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Literary movements are a way to divide literature into categories of similar philosophical, topical, or aesthetic features, as opposed to divisions by genre or period. Like other categorizations, literary movements provide language for comparing and discussing literary works.
A directional meaning usually involves motion in a particular direction ("Kay went to the store"), the direction in which something leads or points ("A path into the woods"), or the extent of something ("The fog stretched from London to Paris"). A static meaning indicates only a location ("at the store", "behind the chair", "on the moon").
Felski named Michael Polanyi as an important precursor to the project of postcritique. [9] Polanyi had discussed the 'Post-critical'. According to the French philosopher Paul Ricœur, the style of thinking associated with critique began with the work of Karl Marx, Friedrich Nietzsche, and Sigmund Freud. [10]
Literary theory is the systematic study of the nature of literature and of the methods for literary analysis. [1] Since the 19th century, literary scholarship includes literary theory and considerations of intellectual history, moral philosophy, social philosophy, and interdisciplinary themes relevant to how people interpret meaning. [1]
This, he claims, explains the preponderance of pop culture references in postmodern literature: It was in post-atomic America that pop influences on literature became something more than technical. About the time television first gasped and sucked air, mass popular U.S. culture seemed to become High-Art-viable as a collection of symbols and myth.
Literature of the 20th century refers to world literature produced during the 20th century (1901 to 2000).. The main periods in question are often grouped by scholars as Modernist literature, Postmodern literature, flowering from roughly 1900 to 1940 and 1960 to 1990 [1] respectively, roughly using World War II as a transition point.
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Third, he alludes to the notion that the capabilities of literature have been exhausted, and thus to the idea of the death of the novel (all of this is explicit, critical indirect metafiction). Fourth, he covertly foregrounds the fact that the characters in the novel are fictional characters, rather than masking this aspect, as would be the ...