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ABSTRACT
Rejecting canonical narrative forms and ideas, postmodern literature presents a fresh perspective on the passage of
time and geographical location. In contrast to the linear and cohesive representations of time and space expected in
modernist literature, postmodernist works often embrace dislocation, fragmentation, and distorted timelines.
Through metafiction, intertextuality, and non-linear tales, this study investigates how postmodern writers question
traditional ideas of space and time. These methods show time as cyclical, irrelevant, or fluid, which disrupts the
reader's perception of a steady, chronological development. Similarly, postmodern literature frequently portrays
space as hyperreal, fragmented, or disjointed, reflecting a world where the lines between the tangible and the abstract
are increasingly blurred. This study analyses seminal postmodern works to see how these changed views of space and
time fit into a more extensive critique of postmodern reality, identity, and meaning stability. According to the results,
postmodern literature does more than make us rethink the passage of time; it also prompts us to wonder what it
means to exist.
KEYWORDS
Hyperreal, fragmented, reality, identity, meaning stability.
INTRODUCTION
Postmodernism is a complex term with multiple
meanings. It emerged in the 1960s and gained
popularity in the latter half of the 20th century.
Modernist writing developed throughout the first half
Research Article
POSTMODERNIST VIEWS OF TIME AND SPACE IN LITERATURE
Submission Date:
Aug 16, 2024,
Accepted Date:
Aug 21, 2024,
Published Date:
Aug 26, 2024
Crossref doi:
https://doi.org/10.37547/ajsshr/Volume04Issue08-19
Zaid Razzaq Sadeq
Ministry of Education, Najaf Governorate Directorate, Iraq
Journal
Website:
https://theusajournals.
com/index.php/ajsshr
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
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of the century, and postmodern writing developed
after the ending of modernism. Most generally,
"postmodern" can be used to describe a contemporary
style of literature and art whose aim is to break apart
or deconstruct the conventions and ideas already
prevalent in literary studies. It can also be used to
reflect a keen interest in both fragments and surfaces,
and in escapism
–
usually achieved through a technique
called "magic realism". Another important strategy
used by representatives of postmodernism is the
adoption of parody, pastiche, the mixing of genres, the
use of intertextuality, as well as the embrace of "new
narrative forms".
According to postmodern theorists and writers, the
distinguishing feature of postmodern literature is its
reliance on irony; capitalizing on the skeptical outlook
on life characterizing the age, postmodernists
primarily employ irrealism, subjectivism, and parody in
the literature they write. Finally, "postmodern" and
"postmodernity" are linked to a new means of
organizing societies; according to postmodern
theorists, societies have entered a new epoch of
modernity
that
is
increasingly
marked
by
postmodernity. Postmodern is also associated with the
term "post-structuralism". In postmodern and
poststructuralist thinking, concepts such as "time" and
"space" are governed by a plethora of discourses and
power relations, and meanings assigned to these
concepts are contested and shifting, yet are of the
utmost significance in any society, as they help
construct our sense of ourselves and the social and
physical worlds.
Definition and Characteristics of Postmodernism
Postmodernism is characterized by its focus on
surface, paradox, and play, as well as skepticism and
the expansion of binary oppositions. However, these
aspects are general and depend on whom one asks for
a definition of postmodernism, to some extent. Spatial
and temporal formats will change with the passage of
time in terms of new modernist and postmodernist
definitions of time and space when reading literature.
Postmodernist perspectives on time and space will be
discussed in this regard, and within this scope, new
perspectives on postmodern time and space, along
with their representations in literature, will be
examined.
The term "post-modern" denotes a state that comes
after the modern. In the realm of literature, the term
pertains to a specific mode that has been present since
the late forties, where it evolved into a new genre after
establishing its influence in contemporary instances of
painting, science, philosophy, and architecture. It is
considered a type of genre that comes after the
modernist era and is not necessarily based on a clear-
cut set of principles that showcase an attachment to
modernism as a prerequisite for any manifestation that
can be categorized as postmodern. The postmodern
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experience involves a different set of conditions and a
different kind of worldview. A detailed study of
postmodern writings can help highlight the
characteristics of postmodern literature, including
shapeless, fragmented, non-linear, heterogeneous,
intertextual, parodic, and deconstructive.
Key Theoretical Concepts in Postmodern Literature
Postmodernism is based on relativism. It denies the
idea of a unique truth, but on the other hand, it sees
the potential for a multiplicity of truths. Consequently,
time and space appear as fluid, relative, and multiple.
