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
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01 Jan 2013
TL;DR: The authors discuss the implication and tenets of realism, its progress and changes, in selected works of post-war British fiction, including Graham Greene's The Power and the Glory, Mervyn Peake's Gormenghast, and Ian McEwan's Atonement.
Abstract: Despite its apparent precision in meaning, realism as a once-held literary school of thought provokes controversies regarding its basic definition and the works attributed to it. This is particularly the case with the postmodern use of the term, most specifically in relation to fiction, with realism generally asserted as the traditional language of the genre. This paper is an attempt to discuss the implication and tenets of realism, its progress and changes, in selected works of post-war British fiction. Accordingly, Graham Greene’s The Power and the Glory, Mervyn Peake’s Gormenghast, and Ian McEwan’s Atonement are dealt with to trace realism within their respective modes of new realism, fantastic-grotesque and postmodern metafiction. Having survived the early twentieth century allure of modernism, realism has gradually evolved into a new identity capable of emerging in and mingling with new modes prevalent in postmodern fiction. Owing to the spirit of the time immediately following the Second World War and the particularities of different authors, the postmodern realism has gone beyond a mere portrayal of the objective world and is in demand of a refreshed understanding of the new outlooks contemporary realism has the potentiality to offer.
TL;DR: The authors provides a brief analysis of the English works: "Hills like white elephants" (1927) and "One reader writes" by Ernest Hemingway and "The sisters" by James Joyce, in order to illustrate the features that emerged with the modernist movement.
Abstract: This paper brings a brief analysis of the English works: “Hills like white elephants” (1927) and “One reader writes” (1933) by Ernest Hemingway and “The sisters” (1914) by James Joyce, in order to illustrate the features that emerged with the modernist movement, considering changes related to the ways of making literature. To this end, this work provides a close reading of the three short stories bearing in mind the relation between fact and fiction and how fiction depicts social, historical, and/or political facts. Hemingway‟s texts and Joyce‟s “The sisters” are powerful examples of the literary changes raised by modernism. The works of both writers are only the tip of the iceberg to provoke a reflection in the reader about the changes in the ways of making literature and how language is used in order to depict social events through fiction.
Dissertation•
01 Oct 2012
TL;DR: This paper examined two contemporary film adaptations of Jane Austen's novels and explored the dialogue which occurs between the Austen novels and these films, arguing that the process of adaptation is a dialogic process which promotes a constant interchange between the adapted text and the film adaptation.
Abstract: In this dissertation I will be examining two contemporary film adaptations of Jane Austen’s novels. The films in question are Amy Heckerling’s 1995 mainstream youth film Clueless, an adaptation of Emma (1816), and Whit Stillman’s 1990 art-house film Metropolitan, an adaptation of Mansfield Park (1814). Each film’s contemporary approach to Austen’s work significantly alters the narratives of their respective source texts. Hence, it is difficult for us to associate them directly with the world Austen presents to us in her novels. However, as I will argue, the manner in which these films remove Austen from her context illuminates her critique of literary culture. Austen’s work is preoccupied with the status and reception of the literature of her era and her narratives critique our own responses to this literature. By bringing this critique into the modern era, Clueless and Metropolitan formulate a dialogue with their source texts. This dialogue highlights the relevance of this critique within our contemporary context. Furthermore, it allows Clueless and Metropolitan the opportunity to assess the way in which we read Austen’s work within a contemporary modality. By exploring the dialogue which occurs between the Austen’s novels and these films, I will address the broader claim that the process of adaptation is not linear. Rather, it is a dialogic process which promotes a constant interchange between the adapted text and the film adaptation.
TL;DR: In this paper , the authors examine the dynamics of culture as a result of self-unfolding and self-knowledge of being, the agent of which is a person who is both an actor of himself, his own being, and creating a shell of the "second" being, as a screen.
Abstract:
The article examines the dynamics of culture as a result of self-unfolding and self-knowledge of being, the agent of which is a person who is both an actor of himself, his own being, and creating culture as a shell of the "second" being, as a screen (S. Zizek), the stage on which his action unfolds, his practice of cognition of being and himself (including as part of being). There is a folding of the triad of being, man and culture, correlating with the well-known formula of Lacan: Real, Imaginary, Symbolic. Within the boundaries of this triad, there is a subject-subject dialogue between man and man, man and being as equal objects in relation to co-creation, co-being, co-cognition. The article correlates with the current search for new ontological theories (object-oriented ontology, speculative realism, assembly theory, etc.), the desire to rethink the role and meaning of the subject (which S. Zizek calls for), to rethink Hegel and actualize his philosophical heritage (again, S. Zizek's thesis), with the search for new concepts that would explain the processes taking place in culture in a better way than the postmodern theory does (L. Hutcheon). The article proposes to consider the dynamics of the genesis and evolution of culture as a correlation of autonomous phenomena of the mind, as a result of reflection by being itself through its own thinking forms - the living: the interaction of being with its own thinking forms for the inclusion of objects of being in the movement of being and its self-disclosure, the disclosure of ways to be, the essence of the immanent property of being, revealed in the procedures of the search for truth, within the boundaries of which culture arises.