By Thomas Pughe
The inspiration for this examine got here to me during my examining of innova tive US-American! fiction of the final 3 a long time. I saw that a lot of it's solid within the comedian mode - or, extra accurately, that there appears to be like in modern fiction an affinity among 'innovation' and 'the comedian' and that this affinity, additionally, seems to be attribute of postmo dernism. it truly is visible, while, that comedian has develop into an elusive and, quite often, a disputable type. Frederick Karl, in his sur vey of yankee Fictions 1940-1980, keeps, for example, that a lot comedian writing is composed in ridicule that lacks deeper highbrow and cul tural roots. "Wit and mockery," he notes, "by themselves have little lasting worth. Even within the better of such fiction, Gravity's Rainbow, one is made conscious of attenuated skits stiched onto earlier segments, instead of baked in by way of an outlined standpoint. " (Karl: 27) Such checks after all problem my view that the comedian is in major methods attached with what's leading edge in postmodernist US-American fiction. but the time period comedian -or comparable phrases like humour, parody, irony and so castle- is frequently and seriously hired in discussions or experiences of con transitority fiction.
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Additional info for Comic Sense: Reading Robert Coover, Stanley Elkin, Philip Roth
Belsey: 3). Elkin's narrative discourse is itself 'hellish' rather than 'heavenly'. "(23) - he regularly cracks up at this point, Elkin tells an interviewer, and presumably his audience does too. (Ziegler, "Interview with StanleyElkin":lOl) 24 Comic Sense wisdom" stands. The stereotypes and cliches of God's "better story" literally contain the universe. Elkin's excessive, fantastic verbal structures, wrought from the trite and the ordinary, are thus emblematic of the infinitudes inherent in his material.
Heterogenism: The Comic as a Way of Seeing My attempt to explain and conceptualise the contradictory attitudes to the comic in our three texts takes Schiller's notion of Heiterkeit as its point of departure. As we know from Adorno, the term H eiterkeit refers to artistic autonomy or play. Adorno furthermore implies a special or even constitutional relationship between H eiterkeit and the comic. This relationship is based on the notion of freedom. e. to theories developed in the last two centuries.
If God's" comedy" is related to common sense, then it is so solely in form of the term's extreme reduction, where common means "base" but by no means "communal", "arrived at by mutual agreement". " at any moment. But this remains unsaid: Elkin's version of the Divina Commedia would be a mere gag if it did not take its own joke seriously. His point about God's" comedy" is not the revelation in itself that it is art-forart's sake - that there is no transcendent cause of being - his point is that it is the truth.