Aesthetic Universals in Neil Gaiman’s Post-Postmodern Mythmaking

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F19%3A73599936" target="_blank" >RIV/61989592:15210/19:73599936 - isvavai.cz</a>

Výsledek na webu

<a href="https://content.sciendo.com/view/journals/pjes/8/1/article-p97.xml?lang=en" target="_blank" >https://content.sciendo.com/view/journals/pjes/8/1/article-p97.xml?lang=en</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.2478/pjes-2019-0006" target="_blank" >10.2478/pjes-2019-0006</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Aesthetic Universals in Neil Gaiman’s Post-Postmodern Mythmaking

Popis výsledku v původním jazyce

Aesthetic theory, as reflected in both contemporary cognitive (Patrick Colm Hogan) and more traditional structuralist criticism (H.G. Widdowson), points out to the dynamics between familiarity and surprise as the driving force behind pleasure we derive from reading fiction. This article explains how Neil Gaiman’s works, particularly his novel Neverwhere, utilize genre expectations and reinvent mythologies in order to captivate audiences in the current age of unprecedented access to information and a rather superficial intertextuality. The article draws on Brian Attebery’s analyses of the literature of the fantastic to place Gaiman within the context of both modernist and postmodernist legacies, while proposing that his works could be best understood as representative of the current cultural paradigm, sometimes labeled as the pseudo-modern or post-postmodernism. The discussion of the shifting paradigm is used as a backdrop for the scrutiny of the devices employed in Gaiman’s writing: the pre-modern focus on storytelling, prototypicality, modernist “mythic principle,” postmodernist textual strategies, and utilization of current technologies and mass-communication media.

Název v anglickém jazyce

Aesthetic Universals in Neil Gaiman’s Post-Postmodern Mythmaking

Popis výsledku anglicky

Aesthetic theory, as reflected in both contemporary cognitive (Patrick Colm Hogan) and more traditional structuralist criticism (H.G. Widdowson), points out to the dynamics between familiarity and surprise as the driving force behind pleasure we derive from reading fiction. This article explains how Neil Gaiman’s works, particularly his novel Neverwhere, utilize genre expectations and reinvent mythologies in order to captivate audiences in the current age of unprecedented access to information and a rather superficial intertextuality. The article draws on Brian Attebery’s analyses of the literature of the fantastic to place Gaiman within the context of both modernist and postmodernist legacies, while proposing that his works could be best understood as representative of the current cultural paradigm, sometimes labeled as the pseudo-modern or post-postmodernism. The discussion of the shifting paradigm is used as a backdrop for the scrutiny of the devices employed in Gaiman’s writing: the pre-modern focus on storytelling, prototypicality, modernist “mythic principle,” postmodernist textual strategies, and utilization of current technologies and mass-communication media.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60205 - Literary theory

Projekt

—

Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Prague Journal of English Studies

ISSN

1804-8722

e-ISSN

—

Svazek periodika

8

Číslo periodika v rámci svazku

1

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

21

Strana od-do

97-117

Kód UT WoS článku

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EID výsledku v databázi Scopus

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