_Post-Postmodernism_ begins with a simple premise: we no longer live in the world of "postmodernism," famously dubbed "the cultural logic of late capitalism" by Fredric Jameson in 1984. Far from charting any simple move "beyond" postmodernism since the 1980s, though, this book argues that we've experienced an _intensification_ of postmodern capitalism over the past decades, an increasing saturation of the economic sphere into formerly independent segments of everyday cultural life. If "fragmentation" was the preferred watchword of postmodern America, (...) "intensification" is the dominant cultural logic of our contemporary era. _Post-Postmodernism_ surveys a wide variety of cultural texts in pursuing its analyses—everything from the classic rock of Black Sabbath to the post-Marxism of Antonio Negri, from considerations of the corporate university to the fare at the cineplex, from reading experimental literature to gambling in Las Vegas, from Badiou to the undergraduate classroom. Insofar as cultural realms of all kinds have increasingly been overcoded by the languages and practices of economics, Nealon aims to construct a genealogy of the American present, and to build a vocabulary for understanding the relations between economic production and cultural production today—when American-style capitalism, despite its recent battering, seems nowhere near the point of obsolescence. Post-postmodern capitalism is seldom late but always just in time. As such, it requires an updated conceptual vocabulary for diagnosing and responding to our changed situation. (shrink)

This study is based on Post-cyberpunk in order to highlight the prominence of Postcyberpunk as an emerging representative genre of Postmodern Literature. Technological progress has altered the ontology of being a human in an era of information technology, thus this study aims to critically discuss the issues of id entity and representation. Although ample critical work has been done on genre Postcyberpunk yet this study is unique in a way that it is a collection of different discursive practices (...) related to identity crises presented in selected Post-cyberpunk narratives. It targets to critically analyze the alternations and transformations in representation of identity in the backdrop of Postmodernist Deconstruction of Metanarratives by Lyotard. Apart from the deconstruction of metanarratives this study signifies the relevance of Post-cyberpunk as Postmodernist Literature that represents society through multidimensional discursivity such as capitalism, hypercasaulization, imperialism, religion, economy and technology. This study aims to deconstruct the metanarratives of identity that were considered to be permanent and claimed to be power narratives. It equally represents the deconstruction of center/margin dichotomy by bringing mininarratives into the center. The method adopted for research is SocioCognitve Approach by van Dijk from Critical Discourse Analysis. (shrink)

Sara Suleri has written recently, in Meatless Days, of being treated as an "otherness machine"-and of being heartily sick of it.20 Perhaps the predicament of the postcolonial intellectual is simply that as intellectuals-a category instituted in black Africa by colonialism-we are, indeed, always at the risk of becoming otherness machines, with the manufacture of alterity as our principal role. Our only distinction in the world of texts to which we are latecomers is that we can mediate it to our fellows. (...) This is especially true when postcolonial meets postmodern; for what the postmodern reader seems to demand of Africa is all too close to what modernism-in the form of the postimpressionists-demanded of it. The role that Africa, like the rest of the Third World, plays for Euro-American postmodernism-like its better-documented significance for modernist art-must be distinguished from the role postmodernism might play in the Third World; what that might be it is, I think, too early to tell. What happens will happen not because we pronounce on the matter in theory, but will happen out of the changing everyday practices of African cultural life.For all the while, in Africa's cultures, there are those who will not see themselves as Other. Despite the overwhelming reality of economic decline; despite unimaginable poverty; despite wars, malnutrition, disease, and political instability, African cultural productivity grows apace: popular literatures, oral narrative and poetry, dance, drama, music, and visual art all thrive. The contemporary cultural production of many African societies, and the many traditions whose evidences so vigorously remain, is an antidote to the dark vision of the postcolonial novelist. 20. Sara Suleri, Meatless Days , p. 105. Kwame Anthony Appiah, professor of philosophy and literature at Duke University, is the author of a number of books, including For Truth in Semantics , Necessary Questions , and In My Father's House , a collection of essays on African cultural politics. His first novel, Avenging Angel, was published in 1990. (shrink)

