Perspectives on Values

Name: Perspectives on Values | The Network of Satire and Humor, the Tragic and the Absurd, the Grotesque and the Monstrous, Play and Irony, Parody and the Comic Mode
Brand: Universitätsverlag Winter
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The Network of Satire and Humor, the Tragic and the Absurd, the Grotesque and the Monstrous, Play and Irony, Parody and the Comic Mode

Gerhard Hoffmann(Autor*in)

Universitätsverlag Winter

1. Auflage

Erschienen am 3. April 2024

XX, 812 Seiten

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Cover
Title Page
Imprint
Contents
PREFACE
IN MEMORIAM: PROF. DR. GERHARD HOFFMANN (1931-2018)
1 PROBLEMS OF DEFINITION AND INTERRELATION
1.1 The Comic Mode's Double Structure: Target and Value Poles
1.2 Satire and Humor as Network of Values
1.3 The Interplay of Form and Content
1.4 Satire as Mediator of Didacticism and Narrative
1.5 The System of Humor
1.6 The Chain of Incongruity Categories and Play of Meaning
1.7 The Comic Perspective
1.8 Satire versus Humor
1.9 The Grotesque
1.9.1 The Absurd
1.9.2 Play
1.9.3 Irony
1.9.4 Parody
1.10 The Satiric Stance
1.11 Narrative and Satire
1.12 Satire's Targets: The Narrative Form of Hypocrisy, Sameness, and the "System"
2 THE 18TH-CENTURY NOVEL: HUMOR AS SIGN OF GOOD NATURE
3 THE MODEL CASE: COMIC VIEW, HUMOR, AND SATIRE IN CERVANTES'S 'DON QUIXOTE'
4 HUMOR AS PHILOSOPHICAL ATTITUDE
5 THE RIVALRY BETWEEN HUMOR AND SATIRE AND THEIR EXHAUSTION IN THE NOVEL
6 SATIRE, HUMOR, AND IRONY IN AMERICAN FICTION
6.1 Satire and American Humor
6.2 The Targets of Satire in American Fiction
7 SATIRE AND UTOPIA: NATHANIEL HAWTHORNE'S 'THE BLITHEDALE ROMANCE'
8 HERMAN MELVILLE: STRANGENESS, SATIRE, HUMOR, PLAY, IRONY, AND THE COMIC MODE
8.1 The Curious, the Mysterious, and Satire as Substructure
8.2 Experiments with Social and Cosmic Satire, Satire and Symbolic Method, Travel and Bildungsroman as Structures of Satire: 'Mardi' and 'White-Jacket'
8.3 The Combination of Strangeness, Irony, Cosmic Satire, and the Post-Tragic Mode as Attitudes and Forms of Incongruity: 'Moby-Dick'
8.4 Social Satire and Parody, the Mystic Mode, and Cosmic Satire: 'Pierre
or, The Ambiguities'
8.5 Satire and the Attitudes of Play and Irony: 'The Confidence-Man'
9 MARK TWAIN: HUMOR, SATIRE, AND THE GROTESQUE
9.1 Satire and Humor, Authenticity and Reality in the Novel
9.2 Play, Pose, Irony of Form: 'The Innocents Abroad', 'Tom Sawyer', and 'Life on the Mississippi'
9.3 Satire and the Grotesque against Humor and the Comic Mode: 'Huckleberry Finn'
9.4 A Medley of the Fantastic, the Satiric, and the Grotesque: 'A Connecticut Yankee in King Arthur's Court'
10 REALISM AND NATURALISM AND SATIRE
10.1 Realism, Time, Life
10.1.1 Realism of the Ordinary: William Dean Howells
10.1.2 Impressionism and Factualism: Hamlin Garland
10.2 The Naturalist Novel: Satire and Universal Determinism
10.2.1 Satire and the Existentialist View: Stephen Crane's 'The Red Badge of Courage'
10.2.2 Satire and the Force of Nature: Frank Norris's 'The Octopus'
10.3 The Mystery of the City, Multiperspectivity, Satire, and the Ambivalence of the Value Pole: Theodore Dreiser
10.3.1 Satire and Mystery in the City Novel: 'Sister Carrie'
10.3.2 Satire in the Context of Personal Faults, Social Corruption, and Accidental Circumstances: 'An American Tragedy'
11 SATIRE AS AESTHETIC SYSTEM OF DIFFERENTIATION AND "CULTURE CONSCIOUSNESS": HENRY JAMES
12 EDITH WHARTON: STRATEGIES OF SATIRIC AND NARRATIVE IRONY AND THE RISE AND FALL MODEL
12.1 Strategies of Satiric Fiction
12.2 The Rise and Fall Model and the Values of the Past
13 TOTAL SATIRE AND THE COMIC VIEW: SINCLAIR LEWIS AND ERNEST HEMINGWAY
13.1 Sinclair Lewis's 'Babbitt'
13.2 Ernest Hemingway: Satire, Existentialism, the "Boundary Situation," and Purification of Language
14 THE THIRTIES: IDEOLOGY, DOCUMENTATION, SATIRE, AND THE SELF'S LIBERATION FROM THE PRESSURES OF THE SOCIAL ENVIRONMENT
