Giới thiệu về tiểu thuyết hậu hiện đại Cambridge

Trường đại học

University of Portsmouth

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Ẩn danh

Thể loại

introduction

2009

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40.000 VNĐ

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Acknowledgements

Preface: reading postmodern fiction

Introduction: postmodernism and postmodernity

1. Chapter 1: Postmodern fiction: theory and practice

1.1. An incredulity towards realism

1.2. What postmodern fiction does

1.3. How to read postmodern fiction

2. Chapter 2: Early postmodern fiction: Beckett, Borges, and Burroughs

2.1. Samuel Beckett

2.2. Jorge Luis Borges

2.3. William Burroughs

3. Chapter 3: US metafiction: Coover, Barth, Nabokov, Vonnegut, Pynchon

3.1. Barth’s Funhouse and Coover’s Descants

3.2. Vladimir Nabokov, Pale Fire

3.3. Kurt Vonnegut, Slaughterhouse-Five

3.4. Thomas Pynchon

4. Chapter 4: The postmodern historical novel: Fowles, Barnes, Swift

4.1. Historiographic metafiction

4.2. British historiographic metafiction

4.3. John Fowles, The French Lieutenant’s Woman

4.4. Graham Swift, Waterland

4.5. Julian Barnes, Flaubert’s Parrot

5. Chapter 5: Postmodern-postcolonial fiction

5.1. Salman Rushdie, Midnight’s Children

5.2. Toni Morrison, Beloved

5.3. Ishmael Reed, Mumbo Jumbo

6. Chapter 6: Postmodern fiction by women: Carter, Atwood, Acker

6.1. Angela Carter

6.2. Margaret Atwood

6.3. Kathy Acker

7. Chapter 7: Two postmodern genres: cyberpunk and ‘metaphysical’ detective fiction

7.1. Sci-fi and cyberpunk

7.2. William Gibson, Neuromancer

7.3. Detective fiction

7.4. Jorge Luis Borges, ‘Death and the Compass’

7.5. Umberto Eco, The Name of the Rose

7.6. Paul Auster, City of Glass

8. Chapter 8: Fiction of the ‘postmodern condition’: Ballard, DeLillo, Ellis

8.1. Conclusion: ‘ficto-criticism’

8.2. J. Ballard, Crash

8.3. Don DeLillo, White Noise and Libra

8.4. Bret Easton Ellis, American Psycho

References

Index