<I>The Last Book of Postmodernism comprises set of essays written on and about 'postmodernism' and education. It is written in an apocalyptic tone that treats themes of religion and spiritualism, drawing on poststructuralist sources of inspiration, to contrast the present 'postmodern condition' and the philosophical significance and historical influence of Nietzsche's statement 'God is dead.' The book considers the meaning of the 'end' of Christendom and the prospect of global spirituality. It also considers the 'end' of literature (...) and the beginning of user-generated cultures and the implications of this shift for education and the philosophical model of dialogue that has dominated the humanities in the West. It charts the 'end' of philosophy and the rise of 'body' criticism, the promise of the Enlightenment, the relation between education, power and freedom, geophilosophy and the pedagogy of the concept, and the narrative turn as a basis for a new critical language for educational studies. Finally, the book considers post-postmodernism and the 'end' of the linguistic turn in educational theory. (shrink)

"Ever since the explosion in relationships of power during the 1960s, the humanities have become a battlefield. What had previously been thought of as merely academic concerns have spilled over academic boundaries and attracted the attention of politicians, government officials, members of the media, and, ultimately, the general public. As a way of addressing this turmoil, Karlis Racevskis considers the legacy of the Enlightenment and revaluates modernity's claims for objective knowledge and the traditional model of reason. How relevant, he asks, (...) are the Enlightenment ideals of freedom, democracy, and equality in today's attempts to understand society and gauge the prospects for civilization? What responsibility can or should intellectuals assume in promoting Enlightenment values? What, in the end, constitutes a humanistic education?" "Drawing largely on the work of Foucault, Racevskis elucidates the philosophical and political problems at issue in the debate and the changes taking place in our ways of seeing ourselves and our relations with others. He shows how the theme of enlightenment has been a central component in the conflicts that pit modernists against postmodernists, Marxists against post-Marxists, and liberals against conservatives, and he juxtaposes the arguments in such a way as to place reason and enlightened action in a new perspective. One result of the upheaval, argues Racevskis, is a sense of renewed purpose and intensity in the study of the humanities that constitutes a fundamental reorientation in our ways of understanding society. Viewing the tension between the chaos of current theories and the comfort of traditional values, not with horror but with excitement, he suggests how postmodern criticism can be seen as a dynamic and promising development in the renewal and expansion of the liberal arts." "This wide-ranging book should have general appeal across a broad spectrum of disciplines-among them, literature and the arts, philosophy, social and political theory, and intellectual history."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

Post-Theories in Literary and Cultural Studies brings to attention the post-theoretical discussions on the changing perceptions in literary and cultural studies. In four sections the volume presents essays that trace the engagement of post-theory with post-postmodernism, posthumanism, ethics, and politics.