Another very important feature of postmodern texts is
intertextuality - a dialogue with other texts or other
discourses. Therefore, postmodern texts are full of
various quotes, allusions, and intertextual links, and
time and space are often symbolic. Consequently,
postmodernist texts often describe motion in time and
space. The era called the Postmodernist Period is the
heyday of the Age of the Information Revolution. As a
result, the media flood cultural products that show a
quick and shallow interchange of information, values,
and customs throughout the world.
Time and space, as reflexes of historical changes, are
well described by the French philosopher Gilles
Deleuze and the French psychoanalyst Felix Guattari.
Gilles Deleuze and Felix Guattari approach time and
space through the difference between molar and
molecular. According to the authors, "The difference in
nature is the inseparability of things as they actually are
and of the virtual elements from which they result." A
molar point of view on time and space is a static one.
This point of view assumes clear-cut and distinct
categories concerning time and space, such as past or
present; date; era; space on a map, etc. Consequently,
the molar vision perceives time and space as separate
and swallows up things. Moreover, molarity - spatial
and chronological values - has a symbolic character.
Instead of a molar vision of time and space, we can
support the molecular one, according to which there
can be an excess of time - Aion. Aion can flow in
contrary or indeterminate ways of becoming. Similarly,
Aion is also multiple because it results from the "unfold
of multiple possible and virtual points of view." Aion is
an integral part of time. It means that time comprises
both Chronos and Aion.
TIME AND SPACE AS FLUID CONCEPTS IN
POSTMODERN LITERATURE
The idea of time and space has undergone a dramatic
change in the literature of postmodernism. Many of
the significant advancements of postmodern thought
recognize the fluidity of time and space. The
undefined/free association between physical (history,
world) and psychological (memory) have been
inherited by the postmodernist authors from their
modernist ancestors and contemporaries, such as T.S.
Eliot, James Joyce, Virginia Woolf, and William
Faulkner. The combined effect of the two world wars,
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political disturbances in Russia, China, Cuba, and Asia,
inclination towards socialism, the highly advanced
stage of technology, and the social and economic
displacement that followed since 1945 onwards
effected radical changes in the way humans perceived
the world. Several significant advances were made in
the realms of psychoanalysis by Sigmund Freud;
sociology by Victor Turner; history by Michel Foucault,
Roland Barthes, Ferdinand de Saussure, and Claude
Levi-Strauss; and literature by Mikhail Bakhtin and
Antonin Artaud.
Though variously analyzed and labeled in different
socio-historical
paradigms
as
dislocation
and
displacement, collapse of literacy and collapse of grand
narratives, the culmination in the postmodern era was
the explanatory paradigm for the cultural disorder that
prompted a radical break with traditional literate and
hermeneutics. The change will be more precisely
reflected in literature due to reasons observable in
social domains, such as the pioneering role of the
intellectual as well as the relative opposition or neutral
attitude of a society at any given time versus inherited
ones. The major critical impacts are against the
narrative assumptions or orientation embedded in the
perspectives such as literary history, individuality
(subjectivism), genre preference for poetry, or
preference for realism in fiction. Carl Jung, Hermann
Lea, James Frazier, Pierre Abeles, Will Braun, et al., in
human studies, Durkheim, Hobbes, and others in social
studies propounded the idea that humans innately
cherish memory of the past or history. Conversely, the
literary theories propounded by Renaissance period
critics such as Sidney, Hudson, Corneil, and Longino
advanced 'Mimesis' over staff making. Biography, the
gateway to history, shares throughout its length the
race's longing for history. In the postmodern period,
Marx, Engels, Darwin, Nietzsche, Freud, Beckham,
Foucault
—
all have formulated their theories keeping
in view the idea that even algorithms are nothing but
the unfolding of an unending process.
Deconstruction of Linear Time and Space
The narrative strategies of traditional as well as
modernist writers have been based on a tacit
acceptance of a naturally ordered world which is
homogeneous, sequential, closely fitted, and thus
readily accessible to conceptualization. Recent
fictional works, however, have displayed a ready,
indeed compulsive, interest in deconstructing the
common linguistic, psychological as well as
phenomenological ways of representing time and
space, systematically dismantling the a priori
categories of sequential time, uniform space, and
coherent ego which have been traditionally combined
to maintain any sense of intelligibility or coherence in
narratives. Resultantly, they present time and space as
inconsistent or multiple, and systematically disrupt the
normal or chronological sequence of one-to-all
directional reading practices.
