This book explores the ways in which Nabokov and Pynchon manipulate fictional strategies to de-familiarize our perceptions of everyday objects and people. Estranging everyday perceptions allows us to more intensely examine critical issues of morality and identity that have become exhausted with over-examination to the point of cliché.
This book explores the ways in which Nabokov and Pynchon manipulate fictional strategies to de-familiarize our perceptions of everyday objects and people. Estranging everyday perceptions allows us to more intensely examine critical issues of morality and identity that have become exhausted with over-examination to the point of cliché.
Melissa Lam is a faculty member of the English department at the Chinese University of Hong Kong. She specializes in Contemporary Literature and is currently working on her next book project, on the subject of Chinese magical realism and the Asian Diaspora. Lam is a graduate of McGill and Canterbury Universities.
Inhaltsangabe
Chapter 1 Dedication Chapter 2 Introduction Chapter 3 Section I: Lolita Chapter 4 1.) Trickery and Linguistic Deviance Chapter 5 2.) Freud and American Suburbia Chapter 6 3.) Defamiliarization and Landscape Chapter 7 4.) The Underworld: America as a Movie Chapter 8 5.) The Resuscitation of the Romance Genre Chapter 9 6.) Defamiliarization and Language Chapter 10 Conclusion Chapter 11 Section II: The Crying Lot 49 Chapter 12 7.) The Inside-Outsider: Defamiliarization and the Narrator Chapter 13 8.) Illegitimacy and Disruptive Imagination Chapter 14 9.) W.A.S.T.E. Everywhere: Pynchon at the Movies Chapter 15 10.) 'The Direct Apocalyptic Word': Defamiliarization and Bakhtin Chapter 16 Conclusion Chapter 17 Final Remarks Chapter 18 Bibliography Chapter 19 End Notes Chapter 20 Index Chapter 21 About the Author
Chapter 1 Dedication Chapter 2 Introduction Chapter 3 Section I: Lolita Chapter 4 1.) Trickery and Linguistic Deviance Chapter 5 2.) Freud and American Suburbia Chapter 6 3.) Defamiliarization and Landscape Chapter 7 4.) The Underworld: America as a Movie Chapter 8 5.) The Resuscitation of the Romance Genre Chapter 9 6.) Defamiliarization and Language Chapter 10 Conclusion Chapter 11 Section II: The Crying Lot 49 Chapter 12 7.) The Inside-Outsider: Defamiliarization and the Narrator Chapter 13 8.) Illegitimacy and Disruptive Imagination Chapter 14 9.) W.A.S.T.E. Everywhere: Pynchon at the Movies Chapter 15 10.) 'The Direct Apocalyptic Word': Defamiliarization and Bakhtin Chapter 16 Conclusion Chapter 17 Final Remarks Chapter 18 Bibliography Chapter 19 End Notes Chapter 20 Index Chapter 21 About the Author
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