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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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Journal ArticleDOI
21 Aug 2013
TL;DR: In this article, a theoretical review of how to simulate reality of Osama bin Laden's death in the journalistic photos is given, and the conclusion is that bin Laden had become a real figure of simulacrum which legalized any accusation or demonization into certain group (muslims).
Abstract: Photography presents a new climate in fine art discourse. Clasic and realism drawings could present their goal. There are two interesting controversy between two kind of photography: 1) Realismphotography. It regards photography as iconistic realities; 2) Surealism photography. It regards photography as a discursive and non-discursive materials. Journalistic photos after September 11 incident made up journalistic photos which emerged from witness bearing, or redundancy of way and news forms. This article will give theoretical review how to simulate reality of Osama bin Laden’s death in the journalistic photos. The conclusion of this article indicates that Osama bin Laden had become a real figure of simulacrum which legalized any accusation or demonization into certain group (muslims). News about Osama’s death was like one about the death of horor figure showed in films. This thing is like a naration necessity. Hence, in the room of simulation, it is a must to make hypereality in the event and certain scenes. This is like a dreaming and principles of surealistic works. Journaslitic photos about Osama’s death could be regarded as an illusion event with a dreaming and surealism nuance. Fotografi menyajikan sebuah iklim baru dalam diskursus seni rupa. Lukisan klasik dan realis mampu menghadirkan tujuan-tujuannya. Ada dua kontroversi yang cukup menarik dari sebuah karya fotografi. 1). Fotografi realisme yang menjadikan fotografi sebagai sebuah realitas yang ikonis; 2) Fotografi Surealisme yang menjadikan sebuah karya fotografi menjadi materi diskursif dan nondiskursif. Fotojurnalistik setelah peristiwa 11 September merupakan sebuah karya fotojurnalistik yang lahir dari sebuah witness bearingyang merupakan sebuah pengulangan langgam dan bentuk pemberitaan. Tulisan ini ingin memberikan suatu penjelasan teoritis berupa tinjuan tentang bagaimana simulasi realitas pembunuhan Osama bin Laden dalam fotojurnalistik. Kesimpulannnya menunjukkan bahwa Osama bin Laden yang kerap digambarkan melalui sebuah berita foto atau berita visual televisi telah menjadi sebuah sosok simulakrum sejati yang mengesahkan segala macam tuduhan atau demonisasi pada kelompok tertentu (muslim). Pemberitaan Kematian Osama seperti matinya sosok horor dalam film. Seolah-olah menjadi keharusan narasi. Karena itu menjadi keharusan, maka dalam ruang simulasi harus dibuat hiperelitasnya dalam sebuah peristiwa dan adegan tertentu. Ini serupa dengan cara kerja mimpi dan prinsip karya surealistik. Fotojurnalistik tentang kematian Osama bin Laden dapat dikatakan sebuah peristiwa ilusi dan bercorak mimpi dan surealistik.
Journal ArticleDOI
01 Apr 2020
TL;DR: The Silence of the Girls as discussed by the authors is a roman de Pat Barker, reecrit le Iliade for exposer le point de vue de Briseis, the captive vouee au silence que se disputent Agamemnon and Achille.
Abstract: Publie en 2018, le roman de Pat Barker, The Silence of the Girls, reecrit l’Iliade pour exposer le point de vue de Briseis, la captive vouee au silence que se disputent Agamemnon et Achille. Barker depeint la colere d’Achille et l’exigence tyrannique d’Agamemnon comme une crise qui n’est pas sans evoquer l’etat d’exception d’Agamben. Elle arrache l’epopee a l’intemporel en lisant la guerre de Troie au prisme de la Premiere Guerre mondiale. Tout en deconstruisant le modele epique par le biais du realisme, et en recentrant le recit sur la femme, Barker complexifie le personnage d’Achille, guerrier impitoyable mais aussi personnage lie a la mer, a l’identite fluide. L’image du petit galet sur la greve, poli mais coupant, fait figure d’exception, et offre a Briseis un correlat objectif, representant sa capacite a survivre et endurer, a user du rire et de l’ironie comme d’une arme, mais aussi a soigner et a reunir les fragments disjoints de vies brisees. Ainsi, Barker joue sur l’intertextualite pour dialoguer a la fois avec la grande tradition epique et avec la violence du monde d’aujourd’hui.
Journal ArticleDOI
TL;DR: The authors presented Aleksandar Hemon's The Lazarus Project as a post-modern narrative which employs various strategies such as an altered view of history, namely history serving purely as material to construct a new narrative, a growing emphasis on the manner in which space affects one's identity and overall hybridity in both the narrative structure and the characters themselves.
Abstract: The aim of the paper is to present Aleksandar Hemon’s The Lazarus Project as a postmodern narrative which employs various strategies such as an altered view of history, namely history serving purely as material to construct a new narrative, a growing emphasis on the manner in which space affects one’s identity and overall hybridity in both the narrative structure and the characters themselves. We shall discuss Linda Hutcheon’s notion of historiographic metafiction as the key concept around which the narrative is formed, followed by a view of the characters’ search for identity in the metafictional labyrinth through Fredric Jameson’s concept of cognitive mapping. These two theories combined give us a more detailed look into the narrative structure of the novel and provide evidence of its postmodernity. The aforementioned hybridity will be presented in the context of the narrative structure resembling a loop due to its metafictional nature and through the amalgam of various nationalities in each character. The paper ultimately strives to express the postmodern characteristics of the narrative and draw attention to the way the themes of the literary work are emphasized by such a structure, more so than if any other narrative structure had been used.
01 Jan 2014
TL;DR: In this article, the authors argue that the paradigmatic relationship between political and poetical can be traced back to the early 1970s, when the idea of dimension was introduced by Hutcheon and Petrescu.
Abstract: The present study theoretically signals the recessive inflexions of the political- poetical direction, with an accent upon its attachment to a series of postmodern reflexes, and with an interest in geopoetical notes as launched by Brian Holmes. The starting lines will clarify (via Linda Hutcheon- Liviu Petrescu alloy) the idea of dimension, with an ulterior intention of debating the paradigmatic relationship between political and poetical, as it is being delivered by J. Habermas or P. Sloterdijk. In fact, exploring such a trajectory defines the process of recharging both these concepts with a sense of dimension and context, of technique and/or alternative. The study conclusively offers a personal view of geopoetics, considering it is defined by an (ex)position of space within the message, a filamentation or an intercept.
Journal ArticleDOI
TL;DR: This paper analyzed Barnes's England, England and showed that it recreates England as a palimpsest, presenting to us a parody of the past and circulating an ironic story of a possible version of this country with a rewritten history.
Abstract: Abstract This article analyses Julian Barnes’s England, England and shows that it recreates England as a palimpsest, presenting to us a parody of the past and circulating an ironic story of a possible version of this country with a rewritten history. Julian Barnes redefines history and the role of the historian in a novel which illustrates the idea that history is a story.