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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01 Jan 2003
12 citations
Cites background from "The Politics of Postmodernism"
...In a world in which post modernism has problematized representation (Hutcheon, 1989), interpretive ethnographers have turned to narrative to portray our individuality and discover how we understand ourselves (Kiesinger, 1995)....
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31 Jan 2007
TL;DR: The notion of the "mad other" has been used in many Gothic novels and films, taking the shape of, for example, Stevenson's Mr Hyde, Wells's Beast People and Count Orlok in Nosferatu as discussed by the authors.
Abstract: When Victor Frankenstein’s creation emerged from his workshop in Ingolstadt to embark on his journey of knowledge and murder, the image of the Gothic monster was born. With his “black lips,” “yellow skin,” “watery eyes” and “shrivelled complexion,” Frankenstein’s hideous progeny was not only an aesthetic disappointment to his creator but also a reminder and embodiment of his unlawful and unnatural scientific pursuits (39). A deformed, physical “mess,” the Gothic monster has come to represent a figure marked for his strangeness and excess, his difference from the norm-ality of social, cultural, moral, physical, psychological and human mores. He is undoubtedly other, unable ever to “fit in” and doomed to be repudiated and end his life “lost in darkness and distance” (191). The monstrous other has become a staple device of many Gothic novels and films, taking the shape of, for example, Stevenson’s Mr Hyde, Wells’s Beast People and Count Orlok in Nosferatu (1922). His very being, appearance and behaviour establish him as a reverse image of how normal people should be, look and act, a negative that turns light into dark, good into bad, self into other. These binaries have come under attack in recent Gothic criticism and writing that highlight the link, rather than the division, within the monstrous dichotomy.
12 citations
TL;DR: The authors review contact zone pedagogy from a perspective of discursive positioning and with attention to two assignments that ask basic writers to play with the conventions of academic language, such as translating a passage of academic prose into a slang of their choice; the second, to compose a parody of academic style.
Abstract: In this article, I review contact zone pedagogy from a perspective of discursive positioning and with attention to two assignments that ask basic writers to play with the conventions of academic language. The first requires them to translate a passage of academic prose into a slang of their choice; the second, to compose a parody of academic style. Their responses afford these basic writers new, unusually powerful subjectivities: as deflating formality and pretension, as mocking those in power, and as de-naturalizing everyday texts and discourses to render them newly problematic. And they serve as counterpoint to studies that present the contact zone as opening up the classroom to the appeals of all parties, sexist, racist, or homophobic as they may be. Ultimately, I challenge an unspoken assumption of much writing pedagogy—that teaching on current social issues will eventually bring students around to their instructor's point of view—instead holding out the promise that in the contact zone, a teacher is just as likely to be moved and changed as a student. The above was produced by a student in a first-year writing class at a medium-sized state university. The class is a basic skills/first-year hybrid, a 4-credit course with the same completion requirements as the existing 3- credit first-semester course. The hybrid has all but replaced the not-for-credit basic skills course on campus, and accounts for more than one-fourth of all sections of first-semester writing there. Students are placed in the course
12 citations
TL;DR: Extravagant postcolonial individualism as discussed by the authors takes up the issue of post-colonist individualism, the larger claim being that postcolonial fiction by and large distinguishes the rare, imaginative, "extravaggant" individual as uniquely capable of ethical apprehension and action.
Abstract: “Extravagant Postcolonialism” takes up the issue of postcolonial individualism, the larger claim being that postcolonial fiction by and large distinguishes the rare, imaginative, “extravagant” individual as uniquely capable of ethical apprehension and action I begin by considering a question of postcolonial justice, the “economic” version of which postcolonial fiction tends to eschew as unethical Having demonstrated how these fictions associate ethical intuition with something a little less business-like--what Gayatri Spivak calls, adapting Freud, “postcolonial nostalgia”--I go on (in the final section) to show how postcolonial nostalgia may be regarded as a fundamentally imaginative, private, and authoritative mode of consciousness This last section of the essay also shows how nostalgia at times takes the form of a recognizably “modernist” epiphany Postcolonialism of the extravagant variety, I conclude, has more in common with modernism than with the kind of avowedly transcendent contemporaneity that now goes by the name “postmodernism”
12 citations
Journal Article•
TL;DR: In this paper, the authors explored the relationship between the extent to which Iranian English teachers show willingness and conformity to principles of post-method pedagogy and the degree of their reflection in their classrooms.
Abstract: As far as the language teaching profession is concerned, reflective teaching is one of the terms widely referred to in today's accumulated body of literature dealing with language teaching. In fact, the rise of reflective teaching in English Language Teaching (ELT) is regarded as one of the ramifications of the post-method debate. Language educators and practitioners are nowadays encouraged to engage in reflective practices through the use of journals, diaries, and discussion of their daily classroom achievements and failures. The purpose of the current study was to explore the relationship between the extent to which Iranian English teachers show willingness and conformity to principles of post-method pedagogy and the degree of their reflection in their classrooms. The two validated instruments of the post-method pedagogy and reflective teaching were administered to 648 participants of the study. The result of Pearson Correlation analysis showed a meaningful positive relationship between the post-method attitudes of the participating English language teachers and their reflection in teaching. It was finally concluded that the five elements of teacher reflection can be related to the three post-method components in terms of the nature and the domain of the constructs.
12 citations