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: Crossing borders and blurring genres: Towards a typology and poetics of post-modernist historical fiction in England since the 1960s as mentioned in this paper has been a popular topic in English literature.
Abstract: (1997). Crossing borders and blurring genres: Towards a typology and poetics of postmodernist historical fiction in England since the 1960s. European Journal of English Studies: Vol. 1, No. 2, pp. 217-238.
30 citations
TL;DR: This article analyzed the theories of post-modernist literature in Arcadia, a play by Tom Stoppard, and found that it is able to bring together a wide variety of literary and scientific notions in a postmodern world.
Abstract: This study tries to analyze the theories of postmodernist literature in Arcadia, a play by Tom Stoppard. Arcadia is a play that shares both modernist and postmodernist features. However, Stoppard's use of multiple perspectives, parodic echoing; seeming instability and, his mixing of theatrical and intellectual ideas lead some critics more confident to label the work "postmodern". In postmodern theatre, nothing is absolute or eternal; nothing is exempt for skepticism and all meanings and values are historically conditioned. The way in which Stoppard's Arcadia may be seen as a postmodernist play is, perhaps, in using the criteria of how one responds to the intellectual uncertainty in the world. According to Wilde: "Postmodernists are characterized by a willingness to live with uncertainty, to tolerate and, in some cases, to welcome a world seen as random and multiple, even, at times absurd" (1987:44), and this is the way Arcadia's characters can be best described. In fact, with a combination of comedy and tragedy and the discussion of serious ideas involving different disciplines of art and science, using them as modes of representation in his mixing of past and present to show how the past affects the present and, how the present interprets the past, Stoppard's Arcadia, as a postmodernist dramatic achievement, is able to bring together a wide variety of literary and scientific notions in a postmodern world. Key Words: Arcadia; Postmodernist literature; grand narrative; pastiche; deconstruction; binary oppositions
29 citations
TL;DR: Several years ago, I attended a Pontifical High Mass at St. Stephen's Cathedral in Vienna, Austria, on the feast of the Epiphany, a public holiday in the predominantly Roman Catholic country of Austria.
Abstract: Several years ago, I attended a Pontifical High Mass at St. Stephen's Cathedral in Vienna. It was the feast of the Epiphany, a public holiday in the predominantly Roman Catholic country of Austria.1 A "lapsed" Catholic myself, my intention as part of the congregation that day was not primarily one of worship as it was to listen to a performance of the Pauckenmesse of Joseph Haydn, complete with soloists, full choir, and orchestra (in overcoats), including, of course, timpani. As I stepped from the brilliant winter morning into the narthex of that gothic splendor, the pungency of the incense propelled me into Proustian recollections of growing up female, Catholic, and Italian-Canadian in the cathedral parish in Hamilton, Ontario, Canada's steel town. My mother and father, first generation Italian-Canadians, whose own parents had emigrated as teen-agers, had been partners in a corner grocery located in another part of the city that was largely professional and white-Anglo-Saxon Protestant. Eager to assimilate (they never spoke Italian to my sister or me, and we never learned the language), my parents realized early on that their most valuable legacy to their two daughters would be the advantages of a solid education, religious and secular. For them that meant enrolling us in the local co-educational Catholic elementary school. Later we attended a convent secondary school as day students, and were the only members of our extended family, male or female, to attend university. It was memories of those elementary school years that were conjured up for me that crisp January morning at St. Stephen's. (In hindsight, I am struck by the synchronicity2 of the fact that my original surname is Di Stefano, or rather "Distefan," as it had become in its anglicized form).3 For a
29 citations
Book•
09 Jul 2008
TL;DR: In recent years, Anglo-Saxonists have widened the scope of their studies to include not only various aspects of English society and literature, but also their own discipline as discussed by the authors.
Abstract: Book Description:In recent years, Anglo-Saxonists have widened the scope of their studies to include not only various aspects of Anglo-Saxon society and literature, but also their own discipline. S ...
28 citations
TL;DR: In this article, the authors discuss how northern nature is romanticized through literary stereotypes based on masculinist values and a multidimensional social process of sexism, and how the regional marginalization of northern Finland has been justified at the same time.
Abstract: There has been an increasing body of critical research in modern literary geography claiming that forms of social oppression and injustice can become established through the institution of literature. It has also been stated that literature can equally well act as an emancipatory ‘tool’ through which subjugated histories are rewritten. This article is concerned with the colonialist history of Finnish northern literature, Lapland romanticism, the exoticism of nature and the interrelations of these with masculinism and sexist oppression. It discusses how northern nature is romanticized through literary stereotypes based on masculinist values and a multidimensional social process of sexism, and how the regional marginalization of northern Finland has been justified at the same time. The primary focus is on the emancipatory potential of untraditional northern literature, on a northern female author, Rosa Liksom, who through her unconventional literary irony has functioned as an emancipatory ‘project’ against ...
28 citations
Cites background from "The Politics of Postmodernism"
...The question of the social role of literary irony is a complicated one, but one point of view is to approach irony as an emancipatory strategy directed at variant power relations (see Hutcheon 1989a , 102)....
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...As mentioned earlier, irony contains within it a political double-code, in that it simultaneously both criticizes and legitimizes the stereotypes under discussion (Hutcheon 1989a, 95)....
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...It is natural that before stereotypes and power structures can really be impugned, a strict and often oversimplified division between hegemonic and marginalized practices has to be made (Hutcheon 1989b, 151), but the important question is, what is the next step?...
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...The question of the social role of literary irony is a complicated one, but one point of view is to approach irony as an emancipatory strategy directed at variant power relations (see Hutcheon 1989a, 102)....
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...But it is important to remember that irony also holds a political double-code of not only criticizing but also legitimizing its own object (Hutcheon 1989a, 85, 101)....
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