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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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24 Mar 2015-SOCRATES: An International, Multi-lingual, Multi-disciplinary, Refereed , Indexed Scholarly journal
TL;DR: A Multitude of Sins as discussed by the authors is a collection of short stories with a very limited number of characters who can hardly communicate and quite often find themselves greatly alienated in a diegetic universe characterized by fragmentation.
Abstract: A Multitude of Sins is a collection of short stories. Richard Ford insists he had always planned for them to be included in the same volume; their individuality, however, raises the question of the cohesion and of the coherence of A Multitude of Sins, which depends on how satisfactorily the separate pieces connect. The textual aspect of connection reflects a diegetic universe characterized by fragmentation: the stories involve a very limited number of characters who can hardly communicate and quite often find themselves greatly alienated. Disconnection threatens psychological as well as textual integrity; disruptive as it is, this trend actually makes up a key element in the dynamics at play in A Multitude of Sins. Its fragmented world is one narrative construct that strives to build meaning through a maze of perceptions whose randomness may disorient the characters and the readers alike. This article appraises the fragmented quality of that construct before attempting to define the connecting impulse that provides at once fictional material and literary relevance.
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TL;DR: In this paper, the authors discuss the effects of gender stereotypes on gender stereotypes in the context of gender diversity in the media and show that gender stereotypes can affect the perception of gender equality.
Abstract: 近代市民社会は,それが形成された歴史過程から,その内部に未熟な部分をかかえこみ,解放と抑圧のアンビヴァレントな性質をおびつつ今日まで成り立ってきた.その成熟過程で生じた反近代的,脱近代的,超近代的,没近代的,前近代的など,さまざまな思想上の言説は「ポストモダン」と概括されうる1つの思想傾向として現代社会の考察にさまざまな影響を与えてきた.(全体)社会を1つのシステムとして時代診断をする,マクロ社会学の立場からは,その思想像と歴史的に実在する近代社会像とを問うことが必要である.T.パーソンズは,ヨーロッパとアメリカの近代化が産業革命と民主革命,教育革命とアソシエーションを具現したと見た.富永健一は,日本社会の近代化を論じ,「近代産業社会」のモデルを一般化した.新睦人は,前期モダンと後期モダンとを区別し,情報化,経営化,国際化,大衆化の流れに変容したととく.金子勇と長谷川公一はマクロ社会学の視点から現代の9つの流れを追究した.特殊に現代的なもっとも社会学的なテーマは,厚東洋輔が「ハイブリッドモダン」として強調する「グローバリゼーション」の現実である.さらには,モダンの1つの位相でありながら後期モダンをも超えるような〈ポストモダニゼーション〉的な兆候が見えつつある.N.ルーマンのリスク化と環境,A.ギデンズのハイモダニティと監視化,Z.バウマンの流体化の論議は,そうした兆候を説いている.
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01 Jan 2000TL;DR: For Freud, the mother's body is the ultimate taboo which deflects us away from a recurrent confrontation with the dead, the genitals forming the all-pervasive embodiment of the uncanny: "what was once heimisch, familiar; the prefix 'un' ['un-' is the token of repression".
Abstract: A great deal of work has, by now, been published on the gothic (including the female gothic), but until recently relatively little of that has focused upon the role played by the contemporary ghost story as a way of exploring female subjectivity. From the start this task may appear an atavistic one. In one of his characteristically sweeping statements, Freud confidently asserted in 1919, “All supposedly educated people have ceased to believe officially that the dead can become visible as spirits”, but this is not to say that he advocates their redundancy as objects of phantasy. On the contrary, he acknowledges:
… the primitive fear of the dead is still so strong within us and always ready to come to the surface on any provocation … Considering our unchanged attitude towards death, we might rather inquire what has become of the repression, which is the necessary condition of a primitive feeling recurring in the shape of something uncanny.2
As is well known, what Freud goes on to argue in his essay is that the mother’s body is the ultimate taboo which deflects us away from a recurrent confrontation with the dead, the mother’s genitals forming the all-pervasive embodiment of the uncanny: “what was once heimisch, familiar; the prefix ‘un’ [‘un-’] is the token of repression”. Though the origins of life, for Freud the castration complex reconfigures the mother’s body as the space of death to the phallus and hence death in general.3 Freud’s analysand/protagonist in this essay is presumed to be male. What happens in the context of fiction when both protagonists (the alive and the dead) are female?
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01 Jan 2015
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Additional excerpts
...…permet à une œuvre d’être admise comme postmoderne tels la « mort de l’auteur » (Barthes 1968, Foucault 1969), la « chute des Métarécits » (Lyotard 1979), le « dominant ontologique » (McHale 1987), la « métafiction » (Hutcheon 1989), le « simulacre » et la « simulation » (Baudrillard 1981)....
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TL;DR: In this paper, the authors explore the mythical representations in two of the six short stories that make up Lourdes Ortiz's Voces de mujer (2007), previously published under the title Los motivos de Circe.
Abstract: The purpose of this article is to explore the mythical representations in two of the six short stories that make up Lourdes Ortiz's Voces de mujer (2007), previously published under the title Los motivos de Circe . It is well known that most rewritings of the classical myths have been faithful to the “official truth” of the original versions. But recent works in search of other meanings, have explored dimensions often hidden or blurred by the “official” version. This is the case of the short stories in this collection whose protagonists are six archetypal or mythical women and their respectful references to the biblical, Homeric and pictorial world: Eve, Circe, Penelope, Betsabe, Salome and Gioconda. The perspective offered by Lourdes Ortiz about the history of these myths allows us to read the story from the point of view of her female heroines. As such, then, in this article I will focus on two female characters from the Homeric epic: Circe and Penelope.
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