The Post-Modern Reader edited by Charles Jencks An Anthology of a World Movement Post-Modernism has been debated, attacked, and defended for a generation, but only in the last few years has it come into focus as a coherent way of thought embracing all areas of culture. This is the first anthology that presents the synthesising trend in all its diversity, a convergence in architecture and literature, film and cultural theory, sociology, feminism and theology, science and economics. It (...) is however, a synthesis with a difference; it is one which stresses a contested pluralism, the ‘dialogic' that underlies the growth of sciences as well as the development of other art forms such as the novel. Some of the key historical texts are reprinted in part - those of Daniel Bell on the post-industrial society and Jean-François Lyotard on the post-modern condition. The new cultural logic of contested pluralism is analysed in seminal papers by Andreas Huyssen and Jim Collins. The fundamental ideas on post-modern literature are defined by Umberto Eco, John Barth and David Lodge and the theories they present challenge the notion of post-modernism as an ultra avant-garde movement and the expression of a consumer society. New Cultural Theory Late Modernism Literature, Art, Architecture and Film Sociology, Politics and Geography Feminism Science and Religion Tito Arecchi, John Barth, Jean Baudrillard, Daniel Bell, Charles Birch, David Bohm, Jim Collins, Norman K Denzin, Umberto Eco, Edward Goldsmith, David Ray Griffin, Jürgen Habermas, David Harvey, Ihab Hassan, Linda Hutcheon, Andreas Huyssen, Charles Jencks, Heinrich Klotz, Hans Küng, David Lodge, Jean-François Lyotard, Robin Murray, Craig Owens, Paolo Portoghesi, Margaret Rose, Susan Rubin Suleiman, Edward W Soja. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Myth, Truth and Literature: Towards a True Post-ModernismJames SeatonMyth, Truth and Literature: Towards a True Post-Modernism, by Colin Falck; xix & 208 pp. Cambridge: Cambridge University Press, 2nd edition, 1994, $59.95 cloth, $16.95 paper.Colin Falck has written a book that seeks to bind a critique of postmodernism to a plan for salvaging what is best about it. He wants to devise “a true (...) post-modernism,” because until now the movement’s goal has been “the Abolition of Reality.”The critique is the stronger part of the book. Falck offers several reasons why the currently fashionable versions of postmodernism are unsatisfactory. Identifying it with “post-Saussurian theory” (p. xiii), Falck traces the fundamental mistake of postmodernism back to Saussure’s rejection of one linguistic theory in favor of another, sliding from the view that language is based on “the baptismal labeling of some kind of already-differentiated and pre-baptismally identifiable item of the world’s contents” (p. 22) to seeing it “as a disembodied and contextless process” (p. 11). To Falck, though, the notion that a rejection of the first requires an acceptance of the second seems “entirely fallacious.” And yet “the whole internally interdependent substructure of post-Saussurian literary theory” depends upon the unexamined assumption that the two are inextricable.Falck finds other instances in which poststructuralists leap from true but trivial premises to otherwise unsupported conclusions. Jacques Derrida, for example, moves from an uncontroversial rejection of theories about “fully-experienced ‘presence’” (p. 21) to the very different issue of the priority of speech over writing. The goal of such non sequiturs is “in effect the Abolition of Reality” (p. 31).Such abolitions are always subject to the refutation Samuel Johnson made to Berkeley’s idealism. Kicking a stone, he vindicated the materiality of the external world. Now any textbook will point out that Johnson’s gesture was not an argument, but Falck argues that gestures do indeed possess philosophical significance. Speech is prior to writing because it is in speech and the gestures that accompany it that the location of language within “our necessary embodiedness” (p. 115) is most evident. Exploring the implications of the thesis that “all knowledge must be based in bodily awareness” (p. 119) along lines suggested by Merleau-Ponty among others, Falck argues that any satisfying account of language and, especially, literature must take account of dimensions of experience that contemporary theory peremptorily dismisses with the slogan “Nothing outside the text!”Although Falck’s refutation of postmodernism is telling and effective, it parallels the critique offered by other critics, such as John Ellis in Against Deconstruction. The true originality of his book lies in its admirably straightforward call to take up again the project of English and German Romanticism. For [End Page 264] Falck “the essential function of the literary text is one of revelation or disclosure” (p. 90). Myth, Truth and Literature argues that literature can reveal truths otherwise inexpressible through the use of myth. The romantic revival that he calls for will, however, also be a true postmodernism, because it will share the postmodernist rejection of transcendence in favor of “the essentially Romantic, but philosophically profound, recognition of the necessarily embodied and located nature of all human experiencing” (p. 84). Considering Romanticism “the third great advent of spirituality to the Western world” (p. 140) after Hellenic paganism and Christianity, Falck looks forward to a postmodernist literature that will reaffirm the truths of paganism while avoiding the “imaginative exclusiveness” of Christianity.One may share Falck’s refusal to accept postmodernism’s Abolition of Reality and yet have serious doubts about his proposed alternative. A reconsideration of the theories of Friedrich Schlegel and Samuel Taylor Coleridge offers more hope for literary criticism than an acceptance of the dominance of postmodernism and cultural studies, but it is not clear that Falck’s version of romanticism avoids the pitfalls of the contemporary approaches he rightly criticizes.He may not attempt to abolish reality, but Falck does seem to neglect the lessons of contemporary history. He opens his book by asserting that “romanticism looks forward to Marxism, psychoanalysis, and to every significant modern attempt to persuade men to take... (shrink)

