. Two questions are central to this work : What is human? And, what is real? Deceptive in their simplicity, these questions reach into the core of human culture and our self-examination. Human beings have been puzzled by the nature of existence and intent on reaching an ultimate reality throughout the history; the inquiry is evident in the works of philosophers. In philisophical terms, at least three types of “reality” are prominent in Dick’s work. First is reality as an evolving, continually changing process without a set point. Because of its changing course, we cannot discern the world, yet, we can participate in it. Second is the view of reality as a completely unreachable Other, an entity that is unknown to human beings, and leaves us only with profound skepticism and no final knowledge.Third is a view of reality exists in a separete dimension from the quotidian, chronological world, as a Platonic form that can be discerned through insight, revelation, and even intellectual pursuit.

Il gioco con la tradizione culturale è il vero protagonista dell’opera di Angela Carter. Questo è più che mai vero per "Nights at the Circus", romanzo che reinventa
il genere gotico e quello picaresco per narrare le vicende della donna alata, Fevvers, che sfida audacemente ogni immagine stereotipata di femminilità. In "Nights at the Circus"
l’autrice, instancabile bricoleuse, guarda al retaggio culturale occidentale con occhio attento e disincantato dando vita ad un’opera veloce e briosa, un vero tour de force che trascina il lettore nel gioco della creazione letteraria

The goal of this essay is to explore McEwan’s novel, and highlight within it the use of the different narrative techniques pertaining to Narrative time as proposed by Gerard Genette. More precisely, we will concern ourselves with the notion of the temporal order of the different elements that compose narrative time(s), and their presence in Ian McEwan’s Atonement. As it can be anticipated from the plural of 'time,' McEwan’s postmodern novel is frequently at odds with Gennette’s structuralism; an issue which will define and mold the contents of this essay.

На III Меѓународна научна конференција ФИЛКО што се одржа на 26 и 27 април 2018 година во Штип во коорганизација на Филолошкиот факултет при Универзитетот „Гоце Делчев“ во Штип и Филолошкиот факултет при Воронежкиот државен универзитет во Русија, професорот Ранко Младеноски учествуваше со секциско предавање на тема „Поезијата во романите на Венко Андоновски“. Во текот на секциското предавање беше истакнато дека предмет на анализа во излагањето, всушност, се четирите досега објавени романи на Венко Андоновски: „Азбука за непослушните“ (1994), „Папокот на светот“ (2000), „Вештица“ (2006) и „Ќерката на Математичарот“ (2013). Уште на почетокот беа извршени две суштински дистинкции што се значајни за темата што се елаборира: а) поезија – проза; б) првостепена уреденост на природниот јазик – второстепена уреденост на природниот јазик. Имено, поезијата, едноставно кажано, ја дефинираме како литература во форма на стих со метричка и со стилско-фигуративна уреденост. Прозата, исто така едноставно кажано, ја дефинираме како врзан текст или дискурс којшто не е метрички уреден како поезијата. Во врска со втората дистинкција, беше истакнато дека првостепената уреденост на природниот јазик ја подразбира организираноста на јазикот како систем од знаци од фонолошки и фонетски, морфолошки, лексиколошки и фразеолошки, како и синтаксички аспект, додека второстепената уреденост на природниот јазик подразбира примена на дополнителни правила (норми, законитости) коишто се од фундаментално значење за структурирањето на книжевно-уметничките текстови. Во текот на излагањето беа наведени бројни примери кои ја илустрираат тезата за доминантното присуство на поетскиот израз во четирите романи на Андоновски (версети, парономазија, метафора, компарација, каламбур, метонимија, парадокс и слично) со што се покажа и се докажа оправданоста на избраната тема од насловот на излагањето.

Abstract & Contents Page:
The Routledge Companion to Death and Literature seeks to understand the ways in which literature has engaged deeply with the ever-evolving relationship humanity has with its ultimate demise. It is the most comprehensive collection in this growing field of study and includes essays by Brian McHale, Catherine Belling, Ronald Schleifer, Helen Swift, and Ira Nadel, as well as the work of a generation of younger scholars from around the globe, who bring valuable transnational insights.

Encompassing a diverse range of mediums and genres – including biography and autobiography, documentary, drama, elegy, film, the novel and graphic novel, opera, picturebooks, poetry, television, and more – the contributors offer a dynamic mix of approaches that range from expansive perspectives on particular periods and genres to extended analyses of select case studies. Essays are included from every major Western period, including Classical, Middle Ages, Renaissance, and so on, right up to the contemporary.

This collection provides a telling demonstration of the myriad ways that humanity has learned to live with the inevitability of death, where “live with” itself might mean any number of things: from consoling, to memorializing, to rationalizing, to fending off, to evading, and, perhaps most compellingly of all, to escaping. Engagingly written and drawing on examples from around the world, this volume is indispensable to both students and scholars working in the fields of medical humanities, thanatography (death studies), life writing, Victorian studies, modernist studies, narrative, contemporary fiction, popular culture, and more.

