Linda Hutcheon

Bio: Linda Hutcheon is an academic researcher from University of Toronto. The author has contributed to research in topics: Postmodernism & Opera. The author has an hindex of 27, co-authored 146 publications receiving 8146 citations. Previous affiliations of Linda Hutcheon include National Autonomous University of Mexico & McMaster University.

Double Talking: Essays on Verbal and Visual Ironies in Contemporary Canadian Art and Literature

Abstract: Abstract (summary): Are we living through an "irony epidemic"? In March in the mass media as well as in what we like to call "high art" and the academy, there has been a lot of talk about irony lately. Why? After all, irony is nothing new; it has been around for a long time,​ if Quintilian and Cicero are to be believed (see too Gaunt; Good; Green). Some people blame (and that is the appropriate verb, given the tone of most commentary) the rise of what has been labeled "postmodernism"; others simply point out that irony is a popular fin-de-siècle trope and that the twentieth century is merely poised to​ go out on the same note upon which it came in. But either view neglects the important changes in the iue of that trope over the last hundred years. One of the major changes has been the shift in the usage (and therefore meaning) of irony, from the idea of it as an absurdist, fundamentally pessimistic, and detached vision of existence​ (see Glicksberg) to the notion of irony as a more positive mode of artistic expression with renewed power as an engaged​ critical force, that is to say, as a rhetorical and structural strategy of​ resistance and opposition. In other words, irony today is neither​ trivial nor trivializing, despite some Marxist critics' contentions to​ the contrary (see Jameson; T. Eagleton, "Capitalism"). As Italo Calvino once reminded us: "there is such a thing as a lightness of​ thoughtfulness, just as we all know that there is a lightness of frivolity" (I o) and the two should not be confused.

Postmodern Provocation: History and 'Graphic' Literature

Abstract: On the postmodern literary scene, the blurring of boundaries has long been a given. For years now, the border-crossing between high art and popular culture, in particular, has been both decried and celebrated' . For Andreas Huyssen, in After the Great Divide: Modernism, Mass Culture, Postmodernism', it is in fact the erosion of the boundary between the elite and the popular that marks the move from the modem to the postmodern in twentieth-century culture. But generic borders are also losing their comforting defining power, as fiction, history, biography, autobiography, and other genres mix to create hybrid forms that, for some, simply recall the early days of the novel's formation! and, for others, foretell the death of the novel -once again. Yet another contentious characteristic of postmodernism has been its controversial relationship with historythat is. "history" understood as both the events of the past and the narratives that tell of them. For some, to challenge the accepted objectivity of historical accounts, pointing to their constructed nature, is tantamount to questioning the truthvalue of historical narrative itself; to others, it is a welcome

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

Abstract: 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

The Value of Narrativity in the Representation of Reality

Abstract: 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

The Post-Colonial Studies Reader

Abstract: 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.