Narrating Postmodern Time and Space by Joseph Francese
By Joseph Francese
Francese defines postmodern writing and distinguishes it from modernist prose by way of bringing up the examples of 2 smooth and 3 postmodern authors: Italo Calvino, John Barth, Toni Morrison, E. L. Doctorow, and Antonio Tabucchi. whereas the modernist narratives of Calvino and Barth try to assimilate what's different, the postmodern narratives of Morrison, Doctorow, and Tabucchi realize diversities that can't be assimilated, as an alternative searching out exterior, communicative assets of authentication. To an outstanding volume, those adjustments in narrative procedure are a reaction to alterations in actual dwelling stipulations, specifically, our converted notion of area and the novel shortening of time horizons because of fresh innovative advances in info know-how. even supposing Morrison, Doctorow, and Tabucchi range of their stylistic responses to those adjustments, their narratives suggest a collective restoration of the prior right into a future-oriented current and function examples of the way literature can interfere in background, instead of only reflecting and acquiescing to it.
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Extra resources for Narrating Postmodern Time and Space
Page 22 Calvino's career are characterized by "an increasing tension between his aspirations for his fiction and the fear that the longedfor conversion of writing and action, praxis and poiesis, is mere sleight of hand" ("Italo Calvino: The Last Two Decades" 51). There he wrote of the waning of any pretense he may have previously had of "interpreting and guiding a historical process" and the assertion of "a posture of systematic perplexity" (viii) that in his later years would subtend the projected construction of a grand design.
The original mark Qfwfq traces in the galactic void is designated a sign because it can be recognized as such "without risk of error" (42). Through identity, reality is constructed and space is given shape: both are structured in relation to the subject. The constitution of identity and consequently the ability to distinguish self from other (in this case Qfwfq from Ursula H'x and Fenimore) opens the door to the understanding that "space with something in it and empty space are not the same thing" (144).
Having established his subjectivity (I am, therefore I create space and time intellectually, therefore I write, as it were) he is empowered to perceive and then to construct a systematic knowledge of the external world. He thus attributes to a sign he has made an objective quality that leads him to distinguish it from a second, more subjective sign (also of his hand), hypostatizing the first. Once the sign exists outside or independently of the self, it can supposedly establish individual identity objectively, enabling him to then reverse the direction of his original concatenation of thoughts.