15 TRUTH AND IDENTITY INSTEAD OF MORAL RULES: STEPHEN SPENDER AND THE TRANSFORMATION OF SATIRE IN MODERNIST TEXTS
16 THE AMERICAN NOVEL AFTER 1945: SATIRE AND THE MULTIPLICATION OF VIEWPOINTS
16.1 The Novel of the 1950s and the 1960s: Mobility of Perspectives, No Satire without a Comic View
16.2 The Comic View Wins out over Satire: Satire Turns upon "the immense mass of things, ideas, beliefs"- Saul Bellow's Comic Novel of Education
16.3 A Black Man's Point of View and a Satiric View of the System: Ralph Ellison's 'Invisible Man'
16.4 Feminist, Social, and Universal Satire: Mary McCarthy's Criticism of Consciousness
16.5 The Artificiality and Ideological Constructedness of Satire and the Body as Value Pole: Norman Mailer
16.6 Play, Irony, Paradox, and the Satiric Mode
17 POSTMODERNIST FICTION
17.1 Multiperspectivism and Partiality of Satire
17.2 Satire, Waste, and Paranoia
17.3 Entropy, the Void, and Satire against the System
17.4 Satire and the Labyrinth, Paranoia, and the Void
17.5 Parody, Satire, Myth, and the Tragic View: John Barth's 'Giles Goat-Boy'
18 THE TRAGIC VIEW IN FICTION
18.1 Definitions and Conceptions
18.2 The Nineteenth Century and Modernism
18.3 The Postmodernist View
19 THE ABSURD AS REDUCTION OF THE TRAGIC MODE
19.1 The Concept of the Absurd
19.2 Rebellion of Thought and Language Against Nothingness: Samuel Beckett's 'The Unnamable'
19.3 Reduction of the Absurd in the Postmodernist Novel
19.4 Design and Debris, Clarity and Paradox: Suicide in John Hawkes's 'Travesty'
19.5 The Absurdity of the Absurd: John Barth's "Night-Sea Journey"
20 THE GROTESQUE AND THE MONSTROUS
20.1 Definitions, Components, Ambiguities
20.2 The Historic View
20.2.1 Problem Zones and Variations of Forms
20.2.2 The Development of Grotesque Deformation out of the Disorientation Pole: Edgar Allan Poe's "The Masque of the Red Death"
20.2.3 The Grotesque and the Absurd: Herman Melville's "Bartleby, the Scrivener"
20.2.4 Grotesque Laughter
20.2.5 The Modernist Novel
20.2.6 The Grotesque Ideal of Love in the "Grotesque Reality" of a "Wasteland" Society: F. Scott Fitzgerald's 'The Great Gatsby'
20.2.7 The Grotesque as Demonic Force of the City and as Mysterious Life Principle: John Dos Passos's 'Manhattan Transfer'
20.2.8 The Heroic Grotesque, the Mental, Faustian Grotesque, History as Grotesque Force, the Grotesque Form, and their Ironic Interrelation: William Faulkner's 'Absalom, Absalom'
20.2.9 The Grotesque as Station to the Mysticism of Religious Experience: Flannery O'Connor's 'The Violent Bear It Away'
20.3 The Postmodernist Grotesque: Its Radicalization in Terms of the Monstrous and its Attenuation by Play, Irony, and the Comic Mode
20.3.1 The Monstrous "National State of Mind": Nathanael West's 'The Day of the Locust'
20.3.2 The Monstrous Excess of Violence: Jerzy Kosinski's 'The Painted Bird'
20.3.3 The Monstrous, the Failure of the Comic Mode, and the Postmodernist Excess of Distance: John Hawkes's 'The Cannibal'
20.3.4 The Satiric and the Playful Grotesque: Joseph Heller's 'Catch-22'
20.3.5 Levels of the Grotesque and the Playful Grotesque: Kurt Vonnegut's 'Slaughterhouse-Five'
20.4 The Mystery Factor of the Grotesque and the Grotesque as Ontological Enigma: Robert Coover's 'John's Wife'
20.5 The New Realism of the Post-Postmodernist Novel: The Grotesque Social Condition, and "'the' mystery"
21 THE MODALITY OF PLAY
21.1 Conceptions and Contexts
21.2 Fourteen Theses: Human Play and Play of the World
21.3 Play, Text, and Art
21.4 Limits of Play
21.5 Play, the Comic Mode, and Humor in the Traditional Novel
21.5.1 The Novel as Play: Miguel de Cervantes's 'Don Quixote'
21.5.2 Playful Humor in the English Novel of the Eighteenth and Nineteeth Centuries
21.5.3 Play with Oddities: Laurence Sterne's 'Tristram Shandy'
21.5.4 Play Along the Way: Henry Fielding's 'Tom Jones'
