Such fiction, Hutcheon notes, ‘problematize(s) the entire question of historical knowledge’ (‘Pastime’ 474), and it is this which differentiates it from ‘straight’ or ‘representative’ historical fiction, a genre of which the Victorians themselves were particularly fond. They display a self–conscious awareness of the constructedness of history and historiography, self–reflexivity, and a tendency towards ludic intertextuality, all characteristics of what Linda Hutcheon has called ‘historiographic metafiction’ (‘Pastime’ 474), now itself an indispensable term. Engaged in a project of rewriting, reconstructing or rediscovering the nineteenth century, these novels often identify themselves as direct descendents of postmodernist fiction. The latter years of the twentieth century saw the flourishing of a literary sub– genre that has come to be known as neo–Victorianism. Keywords: Disillusionment, Pragmatic Intertexuality, Subconscious Pastiche, Modes of Being, Celebration over lamentation. The Postmodernism reading insisted to analyse the novel as modes of being which is shifted from the modes of glitches. The paper focuses on the intertexual analysis of the two novels especially with Pragmatic Intertexuality and Subconscious Pastiche. Michael Cunningham, an American Novelist whose work The Hours (1998) is an interwoven novella associated to the life of Virginia Woolf and the characters in her novel Mrs. She ended her life by suicide which is always reflected in her literary works. Dalloway (1925) used the modernist technique of stream of consciousness. Virginia Woolf, a modernist English writer whose novel Mrs. It did not insist the lamentation on the disenchantment of the modernism rather it celebrated the fragmentation during the post-war era. It included a variety of approaches which is well-defined by irony, paradox, pastiche, irrational thought process. It is not considered against Modernism rather it is a reaction to modernism which is influenced by the disillusionment after the two world wars. ![]() Keywords: Feminism, postmodernism, women, male domination, and sexual abuseĪbstract Postmodernism is a wide movement started from the late of twentieth century in the disciplines of art, architecture, philosophy literature and criticism. Conclusion: Atwood has presented a feminist approach in her novels to depict the rise of female rebellion against gender chauvinism. Women in different contexts in these novels have gone through a long journey to find their identity and invigorate themselves as individuals with right to live without being governed by men and societal customs. Results: All the novels have portrayed women as the victim of societal norms and prejudice that makes her vulnerable to the dominance of her male counterpart. Search of electronic databases included GoogleScholar, EbscoHost, and ProQuest to find scholarly books and articles, appraising the selected novels. Methods: A qualitative research design has been selected for this study by collecting data through selection of the evidences pertaining to the chosen novels for review. Hence, the novels “The Edible Woman”, “Bodily Harm”, “Surfacing”, and “the Handmaid’s tale” are assessed. The aim of this research is to explore the construct of feminism within the novels written by Margaret Atwood. Consequently, women have emerged as individuals with greater strength in the context of sexual exploitation, to resist abuse by male prejudiced society. ![]() I will attempt to establish how these two traditionally conflicting modes coexist and interact in Ragtime.Ībstract Background: The development of understanding among women, related to the rise of consciousness, has resulted in rise against oppression and male domination. This analysis will lead to an examination of the problematic collusion of the mostly white, male, patriarchal aesthetics of postmodernism and feminist politics in the novel. ![]() Thus, on the one hand, I will focus on issues of uncertainty, indeterminacy of meaning, plurality and decentering of subjectivity on the other hand, I will examine the novel’s attitude towards gender oppression, violence and objectification, its denunciation of hegemonic gender configurations and its voicing of certain feminist demands. I will explore Ragtime’s indebtedness to postmodern aesthetics and themes, but also its feminist elements. The purpose of this paper will be two-fold. This is certainly the case of Doctorow’s fourth and most successful novel, Ragtime. Yet, these novels have an eminently social and ethical scope that may be best perceived in their intellectual engagement and support of feminist concerns. Many critics of Doctorow have classified him as a postmodernist writer, acknowledging that a wide number of thematic and stylistic features of his early fiction emanate from the postmodern context in which he took his first steps as a writer.
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