By Michael Greaney; Palgrave Connect (Online service)
Modern Fiction and the makes use of of idea is a research of the reception and illustration of severe idea in literary fiction because the Nineteen Sixties. regardless of its popularity because the bete noire of inventive writers, serious conception has turn into an important innovative source for authors of up to date fiction, who've pitched vigorously into debates round the dying of the writer, the dying of humanism, the increase of feminism, the emergence of 'hyperreality'. This topical learn examines the formidable 'novelizations' of radical literary conception within the paintings of AS Byatt, Angela Carter, Mark Z. Danielewksi, Umberto Eco, John Fowles, David resort, Richard Powers, and so on. It deals a entire research of the 'post-theoretical' novel, and lines an alternate background of the 'theory wars' within the pages of contemporary literary fiction. learn more... advent: Fiction in(to) conception -- The Structuralist Novel -- From Structuralism to Dialogics -- The tradition Wars and past -- The Vanishing writer -- Foucauldian Fictions -- Feminism as opposed to Poststructuralism -- legal symptoms: homicide in conception -- the radical in Hyperreality -- end: Fiction After idea
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Extra info for Contemporary fiction and the uses of theory : the novel from structuralism to postmodernism
He does so by forging a problematic alliance between university fiction and an older genre, variously known as the ‘Industrial Novel’ or the ‘Condition of England novel’. Nice Work is steeped in allusions to and echoes of this tradition: it contains a series of epigraphs from Victorian texts by Dickens, Gaskell and Charlotte Brontë; its dramatic content deliberately echoes scenes and situations from such texts as North and South and Howards End; and its heroine, Dr Robyn Penrose, is an expert in the Victorian social problem novel.
Gilbert and Gubar’s ‘academic melodrama’ also strikes boldly into the no-man’s-land between criticism and fiction, advertising as it does so the fact that, whatever the powerful tensions between radicals and conservatives, both camps are ‘alienated from the real practices and producers The ‘Culture Wars’ and Beyond 43 of the art’ (xix). Accordingly, Masterpiece Theatre aligns itself with those ‘real practices and producers’ of art as against its fractious professional consumers. Only creative writers and writer-critics – Carolyn Heilbrun, Ursula K.
But though McGarrigle picks up a smattering of knowledge about such developments in theory, the education he receives in Small World, as is often the case in campus novels, is largely non-academic: geographical, cultural, financial and sexual. Small World thus provides the amateur reader with an education in the basics of contemporary theory whilst ironically questioning the value and limitations of that education. One notable sign of critical theory’s ascendancy in Lodge’s global republic of letters is its ability to attract the kudos that once attached to creative writing.