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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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Book ChapterDOI
01 Jan 2007
TL;DR: In this article, the Kultur der USA grundet auf Siedlungsprozessen and somit stehen an ihrem Ursprung wesentlich die Wunsche und Traume der Siedler, die auf das in ihrer Wahrnehmung unbewohnte und gelobte Land projiziert wurden.
Abstract: Im Gegensatz zu den USA muss bei einer Beschaftigung mit der Kolonialgeschichte Lateinamerikas ein fundamentaler Unterschied bedacht werden: Die Kultur der USA grundet auf Siedlungsprozessen und somit stehen an ihrem Ursprung wesentlich die Wunsche und Traume der Siedler, die auf das in ihrer Wahrnehmung unbewohnte und gelobte Land projiziert wurden.

1 citations

Journal ArticleDOI
TL;DR: In this article, the authors look at one of the most recurring mechanisms, both formally and conceptually, in Severo Sarduy's poetics: the act of folding, drawing mainly on Gilles Deleuze's The Fold, and find that the Cuban author's predilection for this figure aims to bridge the belligerent dichotomy between modernity and postmodernity that, to a great extend, seems to mediate the perception of contemporary ontoepistemology.
Abstract: This article is to look at one of the most recurring mechanisms, both formally and conceptually, in Severo Sarduy’s poetics: the act of folding. Drawing mainly on Gilles Deleuze’s The Fold, it will come out that the Cuban author’s predilection for this figure aims to bridge the belligerent dichotomy between modernity and postmodernity that, to a great extend, seems to mediate the perception of contemporary ontoepistemology.

1 citations