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: Hollingsworth's playwright is a contemporary Canadian woman and a feminist as mentioned in this paper, and she deploys absurdism in a manner that foregrounds gender concerns and so points to the exclusion of gender as a controlling framework of meaning in the established tradition.
Abstract: Theatre scholars with an interest in absurdism are likely to find the name Margaret Hollingsworth oddly out of place on a list including such canonical representatives as Samuel Beckett, Eugene Ionesco, Harold Pinter, and Vaclav Havel. This is particularly the case given that the playwright is a contemporary Canadian woman and a feminist. The profits of this inclusion are found in its very disjunction: to consider Hollingsworth as absurdist is at once a challenge to the male exclusivity that is a defining feature of absurdism and an argument for revitalizing absurd ism as a contemporary critical term. Indeed, I contend that much of Hollingsworth's drama draws from, and is illuminated by, consideration of absurdist technique, philosophy, and subject positions. Further, she deploys absurdism in a manner that foregrounds gender concerns and so points to the exclusion — or incomprehension — of gender as a controlling framework of meaning in the established tradition. As such, Hollingsworth's dramatic vision p...
4 citations
Dissertation•
01 Dec 2012
TL;DR: The authors examines evolving identity formation among Afrikaans-speaking South Africans in a new political dispensation and post-post-postmodern era, and specifically the ways in which religion still finds expression in Afrikaners-speakers' identity.
Abstract: The 11 September 2001 terror attacks on America are regarded by many as the end of the postmodern era and as a landmark event that irrevocably changed the world. Similarly, the 1994 South African political revolution and transition to democracy was a milestone that had far-reaching effects on all population groups in the country. This study examines evolving identity formation among Afrikaans-speaking South Africans in a new political dispensation and (post-) postmodern era – and specifically the ways in which religion still finds expression in Afrikaans-speakers‟ identity. With theoretical grounding from, among others, Stuart Hall and Zygmunt Bauman, a variety of recent poems and lyrics – representative of various generations and backgrounds – are studied. The conclusion drawn is that religion still forms part of Afrikaansspeakers‟ identity in various ways, but this does not necessarily equate to affiliation with any church. In some instances church and religion are seen as part of the rejected apartheid establishment, but in many cases Afrikaansspeakers‟ religious affiliations are in line with Jacques Derrida‟s “religion without Religion” school of thought, and panentheism is increasingly gaining ground. Stellenbosch University http://scholar.sun.ac.za
4 citations
Dissertation•
22 Nov 2016
Abstract: iii
4 citations
01 Jan 2014
TL;DR: Wong Kar-wai is a premier avant-garde auteur of Hong Kong cinema as mentioned in this paper and is considered as a leading figure for his post-modernist style of visually unique and emotional resonant film works.
Abstract: Wong Kar-wai is a premier avant-garde auteur of Hong Kong cinema. In the existing research, postmodernism is considered as a predominant approach to shed light on Wong’s aesthetics, poetics and politics. Being the iconoclastic ‘poet of time,’ Wong Kar-wai is extolled as a leading figure for his postmodernist style of visually unique and emotional resonant film works. Recurring motifs, such as alienation and rejection, time and memory, pursuit and loss, are regarded as representations of cultural and political anxieties of Hong Kong people in the context of 1980s and 1990s. Wong’s characteristic exoticism and cosmopolitism in his films also distinguishes him from other Chinese-language directors. However, when we expand the scope of the postmodern terrain, we find modernism and its attendant aesthetics are just as relevant and important as postmodernism to the understanding of Wong’s oeuvre. This thesis evokes a comparative perspective of modernism proposed by Eugene Lunn as an aesthetic approach, with an illustrative analysis by using David Bordwell’s and Kristin Thompson’s work on non-Hollywood cinema. This approach emphasizes four major directions of the social and cultural aspects influenced by modernism in art. Using this approach requires researchers to find cinematic representations of modernism in terms of aesthetic self-consciousness, juxtaposition of time, ambiguity and dehumanization within the film. This research takes Wong Kar-wai’sAshes of Time Redux (2008) as a case study to explore the alternative interpretations beyond postmodernism. The investigation of Wong’s uses of modernist approach involves the analysis of his experiments of conventional film techniques and strategic employment of the mise-en-scene, camera
4 citations
18 Dec 2019
TL;DR: In this paper, the hybridization between the formulaic patterns of Anglo-American superhero comics and dystopian science fiction is investigated, and it is argued that the cross-contamination between comic books and dystopian fiction leads to significant problematization of VfV's formal structure.
Abstract: My work here considers Alan Moore and David Lloyd’s graphic novel V for Vendetta ([1990] 2005, hereinafter VfV) to investigate the hybridization between the formulaic patterns of Anglo-American superhero comics and dystopian science fiction. The theoretical framework stems from Darko Suvin’s study of sci-fi as “literature of cognitive estrangement” (1979: 4) characterized by the presence of a novum, i.e. a “totalizing phenomenon or relationship deviating from the author’s and implied reader’s norm of reality” (64). Drawing on these analytical categories, I argue that the cross-contamination between superhero comics and dystopian fiction formulas leads to significant problematization of VfV’s formal structure. This radical reconfiguration is characterised by both a diegetic and metatextual strategy of creative appropriation, in which intertextual allusions and quotations are repurposed as means of political and cultural resistance.
4 citations
Cites background from "The Politics of Postmodernism"
...Here, the “postmodern use and abuse of convention […] works to ‘de-doxify’ any sense of the seamlessness between the natural and the cultural, the world and the text, thereby making us aware of the irreducible ideological nature of every representation – of past and present” (Hutcheon, 1989: 53)....
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