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Of Humanity In The Novel And Quentin Tarantino's Pulp Fiction?

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Textual form has changed throughout time to reflect different ideals, values and notions of human ontology in a world seemingly void of meaning. Throughout the 20th centaury, post-modern artists have disrupted traditional paradigms of thinking that have governed our lives and forged out perceptions of selfhood and linear time. Emerging from the horror of world war II – as well as the emptiness that accompanied it, composers were forced to contemplate upon the very meaning of human existence. And although composers since this time have varied with context, perspective and purpose, the continued struggle to reason for humanities existence remains as an undercurrent in all texts. This search for meaning, which has been explored by several composers, has manifested into, and is representative of the directionless state of humanity, and struggle in identifying our own identities. Thus, texts of the postmodern era expose and question the unstable ontological grounds that humanity is founded upon. Jean-Luc Godard French New Wave Film, A Bout De Souffle (1960) questions whether our existence is validated by self, or recognition from others. Kurt Vonnegut’s Slaughterhouse 5 (1972) uses a non-linear plot to communicate how we are forever incarnated in the human figure to learn and to grow. Conversely, Quentin Tarantino’s Pulp Fiction (1994) represents the interconnectedness and solidarity humanity, while Barry Jenkin’s film, Moonlight (2016) raises existential questions about the
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