Showing papers by "Linda Hutcheon published in 1998"
01 Jan 1998
TL;DR: Hutcheon as discussed by the authors argues that the postmodern dimension of the post-modernism was more ironic than nostalgic, and this dialogue with Mario Valdes represents her attempt to deal with this unfinished business to understand why she had earlier chosen the nostalgic dimension of postmodernism in favor of the ironic.
Abstract: Linda Hutcheon says that this article is a dialogue that was initially provoked by some ruminations on her part over why she had resolutely insisted that the postmodern was more ironic than nostalgic. This dialogue with Mario Valdes represents her attempt to deal with this unfinished business to try to understand why she had earlier chosen the nostalgic dimension of the postmodern in favor of the ironic. It also represents Valdes response to this position and his critical testing of it on the field of contemporary Spanish cinema.
62 citations
TL;DR: The nineteenth century is generally viewed as the time of the greatest achievement in this vein, and many fundamental principles of Western literary history as a discipline were established then, and it is no coincidence that the same moment in history also witnessed the rise of a new form of national cultural self-awareness as discussed by the authors.
Abstract: rels of ancients and moderns), literary history as we know it appears to have grown out of eighteenth-century antiquarian interests. In its earliest form it was often simply a compendium of information about writers (of practically anything), usually in straightforward chronological order. With Friedrich Schlegel, the story goes, came the shift from this sort of vast sequence of authors to a more limited corpus (and thus canon) of literary texts.1 The nineteenth century is generally viewed as the time of the greatest achievement in this vein, and many fundamental principles of Western literary history as a discipline were established then.* It is no coincidence that the same moment in history also witnessed the rise of a new form of national cultural self-awareness. A Western literature from the start (as in the various European quar-
29 citations
TL;DR: Wagner's Ring Cycle as discussed by the authors is a stage-festival play for three days and a preliminary evening, which runs at least fifteen hours and is a major investment of time and energy for audiences.
Abstract: Richard Wagner's best-known work, Der Ring des Nibelungen, is famous for many reasons: its music, its Germanic mythic allegory, its sheer length. Called a stage-festival play for three days and a preliminary evening, the Ring `cycle' (as it is known) runs at least fifteen hours. In other words, it is a major investment of time and energy for audiences. But it is also an engrossing story of the struggle for a golden ring — and therefore for power — among giants, humans, Nibelung dwarfs, and the Teutonic gods. It contains several infamous love stories: that of the siblings Siegmund and Sieglinde, and also that of their offspring, Siegfried, and Brunnhilde, the Valkyrie (who happens to be his aunt). There are many stories in the Ring and, it goes without saying, there are many possible critical approaches to it.
8 citations
TL;DR: For instance, the authors describes how, when she went from being a Bortolotti to being a Hutcheon, her social and cultural interactions within a predominantly Anglo-Saxon environment changed; my ethnic identity became encrypted, silenced, unless articulated by choice.
Abstract: 28 WHEN I WENT from being a Bortolotti to being a Hutcheon, my social and cultural interactions within a predominantly Anglo-Saxon environment changed; my ethnic identity became encrypted, silenced, unless articulated by choice-a pointed lesson in the constructedness of concepts of ethnicity. Like me, Cathy (Notari) Davidson, Marianna (De Marco) Torgovnick, and Sandra (Mortaro) Gilbert are crypto-Italian teachers of English. What we do not share, however, is nationality: they are Italian American, while I am Italian Canadian. I therefore may have a somewhat different experience of ethnicity and its encrypting.' Without a melting-pot ideology or a pluralist national identity to rally around, Canadians-be they British, Chinese, Italian, Pakistani, or Somali-have only the model of officially defined multiculturalism with which to construct their sense of self-in-nation. I first became aware of the different political associations of the word multicultural in Canada and the United States during the so-called culture wars. While political denunciations of multiculturalism-seen as a reconfiguration of national identity resulting from the perceived loss of a single common culturewere frequent enough in the United States, most often the term was used there in a more limited sense to define the dominant ideology on college campuses, which was said to be contaminated by political correctness. Dinesh D'Souza was not the only one who worried about the "ethnic cheerleading" implied in certain curricular changes (33); Henry Louis Gates, Jr., too expressed concern about potential "ethnic chauvinism" in the multicultural academy ("Studies" 288). Some scholars worried that multiculturalism's politics of difference might simply be another way of ensuring white supremacy (Wiegman); others voiced related fears that interest in ethnic studies would elide the historical realities of race through the use of a European immigrant paradigm as the master narrative of difference (San Juan 132).2 Nevertheless, in the United States, the
8 citations