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 this article, the authors make use of the parallax method in its attempt to analyze and verify the relationship between postmodernism representation and feminisms, reinterpreting concepts such as subject-object, ideology, dedoxification.
Abstract: The present study will make use of the parallax method in its attempt to analyze and verify the relationship between postmodernism �representation � feminisms, reinterpreting concepts such as subject -object, ideology, dedoxification, with an interest in the relationship between postmodernisms �feminisms. In this sense, the article will resort to two forms/formulas accompanying its
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Cites background from "The Politics of Postmodernism"
...In this sense, feminisms constitute a verbal symbol of difference and plurality, and express a multiplicity of opinions, ideas and theories which hold in common the idea of representational politics (Hutcheon, 1989)....
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...…opposite points of view under the sign of parallax designs, the series Orphan Black (2013) and Those Who Kill (2014), (un)separated from what Linda Hutcheon (1989) defined by a dedoxifying conquest of authority, the present study’s evidences will now focus upon a stabilizing implication of two…...
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...Placing the context delivered by two opposite points of view under the sign of parallax designs, the series Orphan Black (2013) and Those Who Kill (2014), (un)separated from what Linda Hutcheon (1989) defined by a dedoxifying conquest of authority, the present study’s evidences will now focus upon a stabilizing implication of two recessive formulas, as they are delivered through a cybernetizing language: in the first place-memory, as clarification of a system already unsettled by a recourse to reference units (first model, first clone), an endeavor articulating any mode of social coagulation/presentation and hence the building of societas; in the second place, a registry of the aforementioned memory’s loss, a vanishing identity block(ed) in its own (re)anchoring process and unable to control/anticipate either effects or affects....
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TL;DR: In this article , a case study of official video patch notes for the game Overwatch in combination with Youtube user dinoflask's satirical fan made videos is presented to examine both developers' communication practices and the ways in which players creatively negotiate and re-purpose these practices to sustain a subtle dialogue between players and developers.
Abstract: Relying on rhetorical analysis, this article explores the rhetoric and ethics of a particular type of designer- and player-created technical communication genre, video patch notes, to further explore how various technical communication genres structure the experience of play. By providing a case study of official video patch notes for the game Overwatch in combination with Youtube user dinoflask's satirical fan made videos, the article examines both developers’ communication practices and the ways in which players creatively negotiate and re-purpose these practices in order to illustrate how such tactical technical communication remixes sustain a subtle dialogue between players and developers. This dialogue in particular illuminates pain points between stakeholders (in this case, discrepancies between developer intent and player experience) in ways that could potentially offer a means of persuading particularly ideologically fixed audiences, highlighting how practitioners might use tactical technical communication with activist intent.
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TL;DR: In this paper , the authors argue that 500 meters moves the meaning of the immense border-demarcation line of the Great Wall from a discourse on political power to one of transcultural bonding, which advances numerous possible alternative understandings of the great wall as variously a space of intercultural dialogue, a place of emotional connection with the other, and a surprisingly harmonious Babel where dominant dichotomies are subverted and even eliminated from the traditional, often coercive, and highly politicized understanding of borders.
Abstract: For the past twenty years, director Tian Gebing and his Beijing-based independent artist collective, Paper Tiger Theater Studio, have pushed the boundaries of performance art and theater by probing, critiquing, and reconfiguring notions of the avant-garde. This article analyzes their recent production from 2017, 500 Meters: Kafka, the Great Wall, or Images from the Unreal World and Daily Heroism, highlighting the latent political and social ideologies of the Great Wall via parody and paradox within a decidedly postdramatic context in order to deconstruct Chinese political and social borders. I argue that 500 Meters moves the meaning of the immense border-demarcation line of the Great Wall from a discourse on political power to one of transcultural bonding. Consequently, the hybridity made possible through parody and paradox advances numerous possible alternative understandings of the Great Wall as variously a space of intercultural dialogue, a place of emotional connection with the other, and a surprisingly harmonious Babel where dominant dichotomies are subverted and even eliminated from the traditional, often coercive, and highly politicized understanding of borders.
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TL;DR: The Enchantress of Florence by Salman Rushdie as discussed by the authors is an example of a play-based novel that interweaves elements of history and literature, a game-story that transcends the canonical limits of postmodernism where the novel has constantly been placed by the critical establishment.
Abstract: My essay intends to analyze the dialectic relationship between historical reality and fiction in the novel The Enchantress of Florence by Salman Rushdie. I will point out a sophisticated and playful story in which the author interweaves elements of history and literature, a game-story that transcends the canonical limits of postmodernism where the novel has constantly been placed by the critical establishment, and goes back to the beginnings, to the anthropological function of play as an essential human activity that was once defined by Johan Huizinga in Homo Ludens: A Study of the Play-element in Culture. Moreover, my paper will explore how this play becomes Rushdie’s attempt to return to the original function of literature which used to enchant and inform at the same time. Once these roots have been reached, however, and the secondary reality of the literary game is well-established, Rushdie manages to break the barriers between reality and fiction, and through versatile textual mechanisms, to intermingle history and reality in a way that makes them merge. Consequently, he composes a play within fiction that is just as powerful as reality itself and suggests the fact that representation has more ontological consistency than the represented body or event itself. We exist as long as we are written and talked about, and nothing in the order of reality can be as powerful as the reality of language. | Acta Universitatis Sapientiae, Philologica Volume 8: Issue 1 1 1 | DOI: https://doi.org/10.1515/ausp-2016-0006 Published online: 28 Dec 2016
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TL;DR: The early 2000s have confronted the literary world with a plethora of fictions responding to the person, life, and legacy of Henry James as mentioned in this paper, and previous studies have tried to explain this phenomenon.
Abstract: The early 2000s have confronted the literary world with a plethora of fictions responding to the person, life, and legacy of Henry James. Seeking to explain this phenomenon, previous studie...
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