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 2008
TL;DR: The authors investigates the world-building rules and narrative strategies available to novelists for creating possible worlds within fiction, including a novel, Dreamriders, and an exegetical component, A Wonderland of
Abstract: This project investigates the world-building rules and narrative strategies available to novelists for creating possible worlds within fiction. It includes a creative component: a novel, Dreamriders, and an exegetical component: ‘A Wonderland of
2 citations
TL;DR: The authors argue that Pynchon's characterization of Doc Sportello projects possibilities into alternatives to hegemonic masculinity in The Long Goodbye, The Big Lebowski, and Inherent Vice, and employ Judith Butler's notions of gender performativity as well as Christian Moraru's examination of post-modern rewriting to explore the fluid constructions and performances of masculinity.
Abstract: Several reviewers and scholars of Thomas Pynchon's Inherent Vice have noted the similarities between the novel and both Raymond Chandler's Philip Marlowe novels and the Coen brothers' film The Big Lebowski. Many of the reviewers, in particular, unreflectively comment on Doc Sportello's masculinity, criticizing Doc for not performing the hegemonic masculinity typical of detective novels and films. What has been missing is a deeper examination of hegemonic masculinity in both the novel and its likely source materials. This essay employs Judith Butler's notions of gender performativity as well as Christian Moraru's examination of postmodern rewriting to explore the fluid constructions and performances of masculinity in The Long Goodbye, The Big Lebowski, and Inherent Vice. Ultimately, this essay argues that Pynchon's characterization of Doc Sportello projects possibilities into alternatives to hegemonic masculinity.
2 citations
DOI•
01 Jan 2008
TL;DR: The last decade of the 20th century has been characterized by a proceso de expansion of the formas populares that comenzo mas de two siglos atras.
Abstract: La ultima mitad del siglo XX ha sido una epoca caracterizada por la apropiacion de imagenes y convenciones pertenecientes a la cultura de masas. En verdad, esta etapa resulta la culminacion de un proceso de expansion de las formas populares que comenzo mas de dos siglos atras. 1 La cultura, lejos de ser pensada como un sistema totalizador, se define por ser un conjunto de discursos en conflicto, en lucha por legitimarse como modos privilegiados de representacion. Entre ellos, las formas ligadas a la cultura de masas han sido uno de los factores mas claros de crisis y de desestabilizacion de las categorias con las que se piensa el arte; ha determinado cambios fundamentales en la nocion misma de lo que se entiende por tal, en la medida en que expuso una multiplicidad de posibilidades esteticas. Por otra parte, la caida de las utopias vanguardistas diluyo la oposicion –caracteristica de la primera mitad del siglo XX– entre consumo y experimentacion, es decir, la distincion entre arte y generos masivos, considerados “amenos y poco problematicos”. Los textos experimentales de las neovanguardias de los anos sesenta dejaron abiertas diversas alternativas, entre ellas la posibilidad de continuar una tradicion que pugna en la cultura latinoamericana por ganar espacios y que ha producido un permanente juego de contacto y distancia con esas vanguardias, a las que suele considerarse como su antitesis. De hecho, en America Latina la presencia y el desarrollo de las formas populares ha sido una constante de su historia literaria. Casi podria afirmarse que esta se define por su vinculo permanente con discursos no literarios, en especial con los generos populares y masivos –considerados casi siempre subliteratura y, por lo tanto, excluidos del canon–. Sin embargo, han incidido en el canon y provocado modificaciones de sus formas “cultas”. Una cantidad de textos pertenecientes a la narrativa latinoa
2 citations
01 Jan 2012
TL;DR: The authors examines the ways in which Alon Hilu undermines conventional literary representations of the Arab in The House of Rajani, offering alternative possibilities for contact and communication between Jews and Arabs.
Abstract: This article examines the ways in which Alon Hilu undermines conventional literary representations of the Arab in The House of Rajani , offering alternative possibilities for contact and communication between Jews and Arabs. The division of the text between two narrators, each of whom reflects a distinct viewpoint, represents the contrast between the Zionist world of the First Aliyah and the Arab world of people who had dwelled in Palestine for generations. Hilu returns to Palestinian history in order to situate the experience of Arab exile center stage. Not only does Hilu read national history and the place of the Arab within it anew, but he signals the instability of national categories, their tendency to merge and thereby to create an intermediate space. The Arab in Hilu’s novel is immeasurably more complex and interesting than the familiar Arab as imagined by Hebrew and Israeli fiction in the past. He is understood through a lens of post-colonialism inconsistent with the dominant Israeli historiography and his human and collective experiences are presented with unprecedented power. A RE T URN TO PALESTINIAN HISTORY? The many novels about Arabs and Jews published in Hebrew since the Oslo Accords (1993) demonstrate an ever increasing awareness of the need to acknowledge the core of the Israeli-Palestinian conflict, as well as the major political ques tions arising in the wake of the stalled peace process. The Palestinian refugees’ right of return and Israel’s responsibility for the aftermath of the War of Independence have become the stuff of Israeli fiction in recent years, more than five decades
2 citations