Download A Ship of the Line (Hornblower Saga, Book 7) by C. S. Forester PDF

By C. S. Forester

His Majesty's send Sutherland is a monotonous send of the road. yet in command is none except the heroic Captain Hornblower and, along with his group from the Lydia, appears set to tackle commando raids, hurricanes at sea and Napoleon's gun batteries.

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Additional resources for A Ship of the Line (Hornblower Saga, Book 7)

Example text

Murdoch’s rejection of prescriptive systems of belief does not lead her to Rorty’s postmodern pragmatism but to an embracement of the irrational, the accidental and contingent. Furthermore, she turns structuralist and deconstructionist critique back on itself by suggesting that both viewpoints are fatally wounded by their tendency toward prescription and determinism. She regards it as paradoxical that the same French phenomenological tradition which led Sartre to attack predetermined structuration also produced deconstruction, the charms of which, she comments, ‘are those of determinism, pleasing to the thinkers who exclude themselves from the fate of the codified’ (S 37–8).

This is just what we see Murdoch doing too, in fact for very similar reasons, and despite her repeated expressions of admiration for classic realist writers. Quite naturally for one who began writing at more or less the same time the term ‘postmodernism’ enters the theoretical vocabulary, the question of representation, in its complex late twentieth-century form, is central to Murdoch’s approach to fiction. While this is not the impression we get from her writings on literature, her philosophy suggests otherwise.

According to the logic of ‘double-coding’, which Hutcheon (and others) insists is typical of postmodernism, the distinction between realist and postmodern fiction is not a binary opposition: postmodern fiction is both realist and non-realist at the same time. Gasiorek suggests that such logic comes from realism itself, because of the ‘doubleness’ inherent in mimesis: ‘Janus-faced, these texts look both outward to an external world that they attempt to depict in all its complexity and inward to the very processes by which such depiction is brought into being’ (Gasiorek 1995: 14–15).

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