Die Synthese aus Realismus und Experiment
Der englische Roman der 1980er und 1990er Jahre aus erzähltheoretischer und kulturwissenschaftlicher Sicht
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Diese Studie untersucht den Zusammenhang zwischen den formalen Besonderheiten und dem Gesellschaftsbezug des englischen Romans der 1980er und 1990er Jahre. Zur Beschreibung der für diesen Zeitraum besonders charakteristischen Synthese aus experimentellen und realistischen Darstellungsverfahren wird ein Modell entwickelt, das auf den Kriterien der Illusionsbildung, des Wirklichkeitsbezugs, der Selbstreflexivität sowie der intertextuellen und intermedialen Bezüge basiert.His study examines the intricate interrelations between ethics and the postmodern critique of history in three British nove...
Diese Studie untersucht den Zusammenhang zwischen den formalen Besonderheiten und dem Gesellschaftsbezug des englischen Romans der 1980er und 1990er Jahre. Zur Beschreibung der für diesen Zeitraum besonders charakteristischen Synthese aus experimentellen und realistischen Darstellungsverfahren wird ein Modell entwickelt, das auf den Kriterien der Illusionsbildung, des Wirklichkeitsbezugs, der Selbstreflexivität sowie der intertextuellen und intermedialen Bezüge basiert.
His study examines the intricate interrelations between ethics and the postmodern critique of history in three British novels of the 1980s: Graham Swift's Waterland (1983), Penelope Lively's Moon Tiger (1987), and Julian Barnes' A History of the World in 10 1/2 Chapters (1989). All three novels have been classified as paradigmatic examples of historiographic metafiction, arguably the most important subgenre of postmodern historical fiction. Whereas many critics have suggested that only the moderate type of postmodern historical fiction, i.e. revisionist historical fiction, has an ethical dimension and that, in contrast, the radical destabilization of historical representation in historiographic metafiction is indifferent, even inimical, to ethics, this study contends that the self-reflexive examination of history and historiography in all three narratives is intricately linked with moral-ethical concerns. Taking into consideration the recent "ethical turn" within literary studies and drawing on contemporary moral philosophy as well as French ethical theory of the 20th century (Lyotard, Levinas), it is argued that the novels by Swift, Lively, and Barnes do not endorse a relativistic "anything goes" approach. Rather than being hostile to ethics, all three narratives are intimately concerned with ethical issues, albeit in a fashion that differs quite substantially from what traditional ethical criticism has deemed to be ethical in and about fiction.
Zielgruppe/Target groups: Anglisten
His study examines the intricate interrelations between ethics and the postmodern critique of history in three British novels of the 1980s: Graham Swift's Waterland (1983), Penelope Lively's Moon Tiger (1987), and Julian Barnes' A History of the World in 10 1/2 Chapters (1989). All three novels have been classified as paradigmatic examples of historiographic metafiction, arguably the most important subgenre of postmodern historical fiction. Whereas many critics have suggested that only the moderate type of postmodern historical fiction, i.e. revisionist historical fiction, has an ethical dimension and that, in contrast, the radical destabilization of historical representation in historiographic metafiction is indifferent, even inimical, to ethics, this study contends that the self-reflexive examination of history and historiography in all three narratives is intricately linked with moral-ethical concerns. Taking into consideration the recent "ethical turn" within literary studies and drawing on contemporary moral philosophy as well as French ethical theory of the 20th century (Lyotard, Levinas), it is argued that the novels by Swift, Lively, and Barnes do not endorse a relativistic "anything goes" approach. Rather than being hostile to ethics, all three narratives are intimately concerned with ethical issues, albeit in a fashion that differs quite substantially from what traditional ethical criticism has deemed to be ethical in and about fiction.
Zielgruppe/Target groups: Anglisten