The novels of David Foster Wallace, Dave Eggers and Jonathan Safran Foer are increasingly regarded as representing a new trend, an 'aesthetic sea change' in contemporary American fiction. 'Post-postmodernism' and 'New Sincerity' are just two of the labels that have been attached to this trend. But what do these labels mean? What characterizes and connects these novels? Dulk shows that the connection between these works lies in their shared philosophical dimension. On the one hand, they portray excessive self-reflection (...) and endless irony as the two main problems of contemporary Western life. On the other hand, the novels embody an attempt to overcome these problems: sincerity, reality-commitment and community are portrayed as the virtues needed to achieve a meaningful life. This shared philosophical dimension is analyzed by viewing the novels in light of the existentialist philosophies of Soren Kierkegaard, Jean-Paul Sartre, Ludwig Wittgenstein and Albert Camus. (shrink)

Levinas and Twentieth-Century Literature considers how the work of the century’s most original ethical thinker may reshape understandings of modernism, postmodernism, postcolonialism, feminism, gender studies, and globalism. Tracing how modernist technique and anti-totalizing ethics enter into relations that, by the turn of the twenty-first century, not only revitalize diverse national literatures but also produce post-national, migrant, or hybrid literatures, the collection illuminates the ethical within literature while disclosing the literary contexts of Levinasian ethics.

Few countries have been so transformed in recent decades as China. With a dynamically growing economy and a rapidly changing social structure, China challenges the West to understand the nature of its modernization. Using postmodernism as both a global frame of periodization and a way to break free from the rigid ideology of westernization as modernity, this volume’s diverse group of contributors argues that the Chinese experience is crucial for understanding postmodernism. Collectively, these essays question the implications of (...) specific phenomena, like literature, architecture, rock music, and film, in a postsocialist society. Some essays address China’s complicity in—as well as its resistance to—the culture of global capitalism. Others evaluate the impact of efforts to redefine national culture in terms of enhanced freedoms and expressions of the imagination in everyday life. Still others discuss the general relaxation of political society in post-Mao China, the emergence of the market and its consumer mass culture, and the fashion and discourse of nostalgia. The contributors make a clear case for both the historical uniqueness of Chinese postmodernism and the need to understand its specificity in order to fully grasp the condition of postmodernity worldwide. Although the focus is on mainland China, the volume also includes important observations on social and cultural realities in Hong Kong and Taiwan, whose postmodernity has so far been confined—in both Chinese and English-speaking worlds—to their economic and consumer activities instead of their political and cultural dynamism. First published as a special issue of boundary 2, Postmodernism and China includes seven new essays. By juxtaposing postmodernism with postsocialism and by analyzing China as a producer and not merely a consumer of the culture of the postmodern, it will contribute to critical discourses on globalism, modernity, and political economics, as well as to cultural and Asian studies. Contributors. Evans Chan, Arif Dirlik, Dai Jinhua, Liu Kang, Anthony D. King, Jeroen de Kloet, Abidin Kusno, Wendy Larson, Chaoyang Liao, Ping-hui Liao, Sebastian Hsien-hao Liao, Sheldon Hsiao-peng Lu, Wang Ning, Xiaobing Tang, Xiaoying Wang, Chen Xiaoming, Xiaobin Yang, Zhang Yiwu, Xudong Zhang. (shrink)

This book offers an historical and critical guide to the concepts of the post-modern and the post-industrial. It brings admirable clarity and thoroughness to a discussion of the many different uses made of the term post-modern across a number of different disciplines (including literature, architecture, art history, philosophy, anthropology and geography). It also analyses the concept of the post-industrial society to which the concept of the post-modern has often been related. Dr Rose discusses the (...) work of many theorists in the area, including Hassan, Lyotard, Jameson and the architectural historian Charles Jencks, and also looks at analyses and uses of the concepts of the post-modern and post-industrial by Frampton, Portoghesi, Peter Fuller and others. (shrink)

In the scientific literature, there are accents that emphasize certain changes in the functioning of philosophy, which took place in connection with the establishment of the postulates of postmodernism as a new period in the development of culture, as a style of post non-classical scientific thinking, in fact, the content and hierarchy of values positions itself with a sophisticated departure from the classical and non-classical philosophical reflection. Philosophical and educational understanding of the methodology of research of dialogue (...) and tolerance testified to the relevance of their research in the development of the potential of today’s multicultural education and its growth in the cultural and educational space. Dialogue, dialogics and tolerance are represented by the mechanisms of meaning-making, axiology and praxeology: dialogical cognition of the interpersonal, social-group, societal, planetary world provides a certain "breakthrough" in the worldview-value coordinate system, in external-internal control of growth efficiency and its spiritual dimension. The axiological, ontological, educational-epistemological aspects of “fitting” a person into a new world context are precisely in the plane of philosophy, enriching the cultural fields of today’s education through integration in goal-setting, content, organizational and managerial conditions for teaching and upbringing value ideals, principles, methods of holistic study of a person and those that are relevant today and provide Homo educandus with a meaning-making knowledge. (shrink)

