Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

2 results

  • Chapter 9 - Modernism

  • from Part II - Form and Genre
  • Edited by Maggie McKinley
  • Book:
    Norman Mailer in Context
    Published online:
    05 August 2021
    Print publication:
    26 August 2021, pp 102-112

  • Summary

    How Norman Mailer enters the discussion of Modernism may be as opaque as the discussion of Modernism itself. Several lines of approach, however, may be useful: First, which traditions did Mailer gravitate towards; second, how did Mailer define himself as an artist; third, what were the central elements of his worldview and poetics; and fourth, what questions of form and style did his work attempt to explore? This chapter situates Mailer’s work within the literary and historical context of the Modernist movement by focusing on his use of persona, his worldview, and the thematic content of his work.

  • Chapter 10 - Postmodernism

  • from Part II - Form and Genre
  • Edited by Maggie McKinley
  • Book:
    Norman Mailer in Context
    Published online:
    05 August 2021
    Print publication:
    26 August 2021, pp 113-124

  • Summary

    This chapter offers a a brief survey of Mailer’s ongoing artistic responses and reactions to the postmodern period. Mailer is indebted to his Modernist predecessors but also experiments with perspective and structure in a way that aligns him more closely with definitions of Postmodernism. While this is most evident in his avant-garde films, it is also apparent in the self-referential nature and thematic focus of his nonfiction, as well as in his preoccupation with notions of metamorphosis.