Book•
The Politics of Postmodernism
01 Jan 1989-
TL;DR: In this article, the postmodernist representation is de-naturalized the natural, Photographic discourse, Telling Stories: fiction and history, Re-presenting the past: 'total history' de-totalized, Knowing the past in the present, The archive as text.
Abstract: General editor's preface. Acknowledgements. 1. Representing the postmodern: What is postmodernism? Representation and its politics, Whose postmodernism? Postmodernity, postmodernism, and modernism. 2. Postmodernist representation: De-naturalizing the natural, Photographic discourse, Telling Stories: fiction and history. 3. Re-presenting the past: 'Total history' de-totalized, Knowing the past in the present, The archive as text. 4. The politics of parody: Parodic postmodern representation, Double-coded politics, Postmodern film? 5. Text/image border tensions: The paradoxes of photography, The ideological arena of photo-graphy, The politics of address 6. Postmodernism and feminisms: Politicizing desire, Feminist postmodernist parody, The private and the public. Concluding note: some directed reading. Bibliography. Index.
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Journal Article•
TL;DR: This paper examined the relationship between the literary theories underpinning an English syllabus and teachers' personal epistemologies and pedagogical beliefs and found that teachers' perceptions that the Syllabus was unduly influenced by unstable and contradictory literary theories which were seen as undermining their existing conceptions of English as a school subject.
Abstract: This paper examines the relationship between the literary theories underpinning an English syllabus and teachers' personal epistemologies and pedagogical beliefs. The study discussed here used semi-structured interviews and an online survey to investigate 50 New South Wales teachers' views of the theoretical basis of a senior English syllabus that came into force in 2000, and represented a substantial change of emphasis for the subject. Participants described the extent of alignment between literary theories they saw as influencing the Syllabus and their preferred literary theories, and linked this to their epistemological beliefs and their teaching practices at senior secondary level. Where there was a mismatch between the perceived theoretical basis of the Syllabus and teachers' own preferred literary theories, this fuelled participants' perceptions that the Syllabus was unduly influenced by unstable and contradictory literary theories which were seen as undermining their existing conceptions of English as a school subject. The study's findings suggest the importance of considering teachers' beliefs in developing and implementing a new syllabus.
5 citations
Cites background from "The Politics of Postmodernism"
...…may include its claims about the collapse of meaning (Graff, 1979), its rejection of the notions of truth and authority (Perkins, 1992), its reliance on ‘self-conscious, selfcontradictory, self-undermining statement’ (Hutcheon, 1989, p. 1), and its rejection of grand narratives (Lyotard, 1984)....
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Dissertation•
01 Jan 2008
TL;DR: Tese de doutoramento, Estudos Literarios (Literatura Norte-Americana), Universidade de Lisboa, Faculdade de Letras, 2009 as discussed by the authors
Abstract: Tese de doutoramento, Estudos Literarios (Literatura Norte-Americana), Universidade de Lisboa, Faculdade de Letras, 2009
5 citations
TL;DR: The authors argue that Hiroshima mon amour enacts an Adornian ethic through a representational deconstruction that complicates, unsettles, but ultimately does not prohibit its own closure, and demonstrate how the integration of memory and its incorporation into words and commemorative overtures facilitates a reductive remembering that is always a kind of forgetting.
Abstract: This article examines Hiroshima mon amour's generative meta-representational sensibilities. I suggest that the film exemplifies an ethics of representation that resists the violence of positivist accounts of history. Resnais and Duras deconstruct the commemorative systems that hold traumatic histories in general, and Hiroshima's singularly traumatic history in particular, in place. The film incites criticism of the injustice that archival discourses enact on the particularities of trauma, and raises questions about the ethics as well as the truth-value of conventional commemorative tropes. I argue that Hiroshima mon amour enacts an Adornian ethic through a representational (self-)deconstruction that complicates, unsettles, but ultimately does not prohibit its own closure. The film demonstrates how the integration of memory, and its incorporation into words and commemorative overtures, facilitates a reductive remembering that is always a kind of forgetting; such integration, I suggest, while to som...
5 citations
Cites background from "The Politics of Postmodernism"
...In The Politics of Postmodernism, Linda Hutcheon suggests that the photographic is revered because it is ‘technically tied to the real’ (Hutcheon 2002: 42)....
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...The archive does not reveal ‘[w]hich “facts” make it into history’, or ‘whose facts’ (Hutcheon 2002: 68), and it does not invite such questions....
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...In this sense, the film composes ‘a contradictory turning to the archive and yet a contesting of its authority’ SFC_11.2_Versava_111-123.indd 118 4/7/11 6:38:04 PM Processions of trauma in Hiroshima mon amour 119 (Hutcheon 2002: 77)....
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...The denial of this act of processing can lead to a kind of fetishizing of the archive, making it into a substitute for the past’ (Hutcheon 2002: 83)....
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TL;DR: This article argued that critics of White Noise imagine the crisis of post-modern culture as a crisis of masculinity, and pointed out that these critics' hostility toward the novel's representation of shopping and shoppers reflected a modernist logic equating masculinity with authentic culture and femininity with consumer culture.
Abstract: This article connects the critical reception of White Noise to a history of anti-consumerist critique that relies on and promotes an understanding of consumer culture as destroying authenticity and individual autonomy through its “feminizing” effects. Arguing that critics of DeLillo’s novel imagine the crisis of postmodern culture as a crisis of masculinity, the article focuses on these critics’ hostility toward the novel’s representation of shopping and shoppers. The essay offers a feminist critique of the nostalgia betrayed by this criticism, which wittingly or unwittingly reproduces a modernist logic equating masculinity with authentic culture and femininity with consumer culture.
5 citations