The following is an attempt to grasp synthetically the strategy and development of Jean Baudrillard’s intellectual standpoint. My view emphasizes late ideas by French Philosopher, while the earlier ones are treated from this perspective as preliminary. After having left Marxist and post-Marxist positions, Baudrillard developed an original and idiosyncratic way of thinking about contemporary world that—inspired by Nietzschean idea that the power of interpretation prevails over representation of truth—evolves around rejection of the traditional ideas of the social, reality and (...) revolt, while employing categories of mass, simulation or catastrophe. This attitude took him not only beyond good and evil, but also to affirmation of death and terror, conducting to an extreme standpoint of “intellectual terrorism”. (shrink)

It is an irony perhaps worthy of John Ashbery that the critics who made his reputation as our premier contemporary poet have virtually ignored the innovations which in fact make his work distinctively of our time. The received terms show us how Ashbery revitalizes the old wisdom of Keats or the virile fantasies of Emersonian strength but they do so at the cost of almost everything about the work deeply responsive to irreducibly contemporary demands on the psyche. Such omissions not (...) only distance Ashbery from the urgencies of the present, they also make it far more difficult to appreciate just how the best contemporary art actually defines the challenges and possibilities created by that present. By banishing writers like Ashbery to literary tradition, we leave the domain of the postmodern to two dominant discourses. One is driven by post-structural theory’s idealization of the nomadic, the undecidable, and the profusion of simulacra. The other champions Marxist values which cast as the most significant contemporary art the rather slight oppositional devices of artists like Sherrie Levine, Hans Haacke, and Barbara Kruger. These critical idealizations then ignore what might be the central historical problem facing contemporary art. Can it continue to elaborate new dimensions of that late fifties postmodernism which set the values of Marcel Duchamp, John Cage, and Robert Rauschenberg against the increasingly formalist versions of modernism that then dominated the art world and the poetry workshops? Or does the age demand the emergence of a new sensibility, strands of which are being woven in post-structuralist mills? Charles Altieri is professor of English and comparative literature at the University of Washington. Author of books on contemporary poetry and literary theory, he has just completed a book on abstraction in modern poetry and painting. This essay lays some groundwork for a book, Bourgeois Utopians, attempt to keep the arts central to our discussion of postmodernism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 29.1 (2005) 1-23 [Access article in PDF] Literature and Evolution: A Bio-Cultural Approach Brian Boyd University of Auckland Many now feel that the "theory" that has dominated academic literary studies over the last thirty years or so is dead, and that it is time for a return to texts.1 But many more outside literary studies—in fields as diverse as anthropology, economics, law, psychology, and (...) religion—have recently come to recognize that the deep past that shaped our species can help to explain our present and recent past. Since a bio-cultural model of the human can only be richer than a solely cultural model, and since it implies neither genetic determinism nor limitation to the status quo, I want to argue for a bio-cultural or evolutionary approach to literature, first in very general terms, and then through a few aspects of a single familiar example, Hamlet.2 Such an approach, I suggest, can offer both a more comprehensive theory of literature and a closer investigation of literary texts. I Traditional views of literature tended to see it as reflecting nature, especially human nature, all the way from Plato's discomfort with, or Aristotle's admiration for, mimesis to Shakespeare's or Stendhal's images of art as holding the mirror up to nature. Common-sense traditional views of art and literature have easily shaded into transcendental views, widespread because religious beliefs have been so pervasive and because both artists and their patrons in state or church benefit by nurturing a sense of awe at art's putatively divine origins and power.In the twentieth century, first in sociology, anthropology, and even [End Page 1] psychology, then by the 1960s in the combination of these with Saussurean linguistics that produced structuralism and its aftershocks, and therefore impacted on literature, there has been a rejection of human nature as a given and a stress on human nature as the product only of culture and convention. "Theory," or what the Norton Anthology of Theory and Criticism more pointedly calls cultural critique, rightly critiques traditional common-sense and transcendental views of art, pointing out that the nature, human nature, or supernature that art or literature was supposed to reflect was merely what was assumed of these things from within a local cultural perspective.3 Roland Barthes, for example, criticized "the mystification which transforms petit-bourgeois culture into a universal nature."4 Modern Theory also rejects the individual as another bourgeois or capitalist or Western notion, as when Fredric Jameson echoed Barthes's Death of the Author by announcing the Death of the Subject.5 Criticism since the 1960s "has denied, on theoretical grounds, the relevance of the single historically definable author."6However, as many have lately realized, there are problematic ethical consequences of both the denial of human nature and the denial of the individual. After such denials, on what basis do we then claim equal rights for all humans, and on what basis do we assign responsibility for particular actions?7 If there is no "single historically definable author," does that mean that someone penning a racist screed cannot be held accountable?A critique of unquestioned Western assumptions about human nature was needed, but the post-1960s critique was shortsighted: it has not looked nearly far enough. While structuralism and its more or less rebellious offspring were continuing the lineage of early twentieth-century social sciences, the natural sciences were moving in the opposite direction, towards the first comprehensive scientific attempt to understand human nature in the context of evolution and human, animal, and artificial cognition and behavior.In the humanities there has of late been widespread skepticism about science. Some postmodernists have what they deem "a sophisticated appreciation of the futility of proof and the relativity of all knowledge claims." But, as Daniel Dennett comments, "this opinion, far from being sophisticated, is the height of sheltered naïveté, made possible only by... ignorance of the proven methods of scientific truth-seeking and their power."8 Science does not generate only true answers: ideas proposed within it can of... (shrink)

