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 Dec 2018
TL;DR: In this article, the authors address the main diagnoses and concepts concerning our times provided by thinkers referring to notions such as "postmodernism", "the postmodern" or "after modernity", and point out attitudes which should be taken into account in any description of our times and offer a proper name for them.
Abstract: In view of the claims of some thinkers that we can speak about “the end of the postmodern”2 or that postmodernity “is over”,3 it is reasonable to ask about the dominant indicators of today’s times and to ask whether it is accurate to describe them using concepts and labels developed to define the last decades of the 20th century. Such reflection is an element of a broader consideration of the human situation. It is important from the point of view of such questions as: how do we live and think, where do we go, who are we. From this perspective, reflection on the situation of individuals and societies has great philosophical significance. In this article I will try to address the main diagnoses and concepts concerning our times provided by thinkers referring to notions such as “postmodernism”, “the postmodern”, “after modernity” or “liquid modernity”. I will show that, at least today, they are insufficient and inadequate. I will also try to point to present attitudes which should be taken into account in any description of our times and to offer a proper name for them. Finally, I will briefly sketch how it is combined with the philosophical questions mentioned above.
1 citations
01 Jan 2008
TL;DR: Blankness, violence, and power: The Legacy of Blank Fiction and Cinema as discussed by the authors is a collection of works about violence and power in fiction and movies with a focus on violence and violence.
Abstract: ii Chapter 1: Introduction 1 Signs of Power 2 Blankness, Violence, and Power 7 Project Overview 11 Chapter 2: Historical Context 17 Reagan’s America 17 Culture and the New Right 28 Chapter 3: Blankness 43 Blank Fiction 45 Less Than Zero 56 Blank Cinema 69 Full Metal Jacket 74 Chapter 4: The Serial Killer 89 Henry: Portrait of a Serial Killer 99 American Psycho 111 Chapter 5: Conclusion 127 The Legacy of Blank Fiction and Cinema 128 Works Cited 142 Bibliography 150 About the Author End Page
1 citations
TL;DR: In Japan, there is a group of women who are notoriously known as "rotten women" because of their fantasies that perceive male homosocial relationships as homoromantic or homosexual.
Abstract: In Japan, there is a group of women who are notoriously known as “rotten women” because of their fantasies that perceive male homosocial relationships as homoromantic or homosexual. These transform...
1 citations
01 Jan 1993
TL;DR: The film Raiders of the Lost Ark as discussed by the authors is a classic example of postmodern post-modernism in the genre of post-war Hollywood movies, with a focus on maintaining a breakneck pace in action.
Abstract: The film Raiders of the Lost Ark was released in 1981 to immediate success. Using a noticeably retrospective style, Raiders appealed to the public's desire to experience once again the same kind of viewing pleasure that Hollywood offered in the classical period. Accordingly, the film's nostalgic recreation of classical Hollywood entails a reliance on type characters, tough dialogue, and stock situations – with an overarching emphasis on maintaining a breakneck pace in its action. The appeal for the viewer, then, involves the satisfaction of a need to return to a superficially "simpler" time when the movies themselves were "simpler" – as they fulfilled the expectation of straightforward entertainment. And yet, on another level, Raiders 's debt to Hollywood past often manifests itself with irony and a slightly comic tone. In its reworking of genre conventions, the film tends toward parody. Certainly, the detection of such moments of parody is viewer-specific. As parody plays upon each viewer's distinct viewing history, each viewer may react differently to the film's inversion of the conventional. Whatever the case, Raiders 's parodic revisions of genre expectations (for instance, those of the Western) enable the viewer to partake in a sort of game – wherein knowledge and recognition of those instances of parody provide their own reward: the viewer's active role in meaning-making results in the satisfaction of achieving a seemingly "higher level" of interpretation. But Raiders 's relationship to Hollywood past is neither "simply nostalgic" nor "simply parodic." Paralleling the strategies of postmodern art, Raiders appropriates existing film images and plots. Accordingly, much of the film is a pastiche of previous Hollywood pictures. But unlike parody, pastiche entails no connotations of humor or derision. The appropriation of the existing image in the new text is effected seemingly without comment by that text. Raiders borrows then from films as diverse as 1941's landmark Citizen Kane and the independent 1955 film noir Kiss Me Deadly. Although the antecedent texts are not actually parodied – that is, ridiculed – in such appropriation, they must be in some way implicated. Understanding the significance of Raiders 's appropriation though can be problematic. The effect of pastiche in Raiders is not so easily reconciled with the effects of pastiche in more overtly deconstructionist postmodern art. Part of the problem here is one of definition: the film seems to follow the formal strategies but not the oppositional politics normally associated with postmodernism proper. Ultimately, the key might be to follow the suggestion of Hal Foster and recognize two distinct strains of postmodernism. As Foster suggests, another (non-deconstructive) postmodernism exists: one that serves to uphold and rebuild – rather than resist – both the sociopolitical status quo and the overwhelming…
1 citations
01 Jan 2012
TL;DR: The authors defines interdiscursivity as the mixing of diverse genres, discourses, or styles in a single text, and traces the origin of interdiscurcivity and takes it as a special kind of intertextuality.
Abstract: The present paper defines interdiscursivity as the mixing of diverse genres, discourses, or styles in a single text. It also traces the origin of interdiscursivity and takes it as a special kind of intertextuality. Then the paper gives a review of interdiscursivity studies in literary and non-literary fields. The former is usually conducted from the stylistic approach, while the latter from the CDA (critical discourse analysis) approach. The contributions and limitations of the previous studies are also summarized with the purpose of presenting an objective picture of the research. Based upon the detailed review, the paper offers some perspectives for the future research. It is hoped that this will shed some light on our understanding of interdiscursivity.
1 citations