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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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01 Jan 1991
Abstract: En el pasaje, citado arriba, Rigoberta Menchú rechaza la posibilidad de una representación total y fiel de su pueblo, sea porque ella se niegue a ello, sea porque un enunciante de otra cultura no podría tener jamás toda la información necesaria ("nuestros secretos") para hacerlo. Al rechazar la representación, sin embargo, no se adopta una escritura — la écriture — que dramatice las aportas epistemológicas en las que se fundan, según Foucault (1977b), la literatura y filosofía modernas. Es decir, que si lo que se entiende por la episteme moderna es la contradicción entre representación objetiva (la labor del antropólogo o cualquier otro conocedor) y expresión subjetiva (fuente de la conciencia del individuo), el testimonio de Menchú no opta por ninguno de los dos partidos de la contradicción ni se entrega a la jouissance escritural, instalada en la contradicción misma a manera de vacío en el que se esfuma el sujeto cognoscente o a manera de espejo barroco, en el que se ve más bien la imagen del recurso reflexivo (pantalla, cuadro reduplicado) que la del sujeto/objeto (Sarduy, 1974: 78-83). En otras palabras, el discurso de Menchú no depende ni positva ni negativamente del paradigma de la representación. El conocimiento de síy del mundo se adquieren en Xapráctica de la sobrevivencia de la comunidad. Y el testimonio es parte de esta práctica. La voz enunciante no se identifica con el sujeto que conoce y se reconoce en la representación; el sujeto testimonial se forma como individuo a través de las prácticas de la colectividad, su conciencia grupal es también objeto de conocimiento, y su discurso obedece a factores éticos y estéticos arraigados en el ethos de la comunidad. La racionalización de la cultura en tres dimensiones autónomas (conocimiento objetivo, discernimiento moral-práctico y juicio estético) — establecida por Kant y atribuida a la moder-
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TL;DR: The Fables comic book series and its spin-offs have spanned fourteen years and reinforce that fairy-tale characters are culturally meaningful, adaptable, subversive, and pervasive as mentioned in this paper.
Abstract: Bill Willingham’s Fables comic book series and its spin-offs have spanned fourteen years and reinforce that fairy-tale characters are culturally meaningful, adaptable, subversive, and pervasive. Willingham uses fairy-tale pastiche and syncreticism based on the ethos of comic book crossovers in his redeployment of previous approaches to fairy-tale characters. Fables characters are richer for every perspective that Willingham deploys, from the Brothers Grimm to Disneyesque aesthetics and more erotic, violent, and horrific incarnations. Willingham’s approach to these fairy-tale narratives is synthetic, idiosyncratic, and libertarian. This tension between Willingham’s subordination of fairy-tale characters to his overarching libertarian ideological narrative and the traditional folkloric identities drives the storytelling momentum of the Fables universe. Willingham’s portrayal of Bigby (the Big Bad Wolf turned private eye), Snow White (“Fairest of Them All”, Director of Operations of Fabletown, and avenger against pedophilic dwarves), Rose Red (Snow’s divergent, wild, and jealous sister), and Jack (narcissistic trickster) challenges contemporary assumptions about gender, heroism, narrative genres, and the very conception of a fairy tale. Emerging from negotiations with tradition and innovation are fairy-tale characters who defy constraints of folk and storybook narrative, mythology, and metafiction.
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TL;DR: The New Western and/or Post-Western of the 1960s distorted and parodied the patterns of characterization of the classic western aiming at reaching atypical and more revealing truths about the western experience as discussed by the authors.
Abstract: The New Western and/or Post-Western of the 1960s distorted and parodied the patterns of characterization of the classic western aiming at reaching atypical and more revealing truths about the western experience. Likewise, Ishmael Reed’s Yellow Back Radio Broke-Down (1969) undertakes to serve a similar purpose and beyond. It breaths fresh air into the so-called “exhausted” genre by providing more intriguing western histories, on the one hand, and revitalizes novel writing at a time when the novel is pronounced “dead,” on the other hand. What’s more, written at the height of the “counter-culture revolution,” it both undertakes to question and uproot preconceived absolutes and media-based realities regarding race, religion, and indigenous cultures by reviving the resourcefulness of Afro-American heritage. As such, it highlights Voodoo turned Hoodoo aesthetics as the best embodiment of this age-old culture and undermines the preeminence of popular culture, thus paving the way toward more experimental represen...
4 citations
Cites background from "The Politics of Postmodernism"
...As Hutcheon (1989) puts it, “What historiographic metafiction suggests is a recognition of a central responsibility of the historian and the novelist alike: their responsibility as makers of meaning through representation” (p. 86)....
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