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: This article argued that Merritt's "adult-oriented" online digital photographs are more persuasively situated within the increasingly prevalent online genres of the intimate blog and amateur porn, acknowledging the risk of "collusion" inherent in fem...
Abstract: At the launch of the twenty-first century, the online pornographic photographs of Natacha Merritt, a young American woman (23 years old at the time), were categorised as art in two publications by art publisher Taschen, precipitating a critical acceptance of her work as such. This particular foray of pornography into an art context was briefly contested by one art critic; however, this relatively rare example of misclassification warrants further investigation in order to better understand the role played by what had, by the late twentieth century, become a pervasive post-feminist culture. Drawing on feminist media studies writing that analyses post-feminist modes of “self exploration,” and feminist art criticism on the ambiguities of feminist body art, this paper argues that Merritt’s “adult-oriented” online digital photographs are more persuasively situated within the increasingly prevalent online genres of the intimate blog and amateur porn. Acknowledging the risk of “collusion” inherent in fem...
7 citations
TL;DR: In this paper, playwright Suzan-Lori Parks lays out the difficulty of writing plays about black people without falling into an essentializing "Black Aesthetic" and argues that theatre is useful for black people because it can "can "tell it like it is" (i.e., 'tell it as it was' or 'tell as it could be'); and, indeed, Parks's plays are continually exploring the limits and intersections of all three.
Abstract: In “An Equation for Black People Onstage,” playwright Suzan-Lori Parks lays out the difficulty of writing plays about black people without falling into an essentializing “Black Aesthetic.” Theatre, she argues, is useful for black people because it “can ‘tell it like it is’; ‘tell it as it was’; ‘tell it as it could be’” (21); and, indeed, Parks's plays are continually exploring the limits and intersections of all three. “[T]he writing is rich,” she continues, “because we are not an impoverished people, but a wealthy people fallen on hard times” (21). When we consider this metaphor in light of Parks's well-known dramaturgical focus on black male characters, it becomes a highly charged one. In Topdog/Underdog, for example, Lincoln, a previously married and relatively prosperous hustler, has been left by his wife and is now working in a mall, dressing up as the historical Lincoln; his brother, Booth, has likewise been abandoned by his girlfriend, Grace, and is wholly dependent on Lincoln for money other than...
7 citations
TL;DR: In this paper, a marginal sociological viewpoint is used to problematize post-modernity polemically as a challenge to modern cultural subjectivity, which is important simply because it allows new features in culture and society to be characterized In its seductivity, seriality and penetrability.
Abstract: Representing a marginal sociological viewpoint, the subject of this article aims to problematize postmodernity polemically as a challenge to modern cultural subjectivity Postmodernity is important simply because it allows new features in culture and society to be characterized In its seductivity, seriality and penetrability. with continuous transfiguranons postmodernity will become discontinuous with the representations and referential logic of the 'authenticity' of aesthetic modernism Considering its ideals side by side, modern culture has become aestheticized as oppositional to 'nature' as well as to 'technology' However, without a meaningfully experienced relation ship with nature the modern individual becomes estranged Without tech nological advance the development of modern society is considered to be stagnant Culture is now increasingly mediated-coded, copied and simulated by technological means The advancement of modern society, and also postmodernity as a reaction to it. is now increasingly and ac...
7 citations
Cites background from "The Politics of Postmodernism"
...The confrontation hetween modern and postmodern is now really symptomatic as a matter of resistance, not only as a reaction renective of reality (see Foster 1986:xi-xii; Hutcheon 1989:17-18)....
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...We have already noticed that we may ’see, hear, feel, smell, and touch’ the real, but its meaning can be known only through signifying interpretations, which are organized into discourses and will constitute the systems of representations (see Hutcheon 1989 33)....
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TL;DR: The reason he had the radio on was that whenever he stopped typing, he heard someone else nearby tapping, tapping at a typewriter, typing through the night. Maxine Hong Kingston, Tripmaster Money: His Fake Book as mentioned in this paper
Abstract: The reason he had the radio on was that whenever he stopped typing, he heard someone else nearby tapping, tapping at a typewriter, typing through the night. Yes, it was there, steady but not mechanical. . . . An intelligence was coming up with words. Someone else, not a poet with a pencil or fountain pen but a workhouse big-novel writer, was staying up, probably done composing already and typing out fair copy. It should be a companionable noise, a jazz challenge to which he could blow out the window his answering jazz. But, no, it's an expensive electric machinegun typewriter aiming at him, gunning for him, to knock him off in competition. Maxine Hong Kingston, Tripmaster Money: His Fake Book
7 citations
Dissertation•
01 Jan 2014
7 citations