Existentialism In Catch 22

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A very basic way of thinking about literary theories, are that these ideas act as different lenses critics use to view and talk about art, literature, and even culture (Brizee, Tompkins, Chernouski, & Boyle, 2016). Throughout the last two and a half years, we have read many different novels each depicting a different literary theory. New Historicism
New Historicism can be viewed as a literary theory in which the ideas and assumptions of the prevailing historic era are considered when viewing or analysing a text. The New Historicist are said to believe the concepts regarding the era’s political function of literature and power.

In other words, history is this theory is not simply an account of facts and events, but rather an intricate portrayal
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A further expounding of the relationship between black humour and existentialism in literature will clarify Catch-22’s position in literary history (La-mei, 2014).

Deconstruction is a critical outlook regarding the relationship between text and meaning. Furthermore, deconstruction is a way of reading any text and thereby exposing the instability of meaning which the text tries to cover up.

Deconstruction, is nevertheless a form of philosophical and literary analysis, resultant mainly from work begun in the 1960s by the French philosopher Jacques Derrida, that questions the fundamental theoretical distinctions, or “oppositions,” in Western philosophy through a close analysis of the language and logic of philosophical and literary texts (The Editors of Encyclopedia Britannica, 2016).

When looking at Joseph Heller’s novel, Catch-22, the context is certainly not limited to just the World War II setting. The readers are welcome to conclude to their own interpretations and live the happenings of the book in a situation close to themselves. The Deconstruction theory is a complex and difficult theory to grasp, and Catch-22 meets the characteristics of this

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