Comic Sense - 15 Angebote vergleichen

Von Händler/Antiquariat, BuySomeBooks [52360437], Las Vegas, NV, U.S.A.
Paperback. 197 pages. Dimensions: 9.4in. x 6.5in. x 0.9in.The idea for this study came to me in the course of my reading of innova tive US-American! fiction of the last three decades. I observed that much of it is cast in the comic mode - or, more precisely, that there seems to be in contemporary fiction an affinity between innovation and the comic and that this affinity, furthermore, appears to be characteristic of postmo dernism. It is obvious, at the same time, that comic has become an elusive and, more often than not, a disputable category. Frederick Karl, in his sur vey of American Fictions 1940-1980, maintains, for instance, that much comic writing consists in ridicule that lacks deeper intellectual and cul tural roots. Wit and mockery, he notes, by themselves have little lasting value. Even in the best of such fiction, Gravitys Rainbow, one is made aware of attenuated skits stiched onto previous segments, rather than baked in by a defined point of view. (Karl: 27) Such assessments of course challenge my view that the comic is in significant ways connected with what is innovative in postmodernist US-American fiction. Yet the term comic -or related terms like humour, parody, irony and so fort- is regularly and heavily employed in discussions or reviews of con temporary fiction. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN.

Lieferung aus: Deutschland, Versandkostenfrei.
buecher.de GmbH & Co. KG, [1].
The idea for this study came to me in the course of my reading of innova tive US-American! fiction of the last three decades. I observed that much of it is cast in the comic mode - or, more precisely, that there seems to be in contemporary fiction an affinity between 'innovation' and 'the comic' and that this affinity, furthermore, appears to be characteristic of postmo dernism. It is obvious, at the same time, that comic has become an elusive and, more often than not, a disputable category. Frederick Karl, in his sur vey of American Fictions 1940-1980, maintains, for instance, that much comic writing consists in ridicule that lacks deeper intellectual and cul tural roots. "Wit and mockery," he notes, "by themselves have little lasting value. Even in the best of such fiction, Gravity's Rainbow, one is made aware of attenuated skits stiched onto previous segments, rather than baked in by a defined point of view. " (Karl: 27) Such assessments of course challenge my view that the comic is in significant ways connected with what is innovative in postmodernist US-American fiction. Yet the term comic -or related terms like humour, parody, irony and so fort- is regularly and heavily employed in discussions or reviews of con temporary fiction.XIII, 197 p.Versandfertig in 3-5 Tagen, Softcover.

Lieferung aus: Deutschland, Versandkostenfrei.
Von Händler/Antiquariat, Deastore [50723639], Roma, ROMA, Italy.
Language: english. Explores the comic in the work of three North American writers. Pughe concentrates mainly on their texts: Robert Coover's "A Night at the Movies" and "The Public Burning"; Stanley Elkin's "The Dick Gibson Show", "The Franchiser" and "The Magic Kingdom"; and Philip Roth's Zuckerman series. Print On Demand.

Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, Better World Books: West.
The idea for this study came to me in the course of my reading of innova­ tive US-American! fiction of the last three decades. I observed that much of it is cast in the comic mode - or, more precisely, that there seems to be in contemporary fiction an affinity between 'innovation' and 'the comic' and that this affinity, furthermore, appears to be characteristic of postmo­ dernism. It is obvious, at the same time, that comic has become an elusive and, more often than not, a disputable category. Frederick Karl, in his sur­ vey of American Fictions 1940-1980, maintains, for instance, that much comic writing consists in ridicule that lacks deeper intellectual and cul­ tural roots. "Wit and mockery," he notes, "by themselves have little lasting value. Even in the best of such fiction, Gravity's Rainbow, one is made aware of attenuated skits stiched onto previous segments, rather than baked in by a defined point of view. " (Karl: 27) Such assessments of course challenge my view that the comic is in significant ways connected with what is innovative in postmodernist US-American fiction. Yet the term comic -or related terms like humour, parody, irony and so fort- is regularly and heavily employed in discussions or reviews of con­ temporary fiction. Paperback, Label: Birkhauser Boston, Birkhauser Boston, Produktgruppe: Book, Publiziert: 1994-04, Studio: Birkhauser Boston, Verkaufsrang: 17614569.

Lieferung aus: Deutschland, Versandkostenfrei.
buecher.de GmbH & Co. KG, [1].
Explores the comic in the work of three North American writers. Pughe concentrates mainly on their texts: Robert Coover's "A Night at the Movies" and "The Public Burning" Stanley Elkin's "The Dick Gibson Show", "The Franchiser" and "The Magic Kingdom" and Philip Roth's Zuckerman series.XIII, 197 p.Versandfertig in 3-5 Tagen, Softcover.

Lieferung aus: Vereinigte Staaten von Amerika, Versandkostenfrei nach: USA.
Von Händler/Antiquariat, Better World Books.
Birkhauser Boston. Used - Good. Former Library book. Shows some signs of wear, and may have some markings on the inside. 100% Money Back Guarantee. Shipped to over one million happy customers. Your purchase benefits world literacy!

Von Händler/Antiquariat, Books2Anywhere [190245], Fairford, GLO, United Kingdom.
New Book. This item is printed on demand. Shipped from UK. This item is printed on demand.

Lieferung aus: Vereinigte Staaten von Amerika, Versandkostenfrei.
Von Händler/Antiquariat, Better World Books [51315977], Mishawaka, IN, U.S.A.
Former Library book. Shows some signs of wear, and may have some markings on the inside.

Lieferung aus: Niederlande, Direct beschikbaar.
bol.com.
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