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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01 Jan 2014
TL;DR: In the late 1970s, a group of graffiti artists called "Billboard Utilising Graffitists Against Unhealthy Promotions" (BUGA UP) addressed what they perceived to be the adverse effects of tobacco and alcohol advertising by devising graffiti campaigns throughout Australia, predominantly in Sydney as discussed by the authors.
Abstract: The late 1970s saw the rise of an unusual form of civil disobedience in Australia in support of public health. ‘Billboard Utilising Graffitists Against Unhealthy Promotions’ (BUGA UP) addressed what they perceived to be the adverse effects of tobacco and alcohol advertising by devising graffiti campaigns throughout Australia, predominantly in Sydney. Billboards were modified, usually through the erasure or addition of letters, to create negative messages about the products they were promoting. The group attracted a diverse range of activists ‐ many of them drawn from professional life ‐ and the ‘subvertisers’ remained highly active throughout the 1980s. What has come to define a host of activities under the broader term of media activism, arguably began life in Australia as billboard alteration. In historicising early forms of such activism in the context of current media scholarship, I wish to challenge the assumption of some media activism literature in defining certain phenomena as part of a contemporary movement that emerged with digital media. There are precursors with older forms of activism deserving of attention. Little scholarly material concerning BUGA UP exists and the organisation while often mentioned in media activism literature, is rarely analysed.
3 citations
Cites background from "The Politics of Postmodernism"
...Jammers are engaged and complicit, finding cracks in ‘corporate society’ and working these to their advantage, what Canadian cultural theorist Linda Hutcheon (1989) calls subversion from within....
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27 Jun 2019
TL;DR: The authors reconstructs the web of signifiers that construct the novel Koisuru genpatsu, in order to show how every act of speech needs to be placed in a social structure, where the agency of discursive subjects always modifies the signifying process.
Abstract: This paper seeks to show how Takahashi Gen’ichirō exploits parody to show the critical function of self-reflexive literature in the novel Koisuru genpatsu. Coherently with his experience as a political activist in the sixties, Takahashi interprets literature as a revolutionary act of resistance; it can be argued that he broadly embraces the conception of art – ideally inherited by Marcuse’s aesthetic – as a space for thought and action that makes resistance to the social status quo possible. Through the analysis of significant elements of the novel’s peritexts and epitexts, this article tries to reconstruct the web of signifiers that constructs the novel, in order to show how – in Takahashi’s concept of literature - every act of speech needs to be placed in a social structure, where the agency of discursive subjects always modifies the signifying process.
3 citations
TL;DR: Trapiello, Cercas, Martinez de Pison, and Martínez-Rodríguez as mentioned in this paper describe the asalto a una delegación de Falange por parte del maquis and the posterior ajusticiamiento de los guerrilleros.
Abstract: noche de los cuatro caminos (2001) de Andres Trapiello, Soldados de Salamina (2001) de Javier Cercas y Enterrar a los muertos (2005) de Ignacio Martinez de Pison comparten varias caracteristicas. En primer lugar, estas narraciones forman parte del "resurgimiento de la guerra civil del 36 protagonizado [ . . . ] por narradores jovenes" (Sanz Villanueva 376). Trapiello, Cercas y Martinez de Pison nacieron respectivamente en 1953, 1962 y 1960, y todos publicaron sus primeras obras a finales de los anos ochenta o a comienzos de los noventa.1 Son estos escritores de la democracia los que han provocado que la Guerra Civil espanola "vuelva a inundar las mesas de novedades" (Santos Julia 48) y los que han deparado un tipo de narrativa sobre aquel evento con caracteristicas bastante definidas.2 Estas tres novelas cuentan con un narrador en primera persona que, desde el presente democratico, investiga un episodio de violencia politica acontecido durante la guerra o la posguerra. En el caso de La noche de los cuatro caminos, este episodio es el asalto a una delegacion de Falange por parte del maquis y el posterior ajusticiamiento de los guerrilleros. Soldados de Salamina se ocupa del fallido fusilamiento de Rafael Sanchez Mazas y del soldado republicano que poco despues le salva la vida. Enterrar a los muertos aborda el asesinato del intelectual progresista Jose Robles a manos de los agentes que la antigua
3 citations
29 Aug 2005
TL;DR: Cantrell as mentioned in this paper studied the development of female sexuality in the fiction of Angela Carter and Jeanette Winterson, focusing on four novels: Oranges Are Not the Only Fruit (1985), Art and Lies (1994), Nights at the Circus (1984), The Magic Toyshop (1967), and The Magic Treeshop (1984).
Abstract: Housing Sexuality Domestic Space and the Development of Female Sexuality in the Fiction of Angela Carter and Jeanette Winterson. (May 2004) Samantha E. Cantrell, B.A., University of the South; M.A., Middle Tennessee State University Chair of Advisory Committee: Dr. Mary Ann O’Farrell A repeated theme in the fiction of Angela Carter and Jeanette Winterson is the use of domestic space as a tool for defining socially acceptable versions of female sexuality. Four novels that crystallize this theme are the focus of this dissertation: Winterson’s Oranges Are Not the Only Fruit (1985) and Art and Lies (1994) and Carter’s The Magic Toyshop (1967) and Nights at the Circus (1984). Each chapter examines both authors’ treatments of a specific room in the house. Chapter II, “Parlor Games: Spatial Literacy in Formal Rooms,” discusses how rooms used for formal occasions project a desirable public image of a family. More insidiously, however, the rooms protect the sexual order of the household, which often privileges male sexuality. Using the term
3 citations
TL;DR: The authors highlight the critical role of affect in the construction of narrative by raising parallels between Tim O'Brien's metafictional renderings of memory, imagination, and storytelling in The Things They Carried and neuroscientist Antonio Damasio's models of human cognition.
Abstract: This paper seeks to highlight the critical role of affect in the construction of narrative by raising parallels between Tim O’Brien’s metafictional renderings of memory, imagination, and storytelling in The Things They Carried and neuroscientist Antonio Damasio’s models of human cognition. Literary narrative has long been associated with the ability to communicate emotional experiences, and recent developments in neuroscience have shown that emotions and affect are tied not only to basic functions of life management but also higher-order cognitive processes. Taken together, O’Brien and Damasio’s work demonstrates how narrative facilitates cultural learning and is therefore essential to survival and well-being.
3 citations