Table of Contents
Introduction

          PART I Traversing the Ontological Divide
          – Introduction

The Final Frontier: Science Fictions of Death
– Brian McHale

"Still I Danced": Performing Death in Ford’s The Broken Heart
– Donovan Sherman

Death and the Margins of Theatre in Luigi Pirandello
– Daniel K. Jernigan

Forbidden Mental Fruit? Dead Narrators and Characters from Medieval to Postmodernist Narratives
– Jan Alber

Literature and the Afterlife
– Alice Bennett

The Novel as Heartbeat: The Dead Narrator in Mike McCormack’s Solar Bones
– Neil Murphy

Dead Man/and Woman Talking: Narratives from Beyond the Grave
– Philippe Carrard

The View from Upstream: Authority and Projection in Fontenelle’s Nouveaux dialogues des morts
– Jessica Goodman

PART II Genres
– Introduction

Big Questions: Re-Visioning and Re-Scripting Death Narratives in Children’s Literature
– Lesley D. Clement

In the U-Bend with Moaning Myrtle: Thinking about Death in YA Literature
– Karen Coats

Death and Mourning in Graphic Narrative
– José Alaniz

Death and Documentaries: Heuristics for the Real in an Age of Simulation
– Benjamin Bennett-Carpenter

Death and the Fanciulla
– Reed Way Dasenbrock

Death, Literary Form, and Affective Comprehension: Primary Emotions and the Neurological Basis of Genre
– Ronald Schleifer

PART III Site, Space, and Spatiality
– Introduction

Ecocide and the Anthropocene: Death and the Environment
– Flore Coulouma

A Disney Death: Coco, Black Panther, and the Limits of the Afterlife
– Stacy Thompson

Suicide in the Early Modern Elegiac Tradition
– Kelly McGuire

Institutions and Elegies: Viewing the Dead in W. B. Yeats and John Wieners
– Barry Sheils and Julie Walsh

Death "after Long Silence": Auditing Agamben’s Metaphysics of Negativity in Yeats’s Lyric
– Samuel Caleb Wee

The Spatialization of Death in the Novels of Virginia Woolf
– Ian Tan

"Memento Mori": memory, Death, and Posterity in Singapore’s Poetry
– Jen Crawford

PART IV Rituals, Memorials, and Epitaphs
– Introduction

Death and the Dead in Verse Funerary Epigrams of Ancient Greece
– Arianna Gullo

Fictional Will
– Helen Swift

Monumentalism, Death, and Genre in Shakespeare
– John Tangney

Death and Gothic Romanticism: Dilating in/upon the Graveyard, Meditating among the Tombs
– Carol Margaret Davison

Death, Literature, and the Victorian Era
– Jolene Zigarovich

The Aura of the Phonographic Relic: Hearing the Voices of the Dead
– Angela Frattarola

Anecdotal Death: Samuel Johnson’s Lives of the English Poets
– Laura Davies

Biography: Life after Death
– Ira Nadel

PART V Living with Death: Writing, Mourning, and Consolation
– Introduction

"An immense expenditure of energy come to nothing": Philosophy, Literature, and Death in Peter Weiss’s Abschied von den Eltern
– Christopher Hamilton

Paradox, Death, and the Divine
– Jamie Lin



Inner Seeing and Death Anxiety in Aidan Higgins’s Blind Man’s Bluff and Other Life Writing
– Lara O’Muirithe

Autothanatography and Contemporary Poetry
– Ivan Callus

When Time Stops: Death and Autobiography in Contemporary Personal Narratives
– Rosalía Baena

"Grief made her insubstantial to herself": Illness, Aging, and Death in A. S. Byatt’s Little Black Book of Stories
– Graham Matthews

PART VI Historical Engagements
– Introduction

On the Corpse of a Loved One in the Era of Brain Death: Bioethics and Fictions
– Catherine Belling

Death to the Music of Time: Reticence in Anthony Powell’s Mediated Narratives of Death
– Catherine Hoffmann

Death and Chinese War Television Dramas: (Re)configuring Ethical Judgments in The Disguiser
– W. Michelle Wang

Where Do the Disappeared Go? Writing the Genocide in East Timor
– Kit Ying Lye

"Doubtfull Drede": Dying at the End of the Middle Ages
– Walter Wadiak

Urbanization, Ambiguity, and Social Death in Charles Brockden Brown’s Arthur Mervyn
          – Wanlin Li

  42.  Coda

          – Julian Gough

Проблема постмодернізму як цілісного феномена сучасного мистецтва лише на початку 80-х років ХХ ст. була поставлена на порядок денний західними теоретиками, які спробували об'єднати у єдине ціле розрізнені явища культури останніх десятиріч, що визначалися як постмодерністські. Щоб об'єднати численні " постмодернізми " в одну велику течію, стали шукати єдину методологічну основу й однакові засоби аналізу.

