when the thread comes to an end, the reader may be influenced by his path taken on his reflection of the identity of Patchwork Girl, or the fluidity of it. Truth is created as such rather than imposed.
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In Patchwork Girl in contrast, the plurality of meanings is stressed through the rather subvertive mode of the hypertext fiction. In Patchwork girl, it is actually the utilization of the medium that helps to shape the plurality of meaning. The interactivity of the hypertext allow the reader to plot out unique patterns of reading, to move through a text in an non-linear fashion, serves to highlight the importance of the reader in the "writing" of a text- each reading, even if it does not physically change the words- writes the text anew simply by re-arranging it, by placing different emphases that might subtly inflect its meanings. Furthermore internally throughout the main textual thread, reader is given forked many times in his reading path- forced to choose between “Mistress” and “Monstrous” – the readers decision leads to a similar yet subtly different texts- and through these subtle distinction,
Ultimately, Stoppards text, in which three conflicting metanarratives of the function of art. However by the end of the play audiences expectations are subverted- the conflict is not resolved, just pushed aside. To even further cloudy and sideline the debate, Stoppard places the actions of the play through the, erratic control of Carr’s memory. Carr’s first soliloquy demonstrates the unreliability of the narrator, through the use of stream of consciousness. Also notable is that the events are shaped through Carr’s own egotistic viewfinder- whose view is shaped through the events of Importance of being Earnest. Further trivialising and distancing us from the real argument taking the focus away.
Likewise, Jackson's media stitches together different portions of material from all types of sources that are patched together in this storyspace and seemingly randomly displayed in the hypertext realm. (Bricolage). I am a mixed metaphor. (self preferentiality). In summing up, by detailed examination of these texts, we recognise the perspective that the texts are incapable of originality- by understanding the disillusioned paradigm of late capitalism which originated in the 1960s. The 1960s.
Postmodernism also challenges the notion of “truth”. This is shown in Barthes Death of the author. “To give an author a text is to give the text closure, however through not placing a final meaning of the text- is to free the text. The composers questions, then challenges the notion of true meaning of a text- through subverting the conventions of the features and functions of the text.
In a way, Stoppard cleverly plays the role to the Dadaist: by rearranging the fragments of the tapestry of life intentional outlandish displaying of the unoriginality of his texts. This is done through pastiche, in which vaudevillian scense are immediately juxtaposed against the historical fiction scene, through the playful insertation of intertextual references from upto 11 texts, and mostly through the adaptation of importance of being earnest- in which through Carr’s memory provides an ironic template for vilonet vibrant energetic discussion of art.
Likewise in Patchwork Girl the content mirrors the construction of the text. The cleverness in Shelly’s adaptation of Frankenstein, lies in the fact that like Frankenstein the titular character is a figure that is stitched and patched together with pieces of dead bodies. (metonym)
. By navigating through the themes and charting the conventions of the drama, Travesties, by Tom Stoppard, and the hypertext fiction, Patchwork Girl, by Shelly Jackson, we arrive at a new understanding about the concepts of originality and truth.
Postmodernism challenges the notion of originality. As stated in Barthes’ death of the author’ an author can only provide work that is “alteriar and never original”- as for originality is dead. Through the study of Travesties we observe that the discourse of Tristan Tzara is in fact a motif- for the postmodern value or the lack of originality. Like Barthes- Tzara believes that canonical art is “ a shuffling of picture cards”- and to rebel against this weariness he engages in the practises of Dada- in which canonical masterpieces are cut into pieces and rearranged- so the words are in different contexts- and thus sometimes not making sense at all.
PPostmodernism is the incarnation of the smorgasbord of scientific, religious, philosophical and economic paradigms that has emerged in reaction to the cloying optimism of the 1960s politics. These new, yet unpretentiously cynical ways of looking at the world have crossed over into the world of literature in through the mouth piece of Roland Barthes and his essay the Death of the Author. By the interweaving of key thematic concerns of the text and by highlighting the clichés or subverting the conventions of the forms and functions of the text, postmodern texts question, then challenge accepted notions of originality and the truth.