21.5.5 The Freedom of Play and the Unifying Power of Humor: Charles Dickens's 'Pickwick Papers'
21.6 Playing Around Strangeness and Mystery in the American Novel: Herman Melville and Mark Twain
21.6.1 Playing Around with Language as Reality Principle: 'Moby-Dick' and 'The Confidence-Man'
21.6.2 Play versus Reality: 'Tom Sawyer' and 'A Connecticut Yankee in King Arthur's Court'
21.7 Play in the Modernist Novel: Playing Around Things
21.8 Psychological Play with Irony: Henry James's 'The Ambassadors'
21.9 Play and Deconstruction of the Traditional Concepts of the Imagination: The Postmodernist Novel
21.9.1 Playful Aesthetic Maximalism I: Play, Parody, and Possibility Thinking in John Barth
21.9.2 Playful Aesthetic Maximalism II: The Multiplication of Viewpoints in Thomas Pynchon
21.9.3 Playful "Minus Functions": Minimalism, Chaos, and Boredom in Donald Barthelme, Richard Brautigan, Raymond Federman, and Ronald Sukenick
21.9.4 Play, Irony, Parody, and the Comic Mode
21.9.5 Strangeness, Mystery, and Freedom as Contexts of Play
22 IRONY
22.1 Introduction
22.2 Irony of Subject Matter and Irony of Form
22.3 Kierkegaard and the Attitude of Irony
22.4 The Modernist Novel: Cosmic Irony and the Moment of Revelation
22.4.1 Forms of Narrative Irony: Cosmic Irony
22.4.2 Cosmic Irony in Herman Melville's 'Moby-Dick' versus the Modernist Nature Novel
22.4.3 Natural Formations and Psychic Time: The Mythic View, the Symbolizing Method, and Joseph Conrad's 'Heart of Darkness' and 'Nostromo'
22.5 Irony Everywhere: 'A Portrait of the Artist as a Young Man'
22.6 The Moment of Being and the Irony of Time: Viriginia Woolf's 'To the Lighthouse'
22.7 The Sexual Act and the Moment of Being: D. H. Lawrence's 'The Rainbow and Women in Love'
22.8 The Irony of Time
22.8.1 James Joyce, 'Ulysses'
22.8.2 Virginia Woolf, 'Mrs. Dalloway'
22.8.3 Ernest Hemingway, 'A Farewell to Arms'
22.8.4 William Faulkner, 'The Sound and the Fury'
22.9 The Quest for Meaning and the Irony of Endings
22.9.1 Henry James, 'The Portrait of a Lady'
22.9.2 Joseph Conrad, 'Heart of Darkness'
22.9.3 F. Scott Fitzgerald, 'The Great Gatsby'
22.9.4 Ernest Hemingway, 'A Farewell to Arms'
22.9.5 William Faulkner, 'Absalom, Absalom'
22.10 Postmodernist Irony
22.11 Free Irony as Meta-Irony in Postmodernist Fiction
22.12 Paradox as "the soul, source and principle" of Irony
22.13 Irony of Structure and Character and Ironic Multiperspectivity: Thomas Pynchon's 'Gravity's Rainbow'
23 THE COMIC MODE
23.1 Transformations of the Comic Mode in the English and American Novel: Contexts and Definitions
23.2 Play, the Comic Mode, and Humor: The Picaresque Model, the Odd, and the Flat Character in the English Novel
23.3 Satire and the Comic Mode in the Victorian Novel
23.4 The Comical Satirist as Quasi-Nihilist: Becky Sharp in W. M. Thackeray's 'Vanity Fair'
23.5 Satire and the Revised Comic Mode: George Meredith's 'The Egoist'
24 THE MODERNIST COMIC MODE UNDER THE SWAY OF IRONY
24.1 The Comic Mode as Paradox and Universal Theme: Henry James
24.2 The Universal Comic View and "Free," Life-Oriented Humor: William Faulkner's 'The Hamlet'
25 THE POSTMODERNIST "FREE" COMIC MODE
25.1 Play, Irony, Parody, and the Comic Mode in the Postmodernist Context
25.2 The Author's Voice: Chaos, Trash, Debris, and the Design of the Free Comic Mode
26 PARODY AND PLAY
26.1 Statements and Tendencies
26.2 The Expansion of Parody as Structure of Existential Attitudes, Combinations with Play, Irony, Satire, and Comic Effects: Donald Barthelme
26.3 Universal Parody, Imitation, and Transformation of Patterns: John Barth
27 FREE HUMOR, FREE IRONY, FREE COMIC VIEW: THEIR CONTRIBUTION TO A NEW SENSE OF COMPLETION
28 SUMMING UP: FRAMES OF ARTICULATION AND THE PERSPECTIVES OF INCONGRUITY, THE ORDINARY AND THE EXTRAORDINARY, WHOLENESS AND DIFFERENTIATION, THE POSSIBLE AND THE IMPOSSIBLE
BIBLIOGRAPHY
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