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 2021
Abstract: espanolLinda Hutcheon hace referencia a la ‘metaficcion historiografica’, es decir, ejemplos de ficcion que evidencian que nuestra percepcion del pasado es cambiante y manipulable (129). A pesar de que la teoria de Hutcheon ha sido relacionada principalmente con ficcion postmodernista, ciertos elementos de inspiracion historica ya habian sido utilizados durante la epoca victoriana. En este articulo propongo lanzar una mirada al teatro ingles de mediados del siglo xix para identificar los elementos que manipulan la realidad de figuras femeninas de la historia, en concreto, la de Lucrecia Borgia, reconvertida en strong-minded woman. Para ello, propongo la decada de los 50-60 del siglo xix como momento propicio para hacer preguntas sobre la identidad femenina, los insurgentes movimientos feministas de la epoca y las representaciones alternativas de la historia femenina. Poniendo el foco en tres obras poco estudiadas de mediados de siglo escritas por H.J. Byron, Charles Matthews y Leicester Buckingham, continuaremos la labor de recuperacion de ciertas voces y figuras femeninas olvidadas o tergiversadas por la historia. EnglishHutcheon identifies as ‘historiographic metafiction’ those pieces of fiction that expose that our cultural perception of past events is changing and malleable (129). Even though Hutcheon’s theory of historiographic metafiction has been mainly applied to fiction from the post-modern era, certain elements of historical inspiration can be traced back to fiction from the Victorian period. In this article, I propose to turn to the popular theatre of the mid-Victorian period to scrutinize the manipulation of historical female figures, paying close attention to the representation of Lucrezia Borgia as a strong-minded woman. To do so, I analyse the mid-nineteenth century as a moment for asking questions about feminine identity, feminist movements, and alternative representations of female history. By turning to lesser-known mid-Victorian popular plays by H.J. Byron, Charles Matthews, and Leicester Buckingham I will further contribute to an ongoing archaeological task of recovering lost female voices and interpretations from our recent past.
DOI•
01 Jan 2010TL;DR: Menendez as mentioned in this paper investigates o entrelacamento entre historia e ficcao e entre o pessoal e o politico, and a mulher nascida em Cuba and que foi levada to the US pelo avo com o consentimento da mae quando era um bebe, sem sucesso.
Abstract: Habitando os entre-lugares, escritores cubano-americanos podem contribuir para o reconhecimento de experiencias hibridas nas nacoes modernas. Seus textos podem ilustrar o entrelacamento entre ficcao e historia e entre questoes pessoais e politicas. Este artigo visa a analisar Loving Che, da escritora cubano-americana Ana Menendez, investigando o entrelacamento entre historia e ficcao e entre o pessoal e o politico. No romance, uma mulher nascida em Cuba e que foi levada para os Estados Unidos pelo avo com o consentimento da mae quando era um bebe, busca por seu passado, sem sucesso. Um dia, a mulher, cujo nome nao e mencionado, recebe um pacote de Teresa, que alega que ela e sua mae e que a mulher e fruto de seu relacionamento com Ernesto “Che” Guevara. Loving Che oferece uma importante oportunidade de discutir como historia e ficcao podem estar conectadas e como questoes politicas podem ser utilizadas para justificar decisoes pessoais.
TL;DR: Schlingensief and NO99 might be seen to employ strategies of "subversive affirmation" and "over-identification" in their aims to resist the rise of far-right populism.
Abstract: Recent scholarship has expanded upon the concept of populism as performance to include a focus on how it employs digital technologies. However, what happens when theatrical performances appropriate far-right populist discourse to potentially parody how it frames its nationalist rhetoric as an appeal to ‘the people’? How do the relationships between performers and spectator-participants in such artistic works differ from those forged through the public manifestations of populist politics? How have artists who engage with populism employed technology to increase the reach and interactivity of their performances, and how does this engagement seek to undermine, and/or generate a troubling ‘belief’ in, the supposed ‘reality’ of such projects? This article critically reassesses the transmedial theatre of the late German artist Christoph Schlingensief and the Tallinn-based theatre company, Theatre NO99, in relation to current understandings of populism within an increasingly digitized, post-truth society. Schlingensief and NO99 might be seen to employ strategies of ‘subversive affirmation’ and ‘over-identification’ in their aims to resist the rise of far-right populism. Yet, we argue that these approaches can be dangerous: artists can reinforce far-right populist agendas if audiences fail to self-reflexively decode and reject subtle yet effective forms of mass manipulation – which is more likely when the components of such projects are dispersed across multiple media platforms through which counterfactual information also increasingly circulates.