Introduction 1. Woman's Place in Man's Life Cycle 2. Images of Relationship 3. Concepts of Self and Morality 4. Crisis and Transition 5. Women's Rights and Women's Judgment 6. Visions of Maturity References Index of Study Participants General Index

In a Different Voice. Psychological Theory and Women’s Development. Cambridge, MA (Harvard University Press) 1982.

On death and dying

Culture and Imperialism

To raise the question of the nature of narrative is to invite reflection on the very nature of culture and, possibly, even on the nature of humanity itself. So natural is the impulse to narrate, so inevitable is the form of narrative for any report of the way things really happened, that narrativity could appear problematical only in a culture in which it was absent-absent or, as in some domains of contemporary Western intellectual and artistic culture, programmatically refused. As a panglobal fact of culture, narrative and narration are less problems than simply data. As the late (and already profoundly missed) Roland Barthes remarked, narrative "is simply there like life itself. . international, transhistorical, transcultural."' Far from being a problem, then, narrative might well be considered a solution to a problem of general human concern, namely, the problem of how to translate knowing into telling,2 the problem of fashioning human experience into a form assimilable to structures of meaning that are generally human rather than culture-specific. We may not be able fully to comprehend specific thought patterns of another culture, but we have relatively less difficulty understanding a story coming from another culture, however exotic that

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The Value of Narrativity in the Representation of Reality

The essential introduction to the most important texts in post-colonial theory and criticism, this second edition has been thoroughly revised and updated to include 121 extracts from key works in the field. Leading, as well as lesser known figures in the fields of writing, theory and criticism contribute to this inspiring body of work that includes sections on nationalism, hybridity, diaspora and globalization. The Reader's wide-ranging approach reflects the remarkable diversity of work in the discipline along with the vibrancy of anti-imperialist writing both within and without the metropolitan centres. Covering more debates, topics and critics than any comparable book in its field, The Post-Colonial Studies Reader is the ideal starting point for students and issues a potent challenge to the ways in which we think and write about literature and culture.

The Post-Colonial Studies Reader

I hold this truth to be self-evident: that an art form consisting of a literary text, a dramatic stage performance, and music should be studied in all its multimedia and “multimediated” dimensions (Kramer, Opera 25). Today I can make this statement with confidence because the academic study of opera indeed covers all those aesthetic bases, but that has not always been the case. So long as opera fell primarily within the domain of musicology, it was studied first and foremost as music alone. The fact that the music was written for a specific dramatic text was not deemed particularly significant. The very name given to that text betrayed a belief in its secondariness: the diminutive libretto. But things have been changing: in recent years, some musicologists have challenged the dominant positivistic historicism and formalism of their discipline; some have even looked to literary theory for inspiration, bringing new approaches to the music of opera through narratology (e.g., Abbate) or semiotics (e.g., Nattiez). But just as important for opening up the study of opera as an aesthetic and cultural form has been the attention of scholars working in other disciplines. To take but one example, Peter Rabinowitz's rhetorical narrative theory introduced new ways of thinking about opera as narrative, not only as drama and, more pointedly, not only as drama with the composer in the role of dramatist (Kerman). It was opera, not dance, for example, that became a focus for interdisciplinary studies; already multimediated, it attracted diverse lines of inquiry. To cite the title of David Levin's groundbreaking 1994 volume, we can now see “opera through other eyes.” (Musical theater too has been seen through other—especially literary—eyes, but that is not the focus of this piece [see, e.g., Most; Miller; Rabinowitz].)

Interdisciplinary Opera Studies

It is now a truism of cultural theory that, while the terms postmodern and postcolonial obvi-ously share more than their prefatory posts, the broad cultural enterprises which they have come to designate are by no means conflatable. This detailed critical examination of one controversial case study — the Royal Ontario Museum's 1989-90 Into the Heart of Africa exhibit—and of its aftermath attempts to open up to debate the conflictual space not only between the postmodern and the postcolonial (and therefore between modernity and empire), but also the space between curatorial/designer intention and actual realization in a particular institution, between individual interpretation and community response, between representation as critique and representation as either appropriation or endorsement, and — in the end — between the discursive politics of irony and what Cornel West calls the "cultural politics of difference. Resume
 Il s'agit desormais d'une verite de la theorie culturelle : si les termes postmodemisme et postcolonialisme ont evidemment plus en commun que leur prefixe, les grandes entites culturelles qu'ils en sont venus a designer ne sont aucunement identiques. Cette analyse critique detaillee d'un cas qui a donne lieu a une polemique -l'exposition Into the Heart of Africa de 1989-1990 au Musee royal de l'Ontario - s'efforce de lancer le debat sur l'espace conflictuel, non seulement entre les epoques postmodeme et postcoloniale (donc entre le modernisme et l'empire), mais aussi entre les intentions de la conservatrice ou de la per-sonne responsable de la conception et l'exposition proprement dite, dans un etablissement particulier, entre l'interpretation personnelle et la reaction de la collectivite, entre la representation en tant que critique et la representation en tant qu'appropriation ou sanction et, finalement, entre la politique discursive de l'ironie et ce que Cornel West appelle la politique culturelle de la difference.

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The Post Always Rings Twice: The Postmodern and the Postcolonial

"© Edited by E.J. Smyth, published by Batsford 1991. Reproduced by permission of Chrysalis Books Group Plc." Copying or reproducing this text is forbidden. To inquire, please contact the publisher.

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Discourse, power, ideology: humanism and postmodernism

Staging the Female Body: Richard Strauss's Salome

Postmodernism, or the Anxiety of Master Narratives@@@A Poetics of Postmodernism: History, Theory, Fiction@@@The Politics of Postmodernism@@@Postmodernism, or, the Cultural Logic of Late Capitalism

Linda Hutcheon

Papers

Interdisciplinary Opera Studies

The Post Always Rings Twice: The Postmodern and the Postcolonial

Discourse, power, ideology: humanism and postmodernism

Staging the Female Body: Richard Strauss's Salome

Postmodernism, or the Anxiety of Master Narratives@@@A Poetics of Postmodernism: History, Theory, Fiction@@@The Politics of Postmodernism@@@Postmodernism, or, the Cultural Logic of Late Capitalism