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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.
Citations
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01 Jan 2006
TL;DR: In this paper, a post-modernizmin dayandigi kimi temel dayanaklari saptayarak tartisma konusu yapmak ve eitim bilimi ve egitim bilim ve Egitim felsefesi uzerindeki kimi olasi etkilerine dikkat cekmek uzerinedir.
Abstract: Son yillarda, felsefeciler, ilgilerinin onemli bir bolumunu, 1960’li yillarda dogmus entelektuel bir hareket olan postmodernizme yonlendirmislerdir. Sanat, felsefe, feminizm, elestiri, dilbilim, antropoloji, psikanaliz, psikoloji, sosyoloji, teoloji gibi pek cok alanda koklere sahip olan anilan hareketin temel savi, nesnel ve saltik dogrulugun yadsinmasi dusuncesinde odaklanir; cunku postmodernizm, dogrulugu toplumsal ve dilsel yapilarla iliskili hale getirmektedir. Bu haliyle, postmodernizm ozde genis bir alani icine alan dusunsel harekettir, zira, kendi aralarinda gorus birligi olmayan, farkli ilgi alanlarina sahip pek cok yazarin dusuncelerini kapsamaktadir. Bu makale, postmodernizmin dayandigi kimi temel dayanaklari saptayarak tartisma konusu yapmak ve egitim bilimi ve egitim felsefesi uzerindeki kimi olasi etkilerine dikkat cekmek uzerinedir.

7 citations


Additional excerpts

  • ...Çünkü onlarca gerçeklik, bizim tarafımızdan oluşturulur, bize verilmiş değildir (Hutcheon, 1989, s. 2)....

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Journal ArticleDOI
TL;DR: The authors argue that neo-burlesque striptease is a site of class privilege in which performers have the necessary economic and intellectual capital through which to stage a critique of the body, which could not necessarily be replicated in other sites of production.
Abstract: This article both argues for and contests the discourses of transformation that characterize the production and reception of neo-burlesque striptease. Through an experiential, ethnographic, and critical methodology, I reflect on how this genre engenders performances of transformation through the passage of dress to undress, at the performer–spectator exchange, and through shifting corporeal values, changing representations of female eroticism and the reclaiming of a nostalgic femininity within the neo-burlesque mise-en-scene. Yet in line with critical debates in cultural studies, I seek to question the extent to which utopian notions of transformation occur beyond the level of the “performance text” to incorporate change in the economic and social realities of neo-burlesque performers and audiences. In response I argue that neo-burlesque striptease is a site of class privilege in which performers have the necessary economic and intellectual capital through which to stage a critique of the striptease body, which could not necessarily be replicated in other sites of production. Yet I also recognize that neo-burlesque performance offers important opportunities for personal and social transformation through the ways in which women experience their disrobed bodies in an affirmative public space and through the creative control they exercise in the construction of their bodily display.

7 citations

Dissertation
01 Jan 2014
TL;DR: This is an interdisciplinary project that draws on the domains of humour theory, creativity theory, creative writing, and human-computer interaction theory to illuminate the practice of comedy scriptwriting process in a new-media environment.
Abstract: The PhD project is composed of two parts: a creative project (thirty-five per cent of the total research project); and an exegesis (sixty-five per cent). The creative project employs a pair of chat-bots, natural language processing artificial intelligence agents, to act as comedian and straight-man in a comedy performance based on a topic supplied by the user in a web-based interface. This is an interdisciplinary project that draws on the domains of humour theory, creativity theory, creative writing, and human-computer interaction theory to illuminate the practice of comedy scriptwriting process in a new-media environment.

7 citations

Journal ArticleDOI
TL;DR: In this article, the authors argue that Ennio Flaiano's Tempo di uccidere (A Time to Kill, 1947) is both the first Italian postcolonial novel and a highly complex literary work that should be acknowledged as such.
Abstract: In this article, I argue that Ennio Flaiano's Tempo di uccidere (A Time to Kill, 1947) is both the first Italian postcolonial novel and a highly complex literary work that should be acknowledged as...

7 citations


Cites background from "The Politics of Postmodernism"

  • ...I understand parody in Linda Hutcheon’s terms, not necessarily as a comic or debunking reversal of a predecessor text, but rather as ‘ironic quotation, pastiche, appropriation, or intertextuality’.(10) And I am borrowing my use of Dante’s fourfold typology and allegory to read the modernist novel from Fredric Jameson....

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01 May 2009
TL;DR: Camille Terese Passalacqua as mentioned in this paper investigates the wounded and violated female body as the site for healing from and integration of individual and collective traumatic experiences, and suggests the body is more than merely an instrument or animated canvas that the mind and soul use.
Abstract: Camille Terese Passalacqua: The Corporeal Trauma Narratives of Gayl Jones’s Corregidora, Phyllis Alesia Perry’s Stigmata and Luisa Valenzuela’s Cambio de armas (Under the direction of Professor Trudier Harris) All of the conflicts and ensuing traumas examined in these literary narratives address the suppression of a national consciousness about the severity of the crimes committed against certain groups of individuals in the Americas—against Africans forced into slavery and the descendants of these enslaved individuals, and against the victims of Argentina’s recent national conflict. This dissertation investigates the wounded and violated female body as the site for healing from and integration of individual and collective traumatic experiences. This four-chapter investigation draws from trauma theorists working in various disciplines, such as Cathy Caruth, Dori Laub, Shoshana Felman, Dominick LaCapra, Judith Lewis Herman, and Elaine Scarry, in order to establish the theoretical approaches to traumatic memory, testimony, and witnessing. Any theoretical exploration into the representation and articulation of trauma must include a return to the body as not just the site for pain, wounding, and separation of self from body and soul. I suggest the body is more than merely an instrument or animated canvas that the mind and soul use. Rather, the body is essential to how the person is made present and expresses herself in the world. Therefore, violently inflicted trauma fractures and separates this intimate relationship between the body, mind, and soul.

7 citations