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: In this paper, Waters' Tipping the Velvet (1998) is a neo-Victorian novel that rewrites the Victorian era to depict the marginalised existence of the female same-sex lovers.
Abstract: Sarah Waters’ first novel Tipping the Velvet (1998) is a neo-Victorian novel that rewrites the Victorian era to depict the marginalised existence of the female same-sex lovers. Since Waters fictionalises the historical facts, her representations turn out to be the reality of her novel in which facts and imaginary notions blurred. In this article, Waters’ construction of an alternative lesbian history of the Victorian period in London will be evaluated by the constructions of femininity in the Victorian period. Then, the tendency of excluding sexuality and desire by ignoring their existence in Victorian times will be scrutinised by showing sexual interactions of lesbian lovers. In the novel, Waters creates a counter-discourse of lesbians who try to become visible at the centre. By creating different social circles and classes among queer people in Victorian times, Waters both achieves to avoid the stereotyping the lesbians and adds a credibility to their existence.
3 citations
Cites methods from "The Politics of Postmodernism"
...In this way, Waters “denaturalises” the Victorian history by “turning the events into facts through interpretation” (Hutcheon, 1989: 57); thus, in Waters’ interpretation, the existence of the same-sex lovers in Victorian period becomes a fact and Waters invites the contemporary readers to question…...
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TL;DR: This paper explored the construction of leadership in the business media by focusing on four widely read online business e-magazines using Foucauldian discourse analysis, and found that such a construction does not only grant primacy to the leader, but also obscures followers and other secondary social actors.
Abstract: The study explored the construction of leadership in the business media by focusing on four widely read online business e-magazines. Using Foucauldian discourse analysis, a sample of 806 online e-magazine articles published between 2015 and 2018 were systematically studied. The construction does not only grant primacy to the leader, but also it obscures followers and other secondary social actors. The study contributes to existing literature on leadership representation, leadership stakeholders involved in such discursive process, and their routine practices of writing leadership texts that legitimize certain meanings at the expense of others. The paper suggests that such a construction of leadership in the business media impacts both followers’ and aspiring leaders’ perceptions, ultimately limiting what can be envisioned and enacted.
3 citations
Dissertation•
26 Sep 2012
TL;DR: In this paper, a tripartite analysis of the interactions between the fiction and essays of Thomas Pynchon and the philosophy of Ludwig Wittgenstein, Michel Foucault and Theodor W. Adorno is presented.
Abstract: This thesis undertakes a systematic, tripartite analysis of the interactions between the fiction and essays of Thomas Pynchon and the philosophy of Ludwig Wittgenstein, Michel Foucault and Theodor W. Adorno, resulting in a solid set of original reference-material for those undertaking work on Pynchon and philosophy, or more generally on philosophico-literary intersections.
Premised upon the notion that Pynchon's literature harbours a fundamental hostility to much systematizing philosophical thought, this work avoids a dominating imposition of philosophy, or an application of philosophical thought as a validating Other, by examining those aspects of Pynchon's work that seem ill at ease with, or aggressive towards, aspects of each philosopher's thought. This is explored through the concept of an intra-textual polyvocality and relational situation of philosophical intersection; when Wittgenstein is cited, for instance, who is speaking and what are the connotations of that placement? I do not propose, therefore, a Wittgensteinian / Foucauldian / Adornian Pynchon, but rather explicitly highlight excluded aspects of thought to instead develop a complementary reading; a form of intersubjective triangulation. This polyvocality is examined from a univocal perspective.
The specific conclusions of this work re-situate Pynchon, in many cases against forty years of critical consensus, as a quasi-materialist or at least anti-idealist, a regulative utopist and a practitioner of an anti-synthetic style akin to Adorno's model of negative dialectics. In a broader sense, it answers the questions regarding hostility towards philosophical thought in Pynchon's work by demonstrating that no single philosophical standpoint has yet to totally resonate with even one of his novels. Simultaneously, it also shows that a profitable approach can be found in the spaces of philosophical overlap and divergence.
3 citations
Dissertation•
01 Jul 2013
TL;DR: In this article, the emergence and development of feminism, specifically in an American context, underscores a significant female narrative of the sonnet that emerges outside of the male tradition, and it is possible to see how women in the era took ownership of the form.
Abstract: Initially developed and perfected by male poets, the history of the sonnet has been characterised by androcentrism. Yet from its inception the sonnet has also been adopted by women. In recent years feminist critics have begun to redress the form’s gender imbalance, but most studies of the female-authored sonnet have excluded the twentieth and twenty-first centuries, and thus one of the most important periods in women’s history – the rise of feminism – leading to a flawed narrative of the genre. Repositioning Edna St. Vincent Millay as the starting point in a twentieth-century tradition, this study begins where most others end and examines how the emergence and development of feminism, specifically in an American context, underscores a significant female narrative of the sonnet that emerges outside of the male tradition. By reading the works of Edna St. Vincent Millay, Adrienne Rich, Marilyn Hacker, Marilyn Nelson and Moira Egan within their specific feminist contexts and within the broader trajectory of feminism, it is possible to see how women in the era took ownership of the form. Ultimately, the thesis suggests that feminism has shaped an important narrative in the history of the genre that means today the sonnet is no longer exclusively male.
3 citations
3 citations