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.
Citations
More filters
01 Jan 2018
TL;DR: Les problématiques inhérentes à la nature sont indéniablement centrales in Canada as mentioned in this paper, and the nature and the culture can be revisited and reprogrammed to re-invariant notre appréhension des espaces naturels.
Abstract: Les problématiques inhérentes à la nature sont indéniablement centrales au Canada, tant sa géographie, par son immensité et la diversité de sa biologie, donne à revisiter et à repenser notre appréhension des espaces naturels et, par conséquent, l’empreinte que nous y avons laissée et que nous y laisserons. Mais quelles sont les limites, physiques et/ou idéologiques, qui défi nissent ce qui relève de la nature? Linda Hutcheon notait, dès 1989, dans la perspective postmoderniste dont elle a fait sa spécialité, que “même la nature ne pousse pas sur les arbres.”1 Celleci semble en eff et perdre de son évidence à mesure que nous remodelons, pour ainsi dire, continuellement la dichotomie nature/culture, si toutefois une opposition aussi marquée était même possible. Où peuton encore trouver la nature? Dans le jardin ou le parc, simulacres dessinés par l’humain? Au cœur de la forêt québécoise ou du Grand Nord canadien, qui s’apparenterait éventuellement à ce que les anglophones nomment wilderness? Où se séparent le naturel et l’humain? Une telle délimitation existetelle? Les littératures canadiennes de langue française, du dixneuvième siècle à nos jours, endossent en partie cette charge discursive, afi n d’off rir des pistes de réfl exion et des alternatives à ces problématiques universelles, qui semblent souvent tomber dans l’impasse et essuyer des revers quand elles font appel à d’autres discours. Dès le dixneuvième siècle, le roman du terroir fait fi gure de précurseur par son attachement à la terre et au territoire, mais également en off rant un premier imaginaire littéraire de la nature dans toute sa spécifi cité québécoise.2 Reléguées au second plan par les problématiques identitaires et nationales au Québec à partir des années 1940 et jusqu’aux années 1980, la nature et les problématiques qui gravitent autour d’elle reviennent au centre des considérations littéraires comme dernière utopie fédératrice, phénomène dont témoigne la montée exponentielle des approches écopoétique et écocritique, qui cherchent à établir un cadre de référence pour “penser le rapport à l’environnement tel qu’il apparaît dans la littérature” (Schoentjes 40) et
1 citations
TL;DR: A stage cohabitation of the postmodern experiment and a realist frame in the contemporary theatre is well illustrated by the two popular contemporary playwrights: Sam Shepard and David Mamet as mentioned in this paper.
Abstract: Judged by the literary research conducted over the last decades of the previous and the first decade of this century, not only was drama an illegitimate offspring in the American literature but was also treated as a weak premature-born child in the postmodernist thought in general. A stage cohabitation of the postmodern experiment and a realist frame in the contemporary theatre is well illustrated by the two popular contemporary playwrights: Sam Shepard and David Mamet. By their creative opus, not only in the fields of drama and theatre, but also in other literary genres (poetry, essay) as well as in film, through a variety of different characters and situations, these two authors reveal a rich variety of the many possible variations of American social (con)text. The society will be read in their plays as a unique cultural text outside which, as Derrida said, there is nothing. America, its myths and contemporary cultural industry, its class, racial and gender conflicts and the two authors established a mutual set of influences. The playwrights borrow raw materials from the treasury of mass culture (or should it, to be true to the new consumer culture, be more appropriate to say a warehouse) break it down and re-assemble fragments into collages that articulate the contemporary issues in more condensed, more intense and more effective ways. Mamet and Shepard borrow from the contemporary culture only to pay it back with interest: they endow the cultural (con)text with a richer content, impregnated with meaning.
1 citations
Dissertation•
01 Mar 2006
TL;DR: In this article, the authors focus on the ways in which Mulisch utilizes open spaces in history and fits the fictitious data like pieces into the puzzle of the history of the Second World War in general and specific events surrounding Hitler in particular.
Abstract: During an interview, the author Rudolf Herter in Harry Mulisch’s novel Siegfried states that Hitler would only be comprehended if an imaginative experiment is conducted by capturing him in a net of fiction. This is indeed what Mulisch does in this novel. The combination of historical and fictional data resulting from this strategy is typical of the conventional historical novel, while Siegfried also manifests modernist characteristics. In this study, however, special attention is paid to aspects such as metafictionality, selfreflexivity, subjectivity and an emphasis on ideology which Siegfried shares with other postmodern historical novels, with specific reference to Linda Hutcheon’s view on historiographic metafiction and Lies Wesseling’s definition of uchronian fiction. The focus in this study lies, inter alia, on the ways in which Mulisch utilizes open spaces in history and fits the fictitious data like pieces into the puzzle of the history of the Second World War in general and specific events surrounding Hitler in particular. Mulisch’s play with autobiographical data in the novel further diminishes the boundaries between fact and fiction. Of particular importance is the metafictional statements about the nature of history which Mulisch delivers in the process. Not only the political side of history, but also its subjective and one-sided nature is emphasised. Finally a question is posed about Mulisch’s intentions and aspirations in writing another novel about Hitler, who as a character in this novel awakens sympathy on the one hand and on the other is demonized as inhuman with superhuman qualities. This demonstrates the problems involved in gaining insight into the real Hitler. My opinion is that, in the final instance, Mulisch intentionally magnifies the enigma surrounding Hitler in his characterization of the man who can be regarded as one of the most destructive people of the 20 century.
1 citations
Cites background from "The Politics of Postmodernism"
...Different historical perspectives therefore derive different facts from the same events” (Hutcheon, 1989:57)....
[...]
...Facts do not speak for themselves in either form of narrative: the tellers speak for them, making these fragments of the past into a discursive whole (Hutcheon, 1989:58)....
[...]
...The past really did exist, but we can only know of it today through its textual traces, its often complex and indirect representations in the present: documents, archives, but also photographs, architecture, films, and literature (Hutcheon, 1989:78)....
[...]
...…dit om ander redes gedoen: ...in historiographic metafiction the very process of turning events into facts through the interpretation of archival evidence is shown to be a process of turning the traces of the past (our only access to those events) into historical representation (Hutcheon, 1989:57)....
[...]
...Hierdie opvatting hang saam met ’n nuwe selfbewustheid in die postmodernisme oor die onderskeid tussen gebeurtenisse in die verlede en die historiese feite wat ons op grond daarvan konstrueer (Hutcheon, 1989:57)....
[...]
01 Jan 2012
1 citations
TL;DR: In this paper , Travers et al. discuss the postmodern psychopath in Undertale and discuss the relationship between nihilism, violence, and popular culture in the context of Undertale.
Abstract: The Journal of Popular CultureEarly View Original Article Nihilism, Violence, and Popular Culture: The Postmodern Psychopath in Toby Fox’s Undertale Sean Travers, Corresponding Author Sean Travers seanjetravers@msn.com Search for more papers by this author Sean Travers, Corresponding Author Sean Travers seanjetravers@msn.com Search for more papers by this author First published: 11 April 2022 https://doi.org/10.1111/jpcu.13120Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Early ViewOnline Version of Record before inclusion in an issue RelatedInformation
1 citations