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Elton John Tickets
Allstate Arena
Rosemont, Illinois
Saturday, 11/30/xxxx
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20th-century literary theory challenged all these notions. It moved along with what philosophers called the linguistic turn: the artifact to be read was primarily a text. The text unfolded a meaning in the reading process. The question was, what made the literary text so special? Its complexity: a simple answer that immediately called for a complex science to describe and to understand these complexities. The literary theorists argued that the literary criticism of the 19th century had not truly seen the text. It had concentrated on the author, his or her period, the culture that surrounded him or her, his or her psyche ? factors outside the text, that had allegedly shaped it. Strict theorists argued that even the author, hitherto considered the central figure, whose message one wanted to understand, did not even have privileged access to the meaning and significance of his or her own work. Once the text was written it began to unfold associations, no matter whether one was its author or another reader. The theory debate stepped forth in redefinitions of its project: Formalism (xxxx?xxxx), New Criticism (xxxx?xxxx), Structuralism (xxxx?xxxx) and Poststructuralism (late xxxxs through xxxxs) became the major schools. The modes of analysis changed with each of these schools. All assumed that the text had its own meaning, independent of all authorial intentions and period backgrounds. Each of these schools proposed a criticism that directed its attention to an understanding of this meaning.James Joyce's Ulysses (xxxx) became the central text that explored the potential of the new theoretical options. The 19th-century narrator left the stage; what remained was a text one could read as a reflex of thoughts. The "stream of consciousness"[131] replaced the authorial voice. The characters endowed with these new voices had no firm ground from which to narrate. Their audiences had to re-create what was purposefully broken. One of the aims was to represent the reality of thoughts, sensations and conflicting perspectives. William Faulkner was particularly concerned with recreating real life, an undertaking which he said was unattainable. Once the classical authorial voice was gone, the classical composition of the text could be questioned: Ulysses did that. The argumentative structure with which a narration used to make its points lost its importance. Each sentence connected to sentences readers recalled. Words reverberated in a worldwide circulation of texts and language. Critics would understand more of the possible allusions and supply them in footnotes.Postmodern authors[132] subverted the serious debate with playfulness. The new theorists' claim that art could never be original, that it always played with existing materials, that language basically recalled itself had been an accepted truth in the world of trivial literature. A postmodernist could reread trivial literature as the essential cultural production. The creative avant-garde of the xxxxs and xxxxs "closed the gap"[133] and recycled popular knowledge, conspiracy theories, comics and films to recombine these materials in what was to become art of entirely new qualities. Roland Barthes' xxxxs analysis of popular culture,[134] his late xxxxs claim that the author was dead while the text continued to live,[135] became standards of postmodern theory. Novels from Thomas Pynchon's The Crying of Lot 49 (xxxx), to Umberto Eco's The Name of the Rose (xxxx) and Foucault's Pendulum (xxxx) opened themselves to a universe of intertextual references[136] while they thematized their own constructedness in a new postmodern metafictional awareness.[137]What separated these authors from 18th- and 19th-century predecessors who had invited other textual worlds into their own compositions, was the interaction the new authors sought with the field of literary criticism. 20th-century metafictional works expect literary historians to deal with them; literary critics and theorists become the privileged first readers that the new texts need in order to unfold. James Joyce is said to have said this about the reception he designed for his Ulysses (xxxx): "I've put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant, and that's the only way of insuring one's immortality."[138] ? a statement to which Salman Rushdie referred in xxxx, according to Paul Brians's Notes for Satanic Verses:On the one hand, media and institutions of criticism enable the modern novel to become the object of global debate. On the other hand, novels themselves, individual books, continue to arouse attention with unique personal and subjective narratives that challenge all circulating views of world history. Novels remain personal. Their authors remain independent individuals even where they become public figures, in contrast to historians and journalists who tend, by contrast, to assume official positions. The narrative style remains free and artistic, whereas modern history has by contrast almost entirely abandoned narration and turned to the critical debate of interpretations. Novels are seen as part of the realm of "art", defended as a realm of free and subjective self-expression. Crossovers into other genres ? the novel as film, the film as novel, the amalgam of the novel and the comic book that led to the evolution of the graphic novel ? have strengthened the genre's influence on the collective imagination and the arena of ongoing debates.Personal realities have attracted 20th- and 21st-century novelists: first in an explicit reaction to the new science of psychology, later, far more importantly, in a renewed interest in subject matter that almost automatically destabilizes and marginalizes the realities of "common sense" and collective history. Personal anxieties, daydreams, magic and hallucinatory experiences mushroomed in 20th-century novels. What would be a clinical psychosis if stated as a personal experience ? in one extreme example, Gregor Samsa, the point of view character of Kafka's The Metamorphosis, awakes to find that he has become a giant insect ? will, as soon as it is transformed into a novel, become the object of competing literary interpretations, a metaphor, an image of the modern experience of personal instability and isolation. The term "Kafkaesque" has joined the term "Orwellian" in common parlance to refer not only to aspects of literature, but of the world.Horror has also been an extremely popular genre in literature. Many are from famous horror-writer Stephen King and known horror writer Dean Koontz. King has wrote