The novel volume Pricksongs and Descants that has been written by Robert Coover is composed of short stories reflecting the concern of the writer to the interchanges that are happening in our real perception, thought systems offering the means of accounting for flux reflecting reality, and nature which is epistemological as well as the function that literature plays as it acts as in the capacity of a vehicle responsible for the self understanding of the modern scenario.
This leads us to the experiment that consequently brings about some questions as it pertains the existing traditional structures that are in line with a possible inquiry in which case a clearly cut distinction in reference to fiction and the reality is positively established and therefore leads to the distinction of art from life. Introduction
The exploration of the implications dealing with mimetic representation with regard to the actual context with regard to the literary arts is another target in this book by Robert Coover. The American Journals as well as magazines have published majority of the short stories in this series long before the first novel by Coover appeared the novel simulates a set of short stories that have been collected with a primary concern of limiting the literary representation.
The role that is being played by short fictions has a relationship with the provision of an elaborate boundary whose function is to separate the reality from its allied fantasy in which a case the existing question that address the issue that pertains the meaning as well as the fiction making in an environment rich in literary production has been targeted by the author. The stories that comprise the novel thematise the interest of the literary practice (Andersen 57).
The main objective of the work of Coover is to disclose a relationship that is parallel with regard to the literary practice to the broad scene of socioculture in a specific era, meaning that some writing fiction forms embody the changes in culture in relation to a specific period. Literature review The examination of the relationship as per the work of Coover has been conducted through a fiction medium making use of some crisis with regard to traditional notions dealing with mimetic representation as well as realism.
There exists a reproduction responsible for the exhaustion sense which is a characteristic in the society of the post-events of the Second World War. In the perspective held by Coover this was achieved through the consideration of features of fragmentation as well as self consciousness nature whose alternative is attacks targeted on realism as well as linearity.
The notion held by Barth in relation to the “literature of exhaustion” has been conceived by Coover as a type of a reflection of the contemporary crisis of the culture as well as a mark of a change that is radical in the societies conception dealing with reality as well as nature (Gass 163). The world viewers’ transformation that is so radical remains tacitly as the theme of Coover’s short fictions anthology with the concern that is of utmost explicitly the exploration whose form is the genre itself. The transformation to Renaissance from the Middle Ages is a reflection by the literary field.
The critics of the work of Coover argue of a replacement of the dream of the modernists of the Self Consciousness Fiction in the universal history of the work of Coover by the imperative of the postmodernists with regard to the eventuality as well as anti-essentialism. The objective of the Coover’s novel is the accurate examination with regard to the changes eminent in the patterns of the culture as it has been on a reflection through the process of the cultivation of some of the fictional forms that are known to be contemporary (Kennedy 231).
“We seem to have moved from an open-ended, anthropocentric, humanistic, naturalistic, even—to the extent that man may be thought of as making his own universe—optimistic starting point, to one that is closed, cosmic, eternal, supernatural (in its soberest sense), and pessimistic. The return to Being has returned us to Design, to microcosmic images of the macrocosm, to the creation of Beauty within the confines of cosmic and human necessity, to the use of the fabulous to probe beyond the phenomenological, beyond appearances, beyond randomly perceived events, beyond mere history” (Coover 78).
The nature of upcoming changes in procedures that are related to the actual knowledge being shared amongst the two renowned authors, namely Cervantes and Coover is quite elaborate. There is a rejection by contemporary fiction of the traditional humanism and there is a subscription with regard to exploration of the confrontation of the randomness of the phenomenological reality.
This paves way for a beforehand rejection in regard the conventional fundamentalism achieved through the correct choice in as far as the procedure of working of the fundamentalism is concerned. The tendency of the exploration of the “humanistic knowledge” being the tendency of postmodern fictionist has been identified by Coover as “the return to Being” a mimeric character has also been evident in the novel with regard to the contemporary literature.
Through the process of focusing on “microcosmic image of the macrocosm”, Coover’s novel is no longer in a position to represent the truths of the universe including the examination of particularity as well as the contingency of people’s views with regard to the reality. The fictions of the postmodern thematizes the existing inadequacies existing in the midst of all comprehending claims of universal truth and uniqueness of situations of specific culture which is purely conveyed by Coover in his novel.
This consequently leads to several types of fiction with the potential of casting doubts on the majority of the claims that are responsible for the truth be they aesthetic, philosophical or even historical (Kuehl 372). The strategies of Coover during the collection of 1969 are associated with some momentary critical thematization with regard to the system o0f fiction that has been detached in a clear manner as a construction that is mimetic for the purpose of exploration.
In as far as the practical work conducted by the author Robert Coover the principle of the noted thematic concerns are broadly separated from the actual structure that are evident in his novel while the applied design responsible for the representation that has been applied being allegorical readings with more critical effects and contrivances as compared to the real characteristics of Coovers novel. The rather infrequency of the mimetic features is notable in the work of Coover in this novel. Fictional literary is more notable for the purpose of the representation of events as well as characters in a set (William 184).
Coover, in his work inherently bears a special interest as it pertains the confrontation which involves the phenomenological randomness as well as the human order both of which appear hand in hand. The desolation of the island that has been created by the narrator resembles the result responsible for the process of fiction making which it has generated. The structural development of the fiction entails some form of a destruction which inevitably deals with the immediacy in as far as the reality in its environs is concerned.
The disappearance of immediacy is closely associated with significant effect in consideration of the argument that anxiety of this novel’s narrator concerning the inherent imaginative construction of original nature is most likely to culminate to some kind of truth that is substantial as well as tangible (William 213). Although the actualization of mimetic hermeneutic is not under completely destruction in amongst of the short fictions of Coover, mimetic representation in a logical manner is under a radical question mark.
The intention of Coover however is not the re-ignition of the literature institution in a fresh manner but instead, he aims at the background reading of the tradition including the codes, the myths as well as the genres through the application of the postmodern form of experiments which includes cinematic techniques, pop-culture, among others (William 253). Conclusion This form yet another parallel issue as far as fictional art of Cervante’s and that of Coovers.
The idea of the text that is literary as a type of a game and an idea that is recurrent in a fiction and a theory that is contemporary serves the place of a metaphor that is appropriate for the purpose of experimental fiction modeling as has been demonstrated by the short stories of Barth by Coover. The most imaginative of the faculties which also assumes a perspective nature and having the implication of the novel’s author as well as the implication held by the reader usually exist in a manner that is overlapping in nature such that the two are almost undistiquished.
This leads to a situation in which the author and the reader enjoy similar status of narrative in the focus of similar imaginary of the author Works Cited Andersen, Richard. Robert Coover. Boston: Hall, 2001. Coover, Robert. Pricksongs and Descants. N Y: Dutton, 2003. Gass, William. Fiction and the Figures of Life. N Y: Knopf, 2000. Kennedy, Thomas E. Robert Coover: Study of Short Fiction. N Y: Twayne, 2002. Kuehl, John. Alternate Worlds: Postmodern Antirealistic Fiction in American. N. Y: N. Y UP, 2007. William, Harry. Gass. Pittsburgh: U of Pittsburgh P, 1982.
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