antinovel


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antinovel

or

new novel:

see French literatureFrench literature,
writings in medieval French dialects and standard modern French. Writings in Provençal and Breton are considered separately, as are works in French produced abroad (as at Canadian literature, French).
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; Robbe-Grillet, AlainRobbe-Grillet, Alain
, 1922–2008, French novelist and filmmaker, b. Brest. Robbe-Grillet is considered the originator of the French nouveau roman [new novel], in which conventional story is subordinated to structure and the significance of objects is stressed above
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.

Antinovel

 

an accepted concept used along with the term “new novel” to characterize certain genres in the prose of modernism. The “antinovel” is to be found primarily among French writers of the late 1940’s and 1950’s—for example, S. Beckett, A. Robbe-Grillet, N. Sar-raute, and M. Butor. Having declared a break with the realistic novel in its classical forms (hence the term “anti-novel”), the representatives of the “new novel” also rejected the developed plot, the hero with an integral inner world and character, and the portrayal of any coherent picture of social struggle.

G. K. KOSIKOV

antinovel

a type of prose fiction in which conventional or traditional novelistic elements are rejected
References in periodicals archive ?
This selection from the Spring 1946 issue comes from the latter part of Patchen's antinovel, Sleepers Awake, which was published in December 1946.
Because the author knows full well what a novel is and what her society is made of, she is able to present us with an antinovel in an antinational setting and, beyond the borders of both, give testimony of her intensely Portuguese vision.
If Dashiell Hammett had written the stream-of-consciousness detective novel he once claimed he would like to, and that manuscript had been passed on to Edmond Jabes for severe line editing, then stolen by early-career Samuel Beckett to be dosed with bursts of hot humor and jaunty textures, then revisited by late-career Samuel Beckett for cooling and quieting, then borrowed by the late poet Jackson Mac Low to undergo various destabilizing textual operations, we might, if we could lay our hands on the resultant hybrid wonder, have some sense of the baffling, polymorphic territory limned in Robert Majzels stunning antinovel, Apikoros Sleuth.
As postmodern antinovel, Hellblau offers little in the way of coherent plot.
It is, in many ways, a novel or better yet, an antinovel which attempts to stress that we must somehow move beyond traditional binary oppositions of "man" and "woman," "master and slave.
L'ile et une nuit is a more rarefied antinovel almost lacking in characters and plot, a structuralistic tour de force that may be seen as the epic poem of the Antillean hurricane, in which the sleepless night spent confronting the monster storm in a barricaded old house revives old memories in a synthesis that becomes a quick overview of Caribbean history and culture.
Servin works against the linguistic expectations of the reader in this antinovel to create a sense of exuberance and near intoxication.
As exciting as the theories of the antinovel appeared thirty years ago, it is now as dead as a doornail - first because those theories never produced a masterpiece, and second because readers now stay away in droves, having learned only too well what eye-glazing boredom means.
Paul Nizon, a Swiss writer who made his debut thirty years ago with the antinovel Canto (1963), has gained a cultlike following in Germany and also enjoys a large reputation in Paris, where he has made his home for the past twenty years (see WLT 69:3, pp.
Indeed, many of the so-called antinovels are really metafictions.