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The Politics of Postmodernism
TLDR
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.read more
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Reterritorialized Spirituality: Material Religious Culture in the Border Space of San Fernando Cathedral
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TL;DR: This article argued that Prinsloo's work is characterized in the first instance by an oppositional practice driven by a will to reveal which involves, inter alia, a collapse of the distinction between the private and the public.
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TL;DR: In this article, the authors define the definition convenue de la FASP and define a set of motifs of dissimulation and de revelation, de superficialite and de profondeur, which have a resonance particuliere face a description of investigations policieres menees par Rebus, who se caracterisent souvent par la mise au jour de verites sombres.
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"AIN'T NOTHIN' LIKE THE REAL THING, BABY" Trey Ellis' Search for New Black Voices
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Revisiting the Theatre of the Absurd in Christopher Durang’s 'For Whom the Southern Belle Tolls' (1993) and 'Desire, Desire, Desire' (1995)
TL;DR: Durang's For Whom the Southern Belle Tolls (1993) and Desire, Desire-Desire, Desire (1995) as discussed by the authors is a satire of several Tennessee Williams' plays: A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955), and Marsha Norman's Night, Mother (1983).