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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Dissertation•
23 Oct 2012
TL;DR: In this article, the authors contribute to a recerca sobre l'obra de Maria-Merce Marcal des de la interseccio entre els estudis de genere i la literatura comparada, treballa les relacions intertextuals entre Marcal i determinades obres canoniques com la Biblia, els classics greco-llatins o els grans titols de la literaturea espanyola (Federico Garcia Lorca, Miguel de Unamuno
Abstract: L’objectiu d’aquesta tesi es el de contribuir a la recerca sobre l’obra de Maria-Merce Marcal des de la interseccio entre els estudis de genere i la literatura comparada La tesi treballa les relacions intertextuals entre Marcal i determinades obres canoniques com la Biblia, els classics greco-llatins o els grans titols de la literatura espanyola (Federico Garcia Lorca, Miguel de Unamuno) i catalana (els trobadors, Ausias March, Joanot Martorell, Joan-Salvat Papasseit, Vicent Andres Estelles), i tambe compara l’obra de l’autora amb la d’escriptores a les quals Marcal va accedir despres de fer una recerca d’obres literariament excepcionals pero poc reconegudes pel fet d’haver estat escrites per dones Algunes procedeixen de la tradicio catalana (Isabel de Villena, Clementina Arderiu, Anna Dodas), altres de la literatura anglosaxona (Emily Dickinson, Sylvia Plath, Charlotte Perkins Gilman), de la francesa (Louise Labe, Renee Vivien), i de la russa (Anna Akhmatova)
2 citations
01 Jan 2000
TL;DR: In Changing Places as mentioned in this paper, a novel about the relationship of art to life, a kind of game-novel is introduced, where the reader is confronted with a paradox about the relation between art and life.
Abstract: In Changing Places David Lodge evolves in the direction of the «problematic novel», a category he characterizes in -The Novelist at the Crossroads- as a «novel-about-itself», a «game-novel» that leaves the reader not with any simple message but with «a paradox about the relationship of art to life-. Changing Places -published in 1975- is not content with capturing reality through just one literary tradition and emerges as an attempt to make realism and metafiction coexist. Lodge, combining accessibility and experiment -in the manner of most British metafictionists- has achieved a kind of compromise between experimentalism and realism. I propose to start the present study with a brief description of the connections of Changing Places and metafiction, which is not intended to be exhaustive since the topic has already been tackled by several critics. Then, I will focus on proving how the novel constitutes a further stage in Lodge's battle for realism. In my view, David Lodge resorts to metafictional strategies in order to undertake a renewal of the realistic mode, a task which requires from time to time the challenge of alternative conventions. I will also analyse Changing Places as an attempt at containing, controlling and cancelling the potentially subversive, experimental energies of postmodernism.
2 citations
Cites background from "The Politics of Postmodernism"
...To accept such fíxed representations unquestioningly is to condone social systems of power which valídate and authorize some images of women and not others (Hutcheon, 1989:22)....
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TL;DR: The authors examines how memory is used as a representational paradigm and transgressive aesthetic strategy in three fictional histories (Ge Fei's Marginality, Su Tong's 'Nineteen Thirty-four Escape' and Qiao Liang's 'The Mourning-flag') to rewrite Chinese historical past.
Abstract: This paper examines how memory is used as a representational paradigm and transgressive aesthetic strategy in three fictional histories (Ge Fei's Marginality , Su Tong's 'Nineteen Thirty-four Escape' and Qiao Liang's 'The Mourning-flag') to rewrite Chinese historical past. The paper argues that contemporary preoccupation with memory and history in literary writings should be seen in a broader sociohistorical context as both reflecting and contributing to the posthistorical experience of contemporary China. The Chinese posthistorical experience is defined here as a profound crisis of Chinese Marxist historicism effected by the rupture between the Marxist philosophy of history and contemporary Chinese reality of uneven development towards modernization. The current obsession with memory and past should also be viewed as part of the rise of historical investigation of the dispossessed social groups such as ethnic groups, women, and social minorities.
2 citations
01 Jun 2006
TL;DR: Ishiguro's An Artist of the Floating World (1986) and Timothy Mo's An Insular Possession as discussed by the authors are fictional works with a combined structural and thematic emphasis on dynamics of the past.
Abstract: Kazuo Ishiguro's An Artist of the Floating World (1986) and Timothy Mo's An Insular Possession (1986) are fictional works with a combined structural and thematic emphasis on dynamics of the past, one in terms of the personal memory, in the other in terms of colonial history. Ishiguro's fiction foregrounds the main character's reluctance to face and be held morally responsible for earlier acts—or lack of acts—with publicly momentous consequences. In Ishiguro's case the past assumes threatening proportions and must be held at bay by enforced memory-failure and displacement. If there is understatement in relation to the past in Ishiguro's fictional universe, the opposite is the case in Mo's An Insular Possession. This is a text pressing on its reader a discourse saturated with factual details, with the apparent aim of rendering the past as accurate and authentic as possible, but with a disrupting ironic lightness. In both works the past appears hazy, in one through the lack of certainty, in the
2 citations
TL;DR: In this paper, Alberti states that any painting has a particular beauty when seen in a looking glass, provided it be free from faults; and it is wonderful how every defect in the picture will therein show more considerable.
Abstract: Anything painted has a particular beauty when seen in a looking glass, provided it be free from faults; and it is wonderful how every defect in the picture will therein show more considerable. (Leon Battista Alberti, quoted in Kahr 1976, 176, n. 74)
2 citations