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Just as the spatial strategies of traditional fiction make
room for telling stories linearly - in a manner
determined by the cause-and-effect like character of
repressed consciousness or accumulated data -
temporal strategies establish a distance which makes
room for spatial representation. Postmodern writers
consider narratives not as independent of time and
space but rather integrally related to the differential
play of their rencontre and transformation. Therefore,
newer narratives are compelled to reflect the idea of
time and space as constitutive systems whose meaning
is no longer comprehensible in an axiomatic deductive
form. It ceases to be a uniform or homogeneous
"container" of our phenomena or events, but, on the
contrary, becomes something which "separates" the
text and is reflected within the narrative text as a
disjointed series of "spaces". This fragmentation of
space is nothing but the reversal of the universal
allegorical meaning and certitude to be found in a
single sited global narrative.
TEMPORAL AND SPATIAL FRAGMENTATION IN
POSTMODERN LITERATURE
In the postmodern novel, temporal and spatial
representations are often fragmented. Consequently,
postmodernist novels often do not construct a linear
narrative but are produced in a disorderly way. In this
way, time does not flow following the chronological
sequence as it has traditionally been conceived, so that
the two ideas become entwined, making it practically
impossible to distinguish one from the other.
Temporal organization, that is, the ability to order
events following a traditional procedure, becomes
impossible without leaving spatial organization,
because the temporal order is designed differently to
collide with the spatial one. Therefore, claims about
the length of time become doubtful; it is not entirely
clear which event precedes or follows another in
novels that cause significant disruption to spatial
order.
In this context, events are often contradicted by the
same narrative subjects because the main characters
and the people in the narrative often have amnesia.
They do not quite remember or completely forget
events that occur. Not only is it difficult to remember
events, but there are also situations where they simply
do not believe in the historical accuracy of the events
experienced, and this is a particular case because
people do not believe that the event actually happened
to them, or that the event portrayed was not "original"
and actually happened. It is also repeated in different
contexts by various people and is still claimed to the
character in a different way. Behind this claim is mostly
denied by the same person who says it.
This ability to challenge the linear structure of time is
also reflected in the works of postmodernist authors
operating in literature. In fact, postmodernist authors'
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books abandon time and narrative constraints. In this
context, according to Eilde, in the novels of the
theoretical movement, the approach to time is rather a
question of spatial question in the novel. The
spontaneity of the novel writers in time was born out
of the they trapped in an absolute moment.
Bellow and Rushdie created characters who, like
themselves, are trapped in a space-time-away place
when old class citizens are stuck. In this work, one of
the views that will be stressed at this stage: more than
representing space-time as empty, the authors make
stories with place-type moments, which are symbolic
of a certain space. They express any space-time as a
section to be focused on as their creative process. By
adding picaresque narratives and magical real
elements to their structure because they are involved
in post-vanguard movements, these artists continue to
lay the space of their play in their novels. This leads to
a disruption of the physical-logical space of the novels
and becomes the element of disorganization for day-
time existence. This disruption, they left behind from
determinism and showed us that things can be handled
with our own will whenever they need to be re-
regulated. In addition, with their polygenetic and
destizen-centered spaces, these authors have set
different spatio-temporal description models that will
provide the context and content requirements of the
sentences proposed by the works of art.
Use of Nonlinear Narrative Structures
3.1. Use of nonlinear narrative structures.
This subtopic focuses on how authors integrate
nonlinear narrative structures, which are employed
either to align more closely with how the mind actually
works or to open up more complex ways of depicting
the relationships between multiple narratives in the
temporal and spatial sense of the term. As a technique
deployed
in
either
case,
non-linearity
in
postmodernism epitomizes the ongoing fictions of
time and space. Inspired by Einsteinian physics in the
field of time and space, postmodern authors explore
these fictions through the use of techniques, including
the deliberate and extreme fragmentation of time and
space. This fragmentation allows for a shift from one
narrative to another, which we usually think of as a
shift from one time or space to another, to be simply
taken as a juxtaposition between one narrative and the
next.
In any case, it seems that, through the use of these
variously conceived nonlinear narrative structures,
postmodern
authors produce
a fragmentary,
thematically or intertextually determined, affective or
simply random, occasional or collective variety of time
and space. As we can observe, individual identities on
the one hand and master narratives of history or
progress on the other become optional or downright
irrelevant. Finally, mention can be made of the article
by Airy on Lee's poem and its adaptations in graphic
novels, which finds resonance with our discussion here
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precisely through its focus on the intermedial
transpositions of the temporal and graphic
components.
METAFICTION AND INTERTEXTUALITY IN
POSTMODERN LITERATURE
Postmodern literature abounds with self-referent
fiction and intertextual play. Linda Hutcheon thus
outlines a surrogate genre born out of this literary
trend, dubbing it "historiographic metafiction".
