dc.rights.license | CC-BY-NC-ND | |
dc.contributor.advisor | Cook, Simon | |
dc.contributor.author | Sijnesael, L.L.A. | |
dc.date.accessioned | 2017-07-27T17:01:16Z | |
dc.date.available | 2017-07-27T17:01:16Z | |
dc.date.issued | 2017 | |
dc.identifier.uri | https://studenttheses.uu.nl/handle/20.500.12932/26401 | |
dc.description.abstract | This paper analyses the intertextuality between Slaughterhouse-Five by Kurt Vonnegut and Extremely Loud and Incredibly Close by Jonathan Safran Foer; a subject still relatively unexplored in academic considerations. By reading Extremely Loud and Incredibly Close through the lens of Slaughterhouse-Five, this paper will argue that Foer’s postmodern literary devices that are often discarded as gimmickry or ornamentation should be seen as a conscious effort to uphold the conventions of the trauma genre partly established by writers like Vonnegut. By highlighting the unspeakable nature of trauma and the constraints of language as a mode of representation, combined with their departure from realism both in content and form, these novels stay true to the fragmented experience of trauma. | |
dc.description.sponsorship | Utrecht University | |
dc.format.extent | 606379 | |
dc.format.mimetype | application/pdf | |
dc.language.iso | en | |
dc.title | Oskar Schell “Has Come Unstuck in Time”: Trauma in Slaughterhouse-Five and Extremely Loud and Incredibly Close | |
dc.type.content | Bachelor Thesis | |
dc.rights.accessrights | Open Access | |
dc.subject.keywords | Trauma, The Unspeakable, Postmodernism, Foer, Vonnegut. | |
dc.subject.courseuu | Engelse taal en cultuur | |