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Postmodernism and the culture of the...

van Delden, Maarten Hendrik.

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Postmodernism and the culture of the 1960s: The examples of Carlos Fuentes and Thomas Pynchon (Mexico).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Postmodernism and the culture of the 1960s: The examples of Carlos Fuentes and Thomas Pynchon (Mexico)./
作者:	van Delden, Maarten Hendrik.
面頁冊數:	477 p.
附註:	Director: Jean Franco.
Contained By:	Dissertation Abstracts International52-02A.
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9118658

Postmodernism and the culture of the 1960s: The examples of Carlos Fuentes and Thomas Pynchon (Mexico).
van Delden, Maarten Hendrik.

Postmodernism and the culture of the 1960s: The examples of Carlos Fuentes and Thomas Pynchon (Mexico). - 477 p.

Director: Jean Franco.

Thesis (Ph.D.)--Columbia University, 1990.

The study of postmodernism stands in need of a more developed sense of the cultural context out of which it emerged. Through an analysis of works by Carlos Fuentes and Thomas Pynchon, I propose to show how postmodernist fiction is rooted in the culture of the 1960s.Subjects--Topical Terms:

735016
Anthropology, Cultural.

Postmodernism and the culture of the 1960s: The examples of Carlos Fuentes and Thomas Pynchon (Mexico).
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100 1 $a van Delden, Maarten Hendrik. $3 1260236
245 1 0 $a Postmodernism and the culture of the 1960s: The examples of Carlos Fuentes and Thomas Pynchon (Mexico).
300 $a 477 p.
500 $a Director: Jean Franco.
500 $a Source: Dissertation Abstracts International, Volume: 52-02, Section: A, page: 0532.
502 $a Thesis (Ph.D.)--Columbia University, 1990.
520 $a The study of postmodernism stands in need of a more developed sense of the cultural context out of which it emerged. Through an analysis of works by Carlos Fuentes and Thomas Pynchon, I propose to show how postmodernist fiction is rooted in the culture of the 1960s.
520 $a The 1960s were characterized by an oscillation between apocalyptic and utopian moods. The culture wavered between the view that the destructive forces unleashed in this century were about to result in the world's annihilation, and the opposite conviction that the world was on the verge of a grand, emancipatory transformation. What these views share is that they assume a shattering of the present structure of the world; to this extent, they reflect the sense of a "loss of reality" which Jean-Francois Lyotard regards as the essential feature of the postmodern condition.
520 $a Fuentes's early novels evolve out of certain aspects of existentialist philosophy and modernist aesthetics. An analysis of these aspects of his early work reveals a fundamental urge to reconcile the desire for innovation and transformation with a longing for cultural rootedness. Fuentes's absorption of postmodernist literary techniques into his work of the mid-1960s reflects an intensification of the impulse toward liberation, but at the same time generates a counter-vision of entrapment and oppression.
520 $a Pynchon's early work derives from the modernist tradition and the Beat sensibility. Pynchon's parodic appropriation of these currents is in the service of a bleak vision of the dehumanizing effects of modern history. In The Crying of Lot 49, on the other hand, the problem is less the crushing force of history, than its sheer inaccessibility.
520 $a A comparison of Gravity's Rainbow and Terra nostra reveals how Pynchon and Fuentes gravitate toward opposite poles of the cultural dialectic of the 1960s: Fuentes's utopian vision of the redemptive powers of eros, revolution and art contrasts with Pynchon's conviction that the West is enthralled by a culture of death that promises inevitable destruction. A look at recent work by these two authors reveals how they have begun to move away from the positions they held in the 1960s.
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650 4 $a Literature, American. $3 1017657
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9118658