Buddhism traces its origin to the teachings of the historical figure of Gautama, the Buddha. Buddhist system addresses perennial human concerns and articulates profound insights into human nature and thus provides a practical context against the back ground of which it is possible to unravel the meaning of lives. Different branches of this school developed various scriptural traditions. Among them early Buddhist thought branched out into diversity of orders, schools of thought and teaching lineages. Wisdom and compassion are the distinctive (...) marks of Buddhism and this strife-tormented world is in dire need of these qualities. Buddhism not only talks about these qualities, it also illustrates the way how to acquire the same. Post-modernism which is a movement in different fields, culture, philosophy, literature, and arts etc. claims to decentralize the importance of reason. There are many post modern thinkers like, Derrida, Lyotard, Deleuze, Guattari, Levinas who worked in their own way and they discerned a shift in the art and culture of their societies from a distinctively modern phase to a postmodernist phase. Considering these observations this paper is motivated by two questions. On the one hand, one is constantly intrigued by the vast treasures of early Buddhist heritage; on the other hand, one is perplexed by the post modern deconstructive method which has some point of similarities with early Buddhistthought. In between these two lines of thinking this paper tries to argue that the better our understanding and appreciation of this ancient legacy of Buddhist treasures becomes, the more able we will be to grasp the lines of post-modern thinking. There are certain concepts of Buddhism namely, language, writing, desire, suffering, death which are all important issues to the post-modern thinkers. The present paper is an effort to high light some of these concepts against the back ground of early Buddhist traditions. (shrink)

Many recent thinkers imagine that a new way of life, or a new kind of thinking, is beginning to unfold on the basis of the discovery that reason is an outmoded concept and that the projects of Western philosophy are defunct. Postmodernist thinkers, in particular, have tried to describe the way things look from a post?philosophical, post?rational point of view. Jean?François Lyotard's The Postmodern Condition argues against the possibility of a comprehensive understanding of contemporary social and intellectual activities, (...) while most of the essays in Literature and the Question of Philosophy also reject the idea that there can be a valid comprehension of the elements found in textual or in ethical and political phenomena. Yet in every instance, the effort to establish a post?philosophical, post?rational way of looking at things involves an unwitting exercise of the rational power to conceive of a situation in terms of the relative disposition of its elements. Furthermore, the themes and ideas of post?philosophy can be shown to have originated within the two grand narratives of modern philosophy that Lyotard has incorrectly pronounced passe. Postmodemism's confusion about itself shows the continuing relevance of Hegel's concept of Reason. (shrink)

