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: Hutcheon as mentioned in this paper was the University of Konstanz's choice to give the prestigious Wolfgang Iser lecture in September 2013, which simultaneously opened that year's annual convention of the German Anglistenverband (organized by Silvia Mergenthal and Reingard M. Nischik).
Abstract: Linda Hutcheon, University Professor Emeritus of English and Comparative Literature at the University of Toronto, was the University of Konstanz’s choice to give the prestigious Wolfgang Iser lecture in September 2013, which simultaneously opened that year’s annual convention of the German Anglistenverband (organized by Silvia Mergenthal and Reingard M. Nischik). Within this framework, Linda Hutcheon spoke to me about the development of various strands of thought in her impressive body of work—encompassing nine monographs, several collaborative books, and literally hundreds of articles and book chapters. We discussed the importance of crossing borders between disciplines, media, and nations, as well as of positioning oneself as a reader and critic. Other topics included her own intellectual background in comparative literature, in Canadian Studies, and in her more recent interdisciplinary projects on opera; recent developments in and since postmodernism; and the interconnections within her work on various...
TL;DR: Ackroyd's The Casebook of Victor Frankenstein (2008) is a post-modern adaptation of Mary Shelley's classic through Gerard Genette's inclusive critical term of transtextuality as discussed by the authors.
Abstract: This article is grounded on the premise that the story behind Mary Shelley’s novel Frankenstein; or the Modern Prometheus (1818) has acquired the status of a myth, which has been subjected to all sorts of adaptations that have ensured its current popularity. Looking into Frankenstein as a romantic text with certain traits that forestall postmodern theories, this study approaches Peter Ackroyd’s novel The Casebook of Victor Frankenstein (2008) as a postmodern adaptation of Mary Shelley’s classic through Gerard Genette’s inclusive critical term of transtextuality. With the aim to identify Ackroyd’s contribution to the myth of Frankenstein, this article analyses instances of intertextuality, insofar as Ackroyd’s text reproduces quotations from some of Mary Shelley’s autobiographical writings as well as from her seminal novel Frankenstein . Through displays of hypertextuality, Ackroyd’s postmodern novel also transforms Shelley’s original story resorting to metafiction, introducing changes in the structure and the focalisation of the narrative, and making use of parodic elements. Finally, Ackroyd’s postmodern novel also presents examples of metatextuality, inasmuch as it incorporates twists in the plot as a result of applying different critical readings of Mary Shelley’s seminal text.
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Dissertation•
01 May 2002
TL;DR: The authors examined the use of paronomasia and comparison in the radio show Articles que no farem/Articles we won't write (2005-2006), where Monzo imitates the trite style of archetypal columnists issuing banal opinions on society, culture and politics.
Abstract: In postmodernist fiction and new journalism, parody is used to combat the manipulation of classical literary and journalistic genres, based on objectivism as a commonplace, which usually impose an unequivocal vision of facts preventing any kind of dissidence. This shrewd control of language, revealed in clich use, also characterizes political discourse. Parody has been studied in Quim Monzo's fiction and non-fiction, but not in his radio and television shows. The aim of this article is to examine parody in the radio show Articles que no farem/Articles we won't write (2005-2006), where Monzo imitates the trite style of archetypal columnists issuing banal opinions on society, culture and politics. Rather than express original ideas, they merely strengthen mainstream ideas using commonplaces. Monzo's parody mainly operates through the manipulation of individuals and their column titles; he also uses humoristic devices such as paronomasia and comparison. As a complement to previous research into Monzo's journalism, it will help us understand his conception of columns and of the mainstream ideas he humorously censures, particularly political correctness.