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Trauma, postmodernism, and the after...

Crosthwaite, Paul, (1980-)

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Trauma, postmodernism, and the aftermath of World War II

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Trauma, postmodernism, and the aftermath of World War II/ Paul Crosthwaite.
作者:	Crosthwaite, Paul,
出版者:	Basingstoke [England] ;Palgrave Macmillan, : 2009.,
面頁冊數:	1 online resource (vii, 222 p.)
附註:	Description based on print version record.
內容註:	War, trauma, postmodernism -- Gravity's rainbow and traumatic modelsof history -- "A secret code of pain and memory": traumatic repetitionin the fiction of J.G. Ballard -- Total war and the English stream-of-consciousness novel: from Mrs Dalloway to Mother London -- Their fathers' war: negotiating the legacy of World War II in Prisoner's dilemma and Atonement.
標題:	American fiction - History and criticism. - 20th century -
電子資源:	http://link.springer.com/10.1057/9780230594722access to fulltext (Palgrave)
ISBN:	0230594727 (electronic bk.)

Trauma, postmodernism, and the aftermath of World War II
Crosthwaite, Paul,1980-

Trauma, postmodernism, and the aftermath of World War II[electronic resource] /Paul Crosthwaite. - Basingstoke [England] ;Palgrave Macmillan,2009. - 1 online resource (vii, 222 p.)

Description based on print version record.

Includes bibliographical references (p. 182-217) and index.

War, trauma, postmodernism -- Gravity's rainbow and traumatic modelsof history -- "A secret code of pain and memory": traumatic repetitionin the fiction of J.G. Ballard -- Total war and the English stream-of-consciousness novel: from Mrs Dalloway to Mother London -- Their fathers' war: negotiating the legacy of World War II in Prisoner's dilemma and Atonement.

The radical, 'postmodernist' waves of experimentation that swept Anglo-American fiction from the late 1960s constitute a delayed response to the upheavals of the Second World War, yet the legacy of the war barely figures in prevalent accounts of the postmodernist movement. As PaulCrosthwaite shows in this provocative book, to recognize the significance of the war in contemporary culture is to acknowledge that postmodernism, as a sensibility, aesthetic style, and mode of thought, must be entirely reconceived. Challenging dominant theorizations of the postmodern as depthless and dehistoricized, Crosthwaite demonstrates that postmodernism has not abandoned history but has rather reformulated it in terms of trauma, trauma that is traceable, time and again, to the catastrophes of the 1940s. The book stages a revealing confrontation between influential theories of trauma and postmodernism and offers innovative close readings of key texts by Virginia Woolf, Thomas Pynchon, Michael Moorcock, J.G. Ballard, Richard Powers and Ian McEwan.

ISBN: 0230594727 (electronic bk.)

Standard No.: 10.1057/9780230594722doiSubjects--Topical Terms:

541495
American fiction
--History and criticism.--20th centuryIndex Terms--Genre/Form:

542853
Electronic books.

LC Class. No.: PR888.W66 / C76 2009eb

Dewey Class. No.: 823/.91209358

Trauma, postmodernism, and the aftermath of World War II
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520 $a The radical, 'postmodernist' waves of experimentation that swept Anglo-American fiction from the late 1960s constitute a delayed response to the upheavals of the Second World War, yet the legacy of the war barely figures in prevalent accounts of the postmodernist movement. As PaulCrosthwaite shows in this provocative book, to recognize the significance of the war in contemporary culture is to acknowledge that postmodernism, as a sensibility, aesthetic style, and mode of thought, must be entirely reconceived. Challenging dominant theorizations of the postmodern as depthless and dehistoricized, Crosthwaite demonstrates that postmodernism has not abandoned history but has rather reformulated it in terms of trauma, trauma that is traceable, time and again, to the catastrophes of the 1940s. The book stages a revealing confrontation between influential theories of trauma and postmodernism and offers innovative close readings of key texts by Virginia Woolf, Thomas Pynchon, Michael Moorcock, J.G. Ballard, Richard Powers and Ian McEwan.
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