Nadie nos mira / José Luís Peixoto; traducción y prólogo Begoña Montorio Uribarren. – Bogotá: Universidad de los Andes, Facultad de Artes y Humanidades, Departamento de Humanidades y Literatura, Ediciones Uniandes, 2018.
202 páginas; 15 x 24cm. – (Colección Labirinto)
ISBN 978-958-774-673-0

adie nos mira desarrolla la vida de dos generaciones en un pequeño poblado rural, acuciado por la soledad, los celos y la muerte. Los perso- najes son pastores, carpinteros, taberneros, sus mujeres e hijos, es decir, son personas comunes, últimos eslabones en el orden social humano. Para todos, hombres y mujeres, la vida parece un juego cuyo discurrir no puede ser cuestionado, apenas padecido, como no se cuestiona al destino. Un callejón sin salida cuyo ritmo es marcado por la aparición de un gigante o por las palabras del diablo.
No hay rastro de religiosidad, de trascendencia: nadie pide por una vida diferente, más allá de lo evidente está solamente lo monstruoso. Los pobladores no tienen a quién pedirle, nunca se les oye rezar. No es que no tengan fe, es que no existe algo como la fe. Hay un sol inmenso y todo el calor y la luz del verano alentejano. Ese calor insoportable, yermo, de luz blanquecina, típicamente portugués, ilumina tanto el escenario que nos enceguece. Nos impide mirar, les impide mirar. Quizá es el mismo el que le impide al dios omnipresente mirarlos. Esta luminosidad es luz expuesta, proyectada, que guarda, que está preñada, de toda la oscuridad y frío del porvenir. El calor del final del verano es el cansancio del sol; todo lo que viene es su falta.
Nadie nos mira nos narra con sus diferentes voces los sentires y pesares de estos pobladores con una prosa que bien merece el adjetivo de poética: por el uso de los adjetivos, por el interés en los instantes más que en el transcurrir de los hechos y por la musicalidad y el ritmo. Ritmo que, en este caso, es una marcha fúnebre. Marcha de orquesta de pueblo, que se encamina a la muerte de todo, incluso de la muerte, bajo el sol inclemente de un mediodía de verano.

Alongside with the technological improvements in science, people progressively understand the mystery of the most important unit of genetic information: DNA. In order to cure diseases, genetic engineers have been trying to find the right medicines by conducting experiments on artificial selection, transformation and regeneration.  Scientists even managed to create copies of DNA fragments, a process called “cloning”  and in 1996 there happened to be the first copy of a living organism, the sheep Dolly. This whole process of creation in science could be considered as the sign of a God-like power. However, experiments on genes gave rise to several fears of “uncanny” as can be observed in different conspiracy website forums as well as in the broad field of science-fiction films. As Magalhães and Dinello stated, science has been evolving so rapidly that the postmodern society started to shelter the anxieties of being replaced by a copy, or automation (Dinello, 2005; Magalhães, 1997). Vincenzo Natalie’s film Splice (2009) is a reflection of these anxieties along with some other tensions of postmodern society. The dark and gloomy tone of the opening music in the film alerts the audience for the forthcoming technophobia though the film seems to embrace a lovely family portrayal through the middle. This technophobic stand of the film derives from the mixture of genres, science-fiction and horror. This paper is in an attempt to review the film, Splice from a postmodern perspective and mainly its two outcomes, feminism and interpretations of Freudian sexuality with regard to the issues of “otherness” and “identity”.

Elements of Postmodernism in The House of the Spirits. The House of the Spirits, which is written by Isabel Allende, was published in 1982 to become Allende's best seller and boost her to stardom. Allende, who was born on August 2, 1942, Lima, Peru, is considered one of the first successful women novelists from Latin America. In her debut novel, The House of the Spirits, she tells the story of the Trueba family over several generations. The events take place in a South American country and chronicle the social and political forces that have an effect on the family's fate (Britannica). This paper examines the novel from the perspective of postmodernism. It indicates the writer's use of postmodern strategies and techniques to subvert the power of the dictators who ruled Chile and give voice to the marginalized that were under severe oppressive conditions. The novel starts with narrating the events of Esteban Trueba's marriage to Clara del Valle, who has supernatural powers and can communicate easily with the world of spirits. They have a daughter called Blanca, and twin sons. Esteban has political ambitions which take him to the country's senate, and he is against left-wing reform efforts.

When it was first published, many Black writers condemned William Styron's biographical novel The Confessions of Nat Turner. What few scholars have noticed is that there were many Black intellectuals who defended and even supported Styron and his novel. Is there a way to explain the different responses? I argue that there is. Black separatists (Vincent Harding, John Henrik Clark, Charles Hamilton, and John Oliver Killens, to mention only a few) faulted Styron and his novel, while Black integrationists (James Baldwin, John Hope Franklin, and J. Saunders Redding, to mention only a few) defended Styron and his novel. What differentiated Black writers was an intellectual orientation: Black separatists have an atomistic conception of human identity, which leads them to treat groups of people as ontologically separate and distinct. Given this approach, Black separatists treat homosexuals as separate and distinct from heterosexuals, and in the writings of prominent Black separatists, they say disgraceful things about gay people. By stark contrast, Black integrationists deconstruct binaries like black and white as well as gay and straight. Not surprisingly, black integrationists have a much more positive approach to homosexuals than black separatists. If we approach Styron's novel through an integrationist lens, we will arrive at a very different interpretation than the Black separatists.