Kirjahaku

How have developments in literary and cultural theory transformed our understanding of narrative? What has happened to narrative in the wake of poststructuralism? What is the role and function of narrative in the contemporary world? In this revised, updated and expanded new edition of an established text, Mark Currie explores these central questions and guides students through the complex theories that have shaped the study of narrative in recent decades. Postmodern Narrative Theory, Second Edition:• establishes direct links between the workings of fictional narratives and those of the non-fictional world• charts the transition in narrative theory from its formalist beginnings, through deconstruction, towards its current concerns with the social, cultural and cognitive uses of narrative• explores the relationship between postmodern narrative and postmodern theory more closely• presents detailed illustrative readings of known literary texts such as Stevenson's Dr Jekyll and Mr Hyde and Conrad's Heart of Darkness, and now features a new chapter on Coetzee's Elizabeth Costello and Slow Man.Approachable and stimulating, this is an essential introduction for anyone studying postmodernism, the theory of narrative or contemporary fiction.

How have developments in literary and cultural theory transformed our understanding of narrative? What has happened to narrative in the wake of poststructuralism? What is the role and function of narrative in the contemporary world? In this revised, updated and expanded new edition of an established text, Mark Currie explores these central questions and guides students through the complex theories that have shaped the study of narrative in recent decades. Postmodern Narrative Theory, Second Edition:• establishes direct links between the workings of fictional narratives and those of the non-fictional world• charts the transition in narrative theory from its formalist beginnings, through deconstruction, towards its current concerns with the social, cultural and cognitive uses of narrative• explores the relationship between postmodern narrative and postmodern theory more closely• presents detailed illustrative readings of known literary texts such as Stevenson's Dr Jekyll and Mr Hyde and Conrad's Heart of Darkness, and now features a new chapter on Coetzee's Elizabeth Costello and Slow Man.Approachable and stimulating, this is an essential introduction for anyone studying postmodernism, the theory of narrative or contemporary fiction.

Difference is one of the most influential critical concepts of recent decades. Mark Currie offers a comprehensive account of the history of the term and its place in some of the most influential schools of theory of the past four decades, including post-structuralism, deconstruction, new historicism, psychoanalysis, French feminism and postcolonialism. Employing literary case studies throughout, Difference provides an accessible introduction to a term at the heart of today's critical idiom.

Difference is one of the most influential critical concepts of recent decades. Mark Currie offers a comprehensive account of the history of the term and its place in some of the most influential schools of theory of the past four decades, including post-structuralism, deconstruction, new historicism, psychoanalysis, French feminism and postcolonialism. Employing literary case studies throughout, Difference provides an accessible introduction to a term at the heart of today's critical idiom.

About Time brings together ideas about time from narrative theory and philosophy. It argues that literary criticism and narratology have approached narrative primarily as a form of retrospect, and demonstrates through a series of arguments and readings that anticipation and other forms of projection into the future offer new analytical perspectives to narrative criticism and theory. The book offers an account of 'prolepsis' or 'flashforward' in the contemporary novel which retrieves it from the realm of experimentation and places it at the heart of a contemporary mode of being, both personal and collective, which experiences the present as the object of a future memory. With reference to some of the most important recent developments in the philosophy of time, it aims to define a set of questions about tense and temporal reference in narrative which make it possible to reconsider the function of stories in contemporary culture. It also reopens traditional questions about the difference between literature and philosophy in relation to knowledge of time. In the context of these questions, the book offers analyses of a range of contemporary fiction by writers such as Ali Smith, Ian McEwan, Martin Amis and Graham Swift.

Why have theorists approached narrative primarily as a form of retrospect? Mark Currie argues that anticipation and other forms of projection into the future are vital for an understanding of narrative and its effects in the world. In a series of arguments and readings, he offers an account of narrative as both anticipation and retrospection, linking fictional time experiments (in Ali Smith, Ian McEwan, Martin Amis and Graham Swift) to exhilarating philosophical themes about presence and futurity. This is an argument that shows that narrative lies at the heart of modern experiences of time, structuring the present, whether personal or collective, as the object of a future memory as much as it records the past.

This is a critical and philosophical investigation into the unforeseeable and the surprising in narrative and life. This new study asks how stories affect the way we think about time and, in particular, how they condition thinking about the future. Focusing on surprise and the unforeseeable, the book argues that stories are mechanisms that reconcile what is taking place with what will have been. This relation between the present and the future perfect offers a grammatical formula quite different from our default notions of narrative as recollection or recapitulation. It promises new understandings of the reading process within the strange logic of a future that is already complete. It also points beyond that to some of the key temporal concepts of our epoch: prediction and unpredictability, uncertainty, the event, the untimely and the messianic. The argument is worked out in new readings of Sarah Waters' Fingersmith, Kazuo Ishiguro's Never Let Me Go and Julian Barnes' The Sense of an Ending. It is an original discussion of the relation of time and narrative. It is an important intervention in narratology. It is a striking general argument about the workings of the mind. It provides an overview of the question of surprise in philosophy and literature.

A tribute to the life and words of 3 times World Heavyweight Champion boxer, Muhammad Ali. I Am The GreatestA" is a 48 page book of quotations attributed to one of the greatest sportsmen and biggest personalities of modern times, Muhammad Ali. From the moment he won the Gold medal at the 1960 Olympics, to beating Sonny Liston and becoming World Heavyweight Champion, through the epic fights with Joe Frazier, George Foreman and many more besides, Ali was never short of something to say. Often witty, sometimes profound, his hugely outspoken words carried as much punch as his actions in the ring.

A deceptively simple fable featuring a man unlike any other who proudly presents himself to the world in search of love and acceptance.The book is thought-provoking and motivational, incorporating simple black and white illustrations to highlight an essential truth about human nature. In this case, it is the truth that we are fascinated by things that are different. But also suspicious or afraid of them. The Man Who Was Different hints at the perils of being the one who is different, or set apart, from the rest of the group.Put another way, its message is very simple; just be yourself.An original story, written, illustrated and designed by Mark Currie.Format: Hardback A5 (148 x 210mm) case laminate. 48 pages. 24 black & white illustrations.

Metafiction is one of the most distinctive features of postwar fiction, appearing in the work of novelists as varied as Eco, Borges, Martin Amis and Julian Barnes. It comprises two elements: firstly cause, the increasing interpenetration of professional literary criticism and the practice of writing; and secondly effect: an emphasis on the playing with styles and forms, resulting from an enhanced self-consciousness and awareness of the elusiveness of meaning and the limitations of the realist form. Dr Currie's volume examines first the two components of metafiction, with practical illustrations from the work of such writers as Derrida and Foucault. A final section then provides the view of metafiction as seen by metafictional writers themselves.

This book explores the relationship between unexpected events in narrative and life. Focusing on surprise, spontaneous eruption and the unforeseeable, The Unexpected argues that stories help us to reconcile what we expect with what we experience. Though narrative is often understood as a recapitulation of past events, the book argues that the unexpected and the future anterior, a future that is already complete, are guiding ideas for new understandings of the reading process. It also points beyond that to some of the key temporal concepts of our epoch, of unpredictability, the event, the untimely and the messianic. The Unexpected is an important intervention in narratology and a striking general argument about the cultural significance of surprise. The enquiry is developed by a range of new readings in philosophy and theory, as well as of Sarah Waters' Fingersmith, Kazuo Ishiguro' Never Let Me Go and Julian Barnes' The Sense of an Ending. It is an original discussion of the relation of time and narrative. It is an important intervention in narratology. It is a striking general argument about the workings of the mind. It also provides an overview of the question of surprise in philosophy and literature.