The theme of The Planetary Clock is the representation of time in postmodern culture and the way temporality as a global phenomenon manifests itself differently across an antipodean axis. To trace postmodernism in an expansive spatial and temporal arc, from its formal experimentation in the 1960s to environmental concerns in the twenty-first century, is to describe a richer and more complex version of this cultural phenomenon. Exploring different scales of time from a Southern Hemisphere perspective, with a special emphasis (...) on issues of Indigeneity and the Anthropocene, The Planetary Clock offers a wide-ranging, revisionist account of postmodernism, reinterpreting literature, film, music, and visual art of the post-1960 period within a planetary framework. By bringing the culture of Australia and New Zealand into dialogue with other Western narratives, it suggests how an antipodean impulse, involving the transposition of the world into different spatial and temporal dimensions, has long been an integral (if generally occluded) aspect of postmodernism. Taking its title from a Florentine clock designed in 1510 to measure worldly time alongside the rotation of the planets, The Planetary Clock ranges across well-known American postmodernists (John Barth, Toni Morrison) to more recent science fiction writers (Octavia Butler, Richard Powers), while bringing the US tradition into juxtaposition with both its English (Philip Larkin, Ian McEwan) and Australian (Les Murray, Alexis Wright) counterparts. By aligning cultural postmodernism with music (Messiaen, Ligeti, Birtwistle), the visual arts (Hockney, Blackman, Fiona Hall), and cinema (Rohmer, Haneke, Tarantino), this volume enlarges our understanding of global postmodernism for the twenty-first century. (shrink)

This article examines the controversial issue of blasphemy in literature from the viewpoint of reception inside and outside the academia. The thesis of the article is that blasphemy in literature, though inherently related to religion and language, has a plurality of connotations and interpretations (dissidence, intertextuality, critique of colonialism, discursive strategy, alterity/Otherness, ethnicity, subversive text). Consequently, blasphemy in literature is an incentive for fruitful discussions regarding tolerance, freedom of expression, and the re-situation of the (post)modern self (...) in today’s world, dominated by an uncanny admixture of secular and religious values. (shrink)

