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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TL;DR: The authors examine the story "From the Beginning" from its central poetic feature, that of a congestion of literary references, and find that the degree of concentration of literary innuendoes, the context and the method with which they are brought to bear on Brenner's narrative, result in a deliberate exaggeration that makes “From the beginning" a "parodic homage" of these earlier texts and their characters, including types and situations previously encountered in other stories.
Abstract: In this article, I seek to examine the story “From the Beginning” from its central poetic feature, that of a congestion of literary references. These references are drawn from other Hebrew stories—from the late 1800s and the beginning of the twentieth century—about rootless male characters and their “erotic failures.” The degree of concentration of literary innuendoes, the context and the method with which they are brought to bear on Brenner's narrative, result in a deliberate exaggeration that makes “From the Beginning” a “parodic homage” of these earlier texts and their characters, including types and situations previously encountered in Brenner's other stories. “From the Beginning,” with its features of intertextuality and irony, has the characteristics of a postmodern parody, or, at the very least, invites a postmodern re-reading.
4 citations
Cites background from "The Politics of Postmodernism"
...(Hutcheon 1989, 99) In twentieth-century art, argues Hutcheon, parody encapsulates a wide scope, both thematically and structurally, and it is one of the forms most adapted by texts which tend to be self-reflective....
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...Instead it acknowledges the fact that what occurs today is inevitably from that past—by time and by the subsequent history of those representations (Hutcheon 1989, 94)....
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Dissertation•
01 Jan 1991
Abstract: This paper examines strategies of audience address as manifest in the work of the Russian avant-garde of the 1920s, the sculptural practices of the American Minimalists and the critics who served to define their endeavors, as well as the more recent projects of institutional critique that have characterized one trajectory of post-minimalist artistic production. Vladimir Tatlin and El Lissitzky attempted to meet the demands of a newly-forming proletariat class by siting their work in the space of political and public activity. This effort to engender a simultaneous collective response, a notion theorized by Walter Benjamin, was unsuccessful: Lissitzky returned, instead, to the space of exhibition, the conventional arena of artistic discourse, where he designed a series of exhibition rooms that created an active spectator and made visible the ordering systems of the institution. Seen in light of these radical precedents, Minimalism and its critics appear to have been caught in an approach whose departure point was the physical and phenomenological nature of the object and its context-a retreat from the path initiated by Lissitzky. With the arrival of conceptual art some fifty years later, the late Constructivist explorations would re-emerge as the practice of institutional critique. These latter modes of artistic production have examined the socio-political and economic underpinnings of the institution, the composition of its audiences, and the modes of art viewing that it has promoted. Thesis Supervisor: Professor Benjamin H. D. Buchloh Title: Assistant Professor of the History of Art
4 citations
TL;DR: For example, the authors argues that Sturges' Sullivan's Travels is just as critical and self-effacing as post-modern films, a strong claim against the standard description of the Hollywood canon.
Abstract: Preston Sturges' 1942 classic film Sullivan's Travels is just as critical and self-effacing as postmodern films—a strong claim against the standard description of the Hollywood canon. For critics i...
4 citations
4 citations