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 the case of Greece, due to the prevalence of the nationalist Modernism of the Generation of the Thirties, postmodernists have maintained a fascination with the notion of national identity.
Abstract: As an aesthetic movement, postmodernism is selectively adopted and adapted by writers outside the mainstream of the West. In the case of Greece, due to the prevalence of the nationalist Modernism of the Generation of the Thirties, postmodernists have maintained a fascination with the notion of national identity. These authors have used postmodernist techniques to reexamine the meaning of Greekness and to critique the modernist ideology of national identity while reflecting more general postmodernist aesthetic issues. Because of the persistence of national identity in these writings, postmodern texts in Greece can be seen as \"national allegories.\" This paper conducts a reading of Gouroyiannis's novel as a postmodernist attempt to reevaluate national identity as well as modernist poetics.
2 citations
30 Jun 2009
TL;DR: In Finnegans Wake, James Joyce explores the associations of the Irish myth of the “Black Pig, building scenes around its motifs in Chapter I, Book 1 and in Chapter III, Book 4 as mentioned in this paper.
Abstract: In Finnegans Wake, James Joyce explores the associations of the Irish myth of the “Black Pig”, building scenes around its motifs in Chapter I, Book 1 and in Chapter III, Book 4. Through the use of comedy (satire, parody, and irony), Joyce offers a critique of the way Irish Revival writers came to terms with myth and the way they attempted to trace and establish a national identity in writing. Simultaneously, the passages offer an affirmation.
2 citations
Dissertation•
04 May 2007
TL;DR: In this article, the authors argue that a "diasporic turn" has occurred within cinema that shapes contemporary film narratives and aesthetics, and propose a new discursive framework for characterizing contemporary African diasporic film practices.
Abstract: Emerging out of the context of the tricontinental revolution of the 1950s and 1960s, Third Cinema refers to a host of film practices from Latin America, Africa and Asia with the political intent of the decolonization of culture. For contemporary filmmakers and critics, however, the discourse of Third Cinema cannot be easily applied to contemporary times and contexts. In this thesis, I attempt to reconcile the discourse of Third Cinema with contemporary African diaspora film practices in a renegotiation of cinematic resistance. Proceeding from Gilles Deleuze’s theory that the evolution of cinema from classical to modern materialized out of the historic rupture produced by World War II, my thesis locates another rupture in the dissonance between Third Cinema and contemporary African diasporic filmmaking. The lingering effects of neo-colonialism and the process of globalization have rendered older categories to describe the world inadequate, and filmmakers all over the world are actively engaged in decentering the grand narratives of Western and Third Cinemas. Because this deconstructive process is most often associated with the diasporic condition by postcolonial theorists, I argue that a “diasporic turn” has occurred within cinema that shapes contemporary film narratives and aesthetics. Although my use of the term “diaspora” is conceptual rather than geographical, in my thesis the African diaspora, historically constructed through the process of forced and voluntary migration, operates as a unit of analysis for exploring the “diasporic turn.” Through the analysis of three films from the African diaspora, my thesis not only explores the postcolonial and diasporic issues with which the discourse of Third Cinema must reconcile in order to have contemporary relevance, but it also gestures towards a new discursive framework for characterizing contemporary African diasporic film practices.
2 citations
Dissertation•
01 Jun 2010
TL;DR: Ferran and Ferreira as mentioned in this paper have written a Ph.D. dissertation on Hispanic and Latina literatures, culture, and linguistics, which is published by University of Minnesota.
Abstract: University of Minnesota Ph.D. dissertation. June 2010. Major: Hispanic and Luso Literatures, Cultures & Linguistics. Advisors: Ofelia Ferran, Ana Paula Ferreira. 1 computer file (PDF); vi, 356 pages.
2 citations
TL;DR: The authors examine critical reception of the works of Australian composer Matthew Hindson in order to test the hypothesis that a combination of ignorance of, and hostility toward, postmodern theory is hampering both the critical reception and the academic study of important trends in contemporary Australian art music.
Abstract: While stylistic and thematic tendencies associated with postmodernism in the last two decades in the fields of literature, the visual arts, philosophy and social theory are also a striking feature of recent music culture, music critics, historians and composers have been reluctant to embrace the postmodern label or to confront aesthetic, cultural and philosophical issues that have become identified more widely in the arts with postmodernism. This essay introduces a collaborative research project by a musicologist and cultural theorist who examine critical reception of the works of Australian composer Matthew Hindson in order to test the hypothesis that a combination ofignorance of, and hostility toward, postmodern theory is hampering both the critical reception and the academic study of important trends in contemporary Australian art music.
2 citations