Purpose. The research is based on the comprehension of the anthropological tendencies of the metamodernism, which presupposes the consistent solution of the following tasks: a) explication of the content of post-postmodernism in modern philosophical literature; b) identification of the ideological basis of metamodernism anthropology; c) characteristics of the problem field of metamodernism anthropology and the state of man in the modern era. Theoretical basis. Anthropology of the metamodernism for the first time defines socio-cultural context through the hesitative (...) state between the values of modernism and their rejection by the postmodernism, which makes it possible to formulate the peculiarity of the time as a desire to reconstruct a Holistic Man, impartial to the dominant worldview attitudes of a social nature. Anthropology of the metamodernism is presented as the individualization of the socio-cultural space in the form of human self-reconstruction at all anthropological levels. An era without an unambiguously expressed moral guideline is based on the ethics of all-acceptance, the only justification of which is the existence of a universal right to beingness. Digitalization as a process of digital transformation of society creates conditions for the value realization of the free choice of metamodernism man, through which a Holistic Man is accomplished. Originality. It is substantiated that metamodernism as a descriptive position of the modern cultural dominant of the digitalized era is characterized by a state of hesitation between the values of modernism and postmodernism. The anthropology of the metamodernism manifests itself in the form of the reconstruction of the holistic man and the self-reconstruction of the inner man. The peculiarities of the human metamodernism are recognized as the mutual complete determinability of the individual and the mass. Conclusions. Metamodernism is the formulation of the problem of a man in a new perspective: what to be and how to survive between the extremes of semantic poles, without losing dignity and unique intrinsic value. Proceeding from this, the fate of a metamodernism man is determined in pursuit of the endlessly receding horizons of the anthropology of incompleteness, which is carried out through post-irony, naive sincerity, optimistic openness to the world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Utopia and the Contemporary British Novel by Caroline EdwardsMark SchmittCaroline Edwards. Utopia and the Contemporary British Novel. Cambridge: Cambridge University Press, 2021. 277 pp. Paperback, ISBN 9781108712392.The development of the novel as a literary form is closely linked to the representational mode of realism and how it can convey the human experience of time. That the novel distinguishes itself substantially from earlier forms of literature in how (...) it attempts to capture temporality through means of literary realism has been acknowledged ever since Ian Watt’s The Rise of the Novel (1957). As such, the novel form underwent dramatic changes throughout the periods of modernity and postmodernity, with modernist and postmodernist techniques of representation mirroring shifts in the temporal experience. But how can the contemporary novel—a category itself loaded with implication and definitional problems—of the twenty-first century confront the particular representational challenges of its time? This is the question that Caroline Edwards addresses in her study Utopia and the Contemporary British Novel. Edwards is concerned with the wider repercussions of the post-postmodernist notion of the Fukuyaman thesis of the “end of history” and the profound challenges to this thesis in the face of the post-9/11 unfolding of the twenty-first century. The temporal experience of this century is marked by what Edwards calls “non-contemporaneity,” that is, a “political, and even ontological uncertainty” (9). In the context of contemporary literature, the resulting “temporal disjointedness that marks our experience in the twenty-first century” has “given rise to different expressions of the unevenness of the contemporary, at the level of novelistic structure, prose style, generic sampling and non-mimetic interventions into otherwise realist narratives and juxtaposed timescales” (9). The notion of non-contemporaneity is drawn from Ernst Bloch’s concept of Ungleichzeitigkeit, which Edwards considers to be “productive to thinking about the complexity of [End Page 595] utopian times and the different kinds of pasts and futures that circulate within our own present moment of contemporaneity, which is inescapably non-contemporaneous with itself ” (30). Edwards considers this noncontemporaneity as a prevalent temporal register in contemporary British fiction that speak to the crises of temporality associated with a range of political, social, and economic events and processes that have marked the first decades of the twenty-first century. The seemingly natural unfolding of the “the linear progressive time of neoliberalism” (8), what Mark Fisher has called “capitalist realism,” has increasingly been put into question, not least due to the 2008 Global Financial Crisis (158). Similarly, Edwards identifies the 2016 Brexit referendum as symptomatic of a nationalism that must, following Michael Gardiner, always appear to be “out of time” (8). Such crises are thus indicative of anachronistic unevenness and conflicting temporalities. Consequently, a literary fiction that wants to adequately represent these struggles with temporality cannot confine itself to the pitfalls of literary realism, but it would be equally ill-suited by resorting to postmodernist metafiction and irony. Rather, as Edwards contends, the twenty-first-century fictions that she discusses attempt to complicate realist modes by using disruptive and experimental narrative techniques that amount to “non-mimetic experiments with narrative voice and structure” and “delinearised” temporalities (4). With this approach, Edwards argues, these texts interrogate the present as unstable.The four main chapters of Edwards’s book proceed by first establishing the dominant philosophical and theoretical concepts underlying her hypothesis. Chapter 2 (“Reading Fictions of the Not Yet”) is a theoretical and methodological chapter and offers an in-depth engagement with theories of temporality and narratology. Edwards’s aim here is to advocate for an updating of conventional narratology to account for the multilayered narrative experiments with time since modernism and especially in contemporary fiction. Her approach to theorization and analysis is inspired by Elizabeth Freeman’s Time Binds: Queer Temporalities, Queer Histories (2010) in the decision to focus on close readings of a small number of primary texts and read them as texts or aesthetic artifacts that develop “theories of their own” (29). The chapter offers an in-depth engagement with Bloch’s philosophy of utopianism and his concept of Ungleichzeitigkeit.Another cornerstone for Edwards’s theory and method is the work of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Japan, France, and East-West Aesthetics: French Literature, 1867-2000Carol S. GouldJapan, France, and East-West Aesthetics: French Literature, 1867-2000. By Jan Walsh Hokenson. Madison and Teaneck: Fairleigh Dickinson University Press, 2004. Pp. 520. $80.00.Jan Walsh Hokenson's masterful work, Japan, France, and East-West Aesthetics: French Literature, 1867-2000, traces the migration of the Japanese aesthetic into French art, through French literature, and ultimately into Western modernism and (...) class='Hi'>postmodernism. Despite the title, this book goes beyond French poetics, for it deals with some philosophical views about knowledge and art, and it offers an extended argument for the value of comparative studies, including comparative philosophy. