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But, as Clute observes, contemporary fantasy, especially the New Wave Fabulists, most often utilize "equipoise," Todorov's uncertainty, instead of the suspension of disbelief.
The earliest preferment for the fable came from Plato himself who preferred a fabulist to Homer: "Plato excluded Homer from his Republic and gave Aesop a place of honor, hoping that the young would absorb fables along with their mother's milk .
Brooks could never be called a fabulist, if for no other reason that he sidesteps the problem altogether by writing about archetypes instead of real people.
It seems to me that the charge of Carver's "literary republicanism" overrates the "decline" of realism in the wake of the metafictional and fabulist heyday of the 1960s.
This principle seems to be dictated to a greater extent by the requirements of the particular character of his fables than by any objective necessity, especially that neither Aesop, nor Phaedrus, nor any of the fabulists to follow would observe it.
But, of course, such spontaneity has its dangers: It made Cervantes one of our best fabulists and one of our worst prose writers.
96) Descartes may have been remembering either, or more probably both, of these ancient fabulists when he wove together this brilliantly persuasive text.
By the time the 'perfumed monster' Hermann Goering enters the picture, The Forger's Spell has raised provocative questions about the nature of art and the psychology of deception, anticipating more recent fabulists such as Clifford Irving, Stephen Glass and Jayson Blair.
As a whole, the trilogy pays tribute to such great fabulists as Cervantes, Rabelais, and Machado de Assis, yet it also establishes itself as uniquely original and innovative.
But The Family is no univocal nightmare, and Sanders played many of the games--the most serious play indeed--of many postmodern fabulists as he mixed in semantic flourishes, stylistic gestures, and tonal nuances that disquiet and surprise, that seem to subvert the intent and final effect of the main narrative voice.
In his first novel, The Fabulists, the Irish poet Philip Casey is ostensibly concerned with describing a love affair between Mungo and Tess, two unemployed and unhappily married Dubliners.
However, in the grand tradition of such Latin American fabulists as Machado de Assis, Borges, Cortazar, and Garcia Marquez, Axelrod manipulates the novel form to present not just a fin-desiecle statement on the political and social fabric of the United States, but a satire on Hollywood films, American television, American folklore, American advertising, American education, the United States presidency, Ronald Reagan, publishing prejudices, "literary" agent incompetence, plus a panoply of gibes, jabs, and gestures at American culture in general.