Historiographic metafictions may employ real persons,
real events, or real historical settings. Invariably, the
protagonist or an incidental character will be a
professional writer, typically a novelist. Hutcheon
writes, "its parody of such things as the traditional
facts of biography and history, the idea that narrative
is transparent, historical occurrence coherent, the self-
identical human subject knowable, and the work of
literature superior to the mundane, ultimately mirrors
the way in which fiction and historiography themselves
share strategies. Both are artefactual constructs,
narratives."
Intertextuality
is
a
theory
about
the
interconnectedness of literary texts, yet because it
deals with the presence of other texts within a literary
one, the concept relates closely to metaliterature. "As
to the second text," Roman Ingarden acknowledges,
"...it is found in a fabric that is itself a 'purposive'
work." In proposing his concept of "intraliterational
metafiction", Lawrence Lasher makes the logic of
intertextuality even more explicit, stating, "When the
larger text within which a smaller text appears is itself
literary, the action may further be perceived as
operating at an intraliterary level." Metafiction, as
Lasher defines it, is therefore "the employment of
possibility that the uchronic or fantastic elements of
the story which it structurally encloses might be an
integral part of the literary fabric sustaining it, rather
than some extra, non-literary layer needing to be
stripped away to get to the (possible) 'real'
'hypothetical' tale tucked inside its (actual) 'true'
counterpart." In other words, the existence of a
second layer does not guarantee reality; not all tales
within tales have a relationship between sign and
referent. The mark of metafiction in postmodern
literature is thus a never-ending, self-referential cycle.
This, in turn, has implications for how time and space
are constructed and perceived within literature of the
era.
Blurring the Boundaries between Fiction and Reality
Postmodernist literature traces itself by many
subversive techniques through which authors shift the
boundaries between fiction and reality. They use
historical figures as characters and adapt biographical
and documentary texts in a creative manner, thus
insidiously following the conventions of realism.
Instead of fact, fiction nestles in between every line of
their novels. The resultant effect plays directly into the
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postmodern treatment of time and space, and the
strange sense within it. As time goes on, reality and
fiction seem to be projected ever closer together.
Instead of being completely independent realities,
they seem to crash headlong into each other. This
causes time and space to shift, sometimes even
blending two of each together.
The boundary between fiction and reality has been an
important area of concern for many contemporary
authors. This idea, increasingly central to recent
literature, is used to challenge the hierarchical status of
fiction in relation to reality. From this skeptical point in
reality, some authors representing the postmodern
bent of the contemporary literary scenario began to
populate their narratives with these and other
temporal anomalies, writing experimental fiction that
defies encapsulation within traditionally sequential
forms in order to finally break open classical
conceptions of space.
POSTMODERNIST AUTHORS AND WORKS
In the field of postmodernist literature, many authors
are central due to their impact and significant work on
the subject of postmodernism and their repertoire.
These literary authors also offer different views on
time and space as portrayed in their works, such as the
view of time as history and eternally recurring in Tom
Robbins' Skinny Legs and All. Mentioned below are
some relevant authors and their works which align
with this view of denoting time:
1) Don DeLillo - White Noise (1985) 2) Tom Robbins -
Skinny Legs and All (1990) 3) Kurt Vonnegut - Hocus
Pocus (1990) 4) Maxine Hong Kingston - Tripmaster
Monkey: His Fake Book (1989) 5) Umberto Eco -
Foucault's Pendulum (1988) 6) Anthony Burgess - A
Clockwork Orange (1962) 7) Jay McInerney - Bright
Lights, Big City (1984)
These authors are acclaimed for their work, and fewer
of these have widely influenced the subject of
postmodernist literature. However, a few of the
authors are known for a more realistic, subjective,
symbolic approach to their representation of time and
space. Their works express these character trends that
help readers muse on how much of people and place
make it possible in writing and in life and vice versa.
Jorge Luis Borges: The Garden of Forking Paths
Jorge Luis Borges (1899-1986) is often associated with
postmodern literature (although he does not fit the
movement completely), and his works present a
ciphered nature of time and space. One of his best-
known short stories is "The Garden of Forking Paths,"
in which the narrative takes on the complexity of an
actual labyrinth. Characters have to go back and forth
in order to finally "earn" a linear experience of the
story's time, while the reader has an instant
understanding of the several twisted, intertwined
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times of the narrative at once. It is through these
temporal distortions that the notion of how
postmodernists dealing with science fiction see time
and space can be explored, and "increased our faith in
the narrational possibilities of fiction."
"The Garden of Forking Paths" takes place during
World War I, while the narrator reflects on what it
means to be Chinese and a Secret Service agent. His
friend Dr. Yu Tsun helps him to his appointment to a
renowned sinologist of the name Stephan Albert, who
is in the Professor of Sinology at the University of
Oxford, while an officer calls at the door and shoots Dr.
Yu Tsun in the lumber region, before he himself gets
shot. As the story goes on, it is revealed by the doctor
in a letter to the chief German officer, Richard Madden,
that Stephan Albert has been murdered, whereas the
murderer, Hightower, drunk and deranged, has been
sentenced already and sentenced to be hanged. The
main framework of the narrative is the doctor's letter.
It has an "intricate mid-narrative structure" and
exhibits labyrinthine abstractions on time and space of
extraordinary sort, shaped "as meta-metaphysical
masterpieces or maps of paradox." The reality is
constructed in such a way that all plausible alternatives
are encountered over and over again by the artifacts
and by history. The concept presents the drama of alt-
repetition rather than alt-identification. The "manifold
large" (157), or as we read it
—
for it is metaphysical in
nature
—
"aleph" is named Tlön. One of the main
characters Dr. Stephan Albert, whom we have never
met so far, is somehow described as the most eminent
amongst an indefinite line of intellectuals who have
also themselves adhered in some form to the theory of
the mutability of matter and ideas. He has become a
follower
—
or he is
—
of the memory man, whose
pursuit is chosen out of all.
Italo Calvino: If on a Winter's Night a Traveler
Postmodernist views of time and space in literature are
displayed through both an innovative representation
of time and space and a self-conscious reflexivity on
the part of the author and characters. Italo Calvino is a
master of these priorities in writing, especially as
demonstrated in his novel If on a Winter's Night a
Traveler. In this book, Calvino challenges traditional
epistemology and portrays a researcher's view of the
oppositions to connection in both time and space in
literature and theory.
If on a Winter's Night a Traveler reflects postmodern
views of time in literature by illustrating how literary
texts confront disconnection in a world that embraces
the notion that connection was lost long ago. A
deconstructivist perspective on time is presented that
negates the traditional separation and opposition
between time and its elements, much like the
paradoxes presented in deconstructivist architecture.
Additionally, If on a Winter's Night a Traveler offers a
representation of postmodern geography and visuality
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in a literature of disconnection and détournement.
Time is of the essence to the postmodern subject, and
the dominance of speed and the urban experience for
the characters in Calvino's book confirm this. The
experience of waiting, which still carries a place for
theorizing plurality in Deleuze and Guattari's A
Thousand Plateaus, is subsumed in the goal of arrival in
the perfect metropolis. By opposing expectation to
arrival in the literature of a de-arrived world and
expecting only detour while trapped in a world of
fatalities, Calvino provides yet another example of the
postmodernist focus on displacement in the
constructed binarism between expectation and arrival.
CONCLUSION
The aim of this contribution was to investigate
postmodernist views on time and space and their
realization in literature and film. In successful
cooperation, valuable insights have been gained. The
definition of time as a broad concept has the power to
eliminate established categories of historical eras in
Western intellectual history and propose a new,
transforming twist of scientific and social activities, as
demonstrated with quantum physics and theories of
relativity. Ideas of uncertainty, indeterminacy, and
infinity might resonate with ideas from language
philosophy and contemporary interpretations posited
in art expressions. Within literary texts, different uses
of time come to the fore. Time tends to be
deconstructed or compressed at the expense of logical
lengths or symbolizes cyclical repetition. It serves as a
warp and a weft from where gothic and science fiction
narratives are woven; it is played with in postcolonial
texts. Similar uses are found in space in literature,
which is often seen as a conceptual category that goes
beyond the material and invokes not just navigation
through physical environments but transcends into
connecting emotional domains or psychology,
becoming both a location and a trope.
Postmodern theory does not just add to the critical
theoretical toolbox by suggesting literary or cinematic
parameters of creativity but revolutionizes practices of
representations and modes of theorizing itself. It turns
the study of conceptions of time and space into a
utopian realm. Cecelia C. Cavanaugh's assertion that
"films involving time share what the postmodern
novelists share: a wish to subvert time, time's tyranny
and repressive linearity, linear time's profit marking
and its traumas" is potent. In fact, readings of play with
time and space in literature and film indeed confirm
that interpretations of art expressions reconfigure
their meanings and performative practices. A
postmodernist approach adds an additional category
of interpretation to traditional realism, modernist
transcendentalism,
and
performative
schema,
questioning and bequeathing an array of modes of
reception and production. In this contribution, just a
few pathways in time and space used by artists have
been suggested. Authors and scholars are now invited
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to explore these and trawl for threads of meaning
before the trails go stone cold.
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Borges, Jorge Luis. 1939. El jardín de senderos que
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