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From Humanism to Meta-, Post- and Transhumanism?

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Edited By Irina Deretić and Stefan Lorenz Sorgner

The relationship between humanism, metahumanism, posthumanism and transhumanism is one of the most pressing topics concerning many current cultural, social, political, ethical and individual challenges. There have been a great number of uses of the various terms in history. Meta-, post- and transhumanism have in common that they reject the categorically dualist understanding of human beings inherent in humanism.
The essays in this volume consider the relevant historical discourses, important contemporary philosophical reflections and artistic perspectives on this subject-matter. The goal is to obtain a multifaceted survey of the concepts, the relationship of the various concepts and their advantages as well as their disadvantages. Leading scholars of many different traditions, countries and disciplines have contributed to this collection.
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Biljana Dojčinović, University of Belgrade - Modernist Narrative Techniques and Challenges of Humanity: John Updike in European Perspective

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Biljana Dojčinović

University of Belgrade

Modernist Narrative Techniques and Challenges of Humanity: John Updike in European Perspective1

John Updike once said that he considered himself an English writer manqué and confessed that he had not read Hawthorne before the age of 30.2 For a writer who, whenever writing a book of his own, had another book in mind, the issue of influences, if not intertextuality, is of the outmost importance. It is essential for a better understanding of not only the content of his works, but also the narrative techniques he used. The Serbian translator of many novels by Updike, the late Aleksandar Petrović, described Updike’s way of writing as that of an illegitimate child of Virginia Woolf and James Joyce.3 This situated Updike as a successor of modernists, and the range of his writing methods clearly confirms his awareness of both modernist as well as postmodernist strategies. The term ‘illegitimate child’ was meant, most probably, to point to the playfulness and freedom in Updike’s artistic treatment of everyday life, which was also the topic of both his ‘parents’. Rather than naming him a disciple of Woolf and Joyce, his Serbian translator designated him as their child of love, thus emphasising the emotional relationship and the lived experience, not a learned emulation.

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