over 100 stories throughout his lifetime. His first published novel was Carrie, a horror novel about a teenage girl tormented by her fellow schoolmates and her religious-crazed mother, she uses her powers of telekinesis to exact revenge. The novel became a best-seller. But King's first hardback best-seller is the well-known novel The Shining, about a family who moves into a hotel in Colorado and the husband takes a job there. The son, Danny Torrance, has the power to see ghosts and malevolent spirits, which is called "Shining". The novel adapted into a xxxx horror film and that became named as one of Hollywood's most scariest films. Not all horror novels are written for adults. R.L. Stine is a children's horror writer, best known for writing the popular Goosebumps series. Neil Gaiman wrote the children's horror novella Coraline, a story about a girl and her family moving into an apartment and she finds a secret door to a perfect world, but later finds out that the world is a trap to capture her and destroy her. The novella was a success, winning the Bram Stoker Award. It was later adapted into the Academy-Award nominated film Coraline.Each generation of the 20th century saw its unique aspects expressed in novels. Germany's lost generation of World War I veterans identified with the hero of Erich Maria Remarque's All Quiet on the Western Front (xxxx) (and with the tougher, more existentialist rival Thor Goote created as a national socialist alternative). The Jazz Age found a voice in F. Scott Fitzgerald, the Great Depression and the incipient Cold War in George Orwell. France's existentialism was prominently voiced in Jean-Paul Sartre's Nausea (xxxx) and Albert Camus' The Stranger (xxxx). The counterculture of the xxxxs gave Hermann Hesse's Steppenwolf (xxxx) a new reception, while producing such iconic works of its own as Ken Kesey's One Flew Over the Cuckoo's Nest and Thomas Pynchon's Gravity's Rainbow. Chuck Palahniuk's Fight Club (xxxx) became (with the help of the film adaptation) an icon of late-20th-century manhood and a reaction to the 20th-century production of female voices. Virginia Woolf, Simone de Beauvoir, Doris Lessing, Elfriede Jelinek became prominent female and feminist voices. Questions of racial and gender identities, the option to reclaim female heroines of a predominantly male cultural industry[141] have fascinated novelists over the last two decades with their potential to destabilize the preceding confrontations.The major 20th-century social processes can be traced through the modern novel: the history of the sexual revolution[142] can be traced through the reception of sexually frank novels: D. H. Lawrence's Lady Chatterley's Lover had to be published in Italy in xxxx; British censorship lifted its ban as late as xxxx. Henry Miller's Tropic of Cancer (xxxx) created the comparable US scandal. Transgressive fiction from Vladimir Nabokov's Lolita (xxxx) to Michel Houellebecq's Les Particules élémentaires (xxxx) entered a literary field that eventually opened itself to the production of frankly pornographic works such as Anne Desclos' Story of O (xxxx) to Anaïs Nin's Delta of Venus (xxxx).Crime became a major subject of 20th- and 21st-century novelists. The extreme confrontations of crime fiction reach into the very realities that modern industrialized, organized societies try and fail to eradicate. Crime is also an intriguing personal and public subject: criminals each have their personal motivations and actions. Detectives, too, see their moral codes challenged. Patricia Highsmith's thrillers became a medium of new psychological explorations. Paul Auster's New York Trilogy (xxxx?xxxx) crossed the borders into the field of experimental postmodernist literature.The major political and military confrontations of the 20th and 21st centuries have inspired novelists. The events of World War II found their reflections in novels from Günter Grass' The Tin Drum (xxxx) to Joseph Heller's Catch-22 (xxxx). The ensuing cold war lives on in a bulk of spy novels that reach out into the realm of popular fiction. Latin American self-awareness in the wake of the (failing) left revolutions of the xxxxs and xxxxs resulted in a "Latin American Boom", connected today with the names of Julio Cortázar, Mario Vargas Llosa, Carlos Fuentes and Gabriel García Márquez and the invention of a special brand of postmodern magic realism. The unstable status of Israel and the Middle East have become the subject of Israeli and Arab perceptions. Contemporary fiction has explored the realities of the post-Soviet nations and those of post-Tiananmen China. Arguably, though, international perceptions of these events have been shaped more by images than words. The wave of modern media images has, in turn, merged with the novel in the form of graphic novels that both exploit and question the status of circulating visual materials. Art Spiegelman's two-volume Maus and, perhaps more important in its new theoretical approach, his In the Shadow of No Towers (xxxx) ? a graphic novel questioning the reality of the images the 9/11 attacks have produced ? are interesting artefacts here.The extreme options of writing alternative histories have created genres of their own. Fantasy has become a field of commercial fiction branching into the worlds of computer-animated role play and esoteric myth. Its center today is J. R. R. Tolkien's The Lord of the Rings (xxxx/55), a work that mutated from a book written for young readers in search of openly fictionalised role models into a cultural artefact of epic dimensions. Tolkien successfully revived northern European epic literature from Beowulf and the North Germanic Edda to the Arthurian Cycles and turned their incompatible worlds into an epic of global confrontations that magically preceded all known confrontations.Science fiction has developed a broad variety of genres from the technological adventure Jules Verne had made fashionable in the xxxxs to new political and personal compositions. Aldous Huxley's Brave New World (xxxx) has become a touchpoint for debate of Western consumerist societies and their use of modern technologies. George Orwell's Nineteen Eighty-Four (xxxx) focuses on the options of resistance under the eyes of public surveillance. Stanislaw Lem, Isaac Asimov and Arthur C. Clarke became modern classical authors of experimental thought with a focus on the interaction between humans and machines. A new wave of authors has added post-apocalyptic fantasies and explorations of virtual realities in crossovers into the commercial production of quickly mutating sci-fi genres. William Gibson's Neuromancer (xxxx) became a cult classic here and founded a new brand of cyberpunk science fiction.