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      <title>PADLET ENGV 311 by POOE NTHABISENG</title>
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      <description></description>
      <language>en-us</language>
      <pubDate>2022-07-29 16:44:38 UTC</pubDate>
      <lastBuildDate>2022-07-29 20:13:16 UTC</lastBuildDate>
      <webMaster>hello@padlet.com</webMaster>
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         <title>POSTMODERNISM</title>
         <author>mbalinthabiseng7</author>
         <link>https://padlet.com/mbalinthabiseng7/jubh2gmao79769e4/wish/2251830593</link>
         <description><![CDATA[<div>In the second half of the twentieth century, postmodernism was a philosophical movement that influenced the arts and critical thinking. Postmodernist works frequently show disapproval or irony toward well-known stories. Postmodernism criticizes long-held beliefs about objective reality, value systems, human nature, and social progress, among other things. Postmodernism in cinema brought darker films with separated irony about the world. Postmodern films seek to challenge widely held beliefs, which can lead to the formation of genre merging or tampering with a film's narrative structure.</div>]]></description>
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         <pubDate>2022-07-29 16:59:03 UTC</pubDate>
         <guid>https://padlet.com/mbalinthabiseng7/jubh2gmao79769e4/wish/2251830593</guid>
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         <title>CONCEPTS OF POSTMODERNISM</title>
         <author>mbalinthabiseng7</author>
         <link>https://padlet.com/mbalinthabiseng7/jubh2gmao79769e4/wish/2251831704</link>
         <description><![CDATA[<div>Metafiction- Metafiction is a type of fiction that serves to remind the reader that they are reading or watching a fictional work. It deviates from standard narrative norms by incorporating a self-aware narrator's point of view into the text to create a fictional work that responses on fiction.<br><br>" Sand, mud, blood, sea water, engine grease, bullets and smell of cordite whose pockets contained a dry loaf of bread"( P.407)&nbsp;<br>It's metafictional, which means it's a story inside a story. According to the&nbsp; Briony in the very last part of the novel titled 'England 1999,' the occasion happened previously. Another story in the novel begins with a 13-year-old Briony Tallis explaining the schmaltzy atmosphere and finally ended with a 77-year-old Briony Tallis.<br><br><br></div>]]></description>
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         <pubDate>2022-07-29 17:02:44 UTC</pubDate>
         <guid>https://padlet.com/mbalinthabiseng7/jubh2gmao79769e4/wish/2251831704</guid>
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         <title>PASTICHE</title>
         <author>mbalinthabiseng7</author>
         <link>https://padlet.com/mbalinthabiseng7/jubh2gmao79769e4/wish/2251869433</link>
         <description><![CDATA[<div>A pastiche is an art style that mimics the aesthetic of another work or incorporates several unique styles into one work. Pastiche also refers to a work of literature that is a broad combination of factors replicated from other works of literature, such as concepts, ideas, and characters.<br>" Six decades later she would describe how at the age of 13 ,she has written her way through a whole history of time with the remarkable world war two and later she has discovered for herself one fine morning during the sunny wave in 1999"(shepherd Press P.436)<br>Atonement makes extensive use of the concept of pastiche. As an epigraph, the novel begins with a citation from Jane Austen's novel Northanger Abbey, demonstrating the concept of pastiche. Atonement creates a further pastiche guide by comparing the novel to Female Quixote, a novel written by Charlotte Lennox in 1752, with the character Briony engaging with Lennox's character.</div>]]></description>
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         <pubDate>2022-07-29 19:09:58 UTC</pubDate>
         <guid>https://padlet.com/mbalinthabiseng7/jubh2gmao79769e4/wish/2251869433</guid>
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         <title>INTERTEXUALITY</title>
         <author>mbalinthabiseng7</author>
         <link>https://padlet.com/mbalinthabiseng7/jubh2gmao79769e4/wish/2251873779</link>
         <description><![CDATA[<div>Intertextuality is a term invented by academic Julia Kristeva (1980) that relates to the way one text can refer to many other texts through quoting, parody, allusion, and so on, implying that books are never completely written apart from one another.</div>]]></description>
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         <pubDate>2022-07-29 19:25:16 UTC</pubDate>
         <guid>https://padlet.com/mbalinthabiseng7/jubh2gmao79769e4/wish/2251873779</guid>
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         <title>HOW THE NOVEL ENCOMPASSES THE GENRE OF POSTMODERNISM</title>
         <author>mbalinthabiseng7</author>
         <link>https://padlet.com/mbalinthabiseng7/jubh2gmao79769e4/wish/2251877685</link>
         <description><![CDATA[]]></description>
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         <pubDate>2022-07-29 19:42:00 UTC</pubDate>
         <guid>https://padlet.com/mbalinthabiseng7/jubh2gmao79769e4/wish/2251877685</guid>
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         <title>WHAT CONSTITUTES ATONEMENT</title>
         <author>mbalinthabiseng7</author>
         <link>https://padlet.com/mbalinthabiseng7/jubh2gmao79769e4/wish/2251884307</link>
         <description><![CDATA[<div>After the first reader turns a page and discovers the epilogue titled "London, 1999," shattering the illusion that Parts One, Two, and Three were written by none other than the 77-year-old Briony Tallis. The  epilogue, and what it reveals about the events we've just read, transforms the novel into metafiction. The possibility of atonement through fiction is introduced in the epilogue. The epilogue is what distinguishes this work as metafiction rather than a novel with metafictional asides. It contains numerous references to the process of writing believable fiction, evidence for which can be found in the novel itself.</div>]]></description>
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         <pubDate>2022-07-29 20:12:04 UTC</pubDate>
         <guid>https://padlet.com/mbalinthabiseng7/jubh2gmao79769e4/wish/2251884307</guid>
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