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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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29 Oct 2004
TL;DR: In this paper, a partir des Etudes culturelles feministes et postmodernistes, nous procedons a l'analyse de messages publicitaires realises by la compagnie Nike.
Abstract: A partir des Etudes culturelles feministes et postmodernistes, nous procedons a l’analyse de messages publicitaires realises par la compagnie Nike. Nous avancons que la « colonisation » du corps feminin faite par cette compagnie a nourri le sentiment postfeministe dans l’imaginaire nord-americain. Nous illustrons la facon dont Nike a envahi l’univers semiotique et social tout en misant sur des strategies mondialistes qui permettent l’exploitation de femmes en Asie. Nous concluons en expliquant comment Nike en est arrivee a se positionner en tant que productrice non seulement de chaussures, mais aussi de discours sur la normalite et la verite.
7 citations
Cites background from "The Politics of Postmodernism"
...Les féministes de diverses écoles de pensée ont exprimé leurs doutes sur les implications politiques d’une perspective féministe postmoderniste (Hutcheon 1989)....
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01 Aug 2010
7 citations
TL;DR: In this article, Julia Alvarez uses autobiographical narratives to expose plural models of group formation and community identity in her novels to complicate the stability of history, autobiography, and fiction, and foregrounds the internal problematics of historical narratives through the self-conscious blending of genres.
Abstract: Julia Alvarez uses autobiographical narratives to expose plural models of group formation and community identity in her novels to complicate the stability of history, autobiography, and fiction. This deployment of the autobiographical narratives helps to foreground her construction of a transnational Dominican Republic that is based on a transformative history of the self. As a result of the real trauma inflicted on Dominicans in both the island and US contexts, a linear, univocal history of the nation can no longer be constructed. Alvarez foregrounds the internal problematics of historical narratives through the self-conscious blending of genres. By situating historical considerations in her novels as much more than mere “setting,” Alvarez complicates what constitutes a “valid” historical narrative.
7 citations
01 Jan 1996
TL;DR: In the fourteenth century, these latter-day tensions play themselves out in Chaucer's dream vision, the House of Fame as mentioned in this paper, where the English aureatelaureate negotiates between literate and oral poetic traditions, negotiating their interchange through his acute awareness of their strained fusion.
Abstract: One of the central problems in the Middle Ages, according to Brian Stock, “is the relation of orality to a world making ever-increasing use of texts” in both its social interactions and its ontological explorations (1990:35). Because a contemporary self-consciousness can be reconstructed, Stock observes, “[t]he coming of literacy heralds a new style of reflection. Individuals are aware of what is taking place, and this awareness influences the way they think about communication. . .” (7). The subject of this essay is precisely some of the subjective reactions that the oral-literate interchange provokes in the mind of Geoffrey Chaucer. Working within both literate and oral poetic traditions, the English aureatelaureate also works between them, negotiating their interchange through his acute awareness of their strained fusion In arguing that an anxious ambivalence about writing operates as dynamic subtext in Beowulf, Michael Near (1993) suggests that tensions between orality and literacy lie at the heart of the Anglo-Saxon poem. Reading Middle English literature, produced in a time of steadily increasing literacy and in an age wherein written poetry supplants oral poetry, we discover tensions in the oral-literate continuum that are the inverse of those faced by the author and audience of Beowulf. In the fourteenth century, these latter-day tensions play themselves out in Chaucer’s dream vision, the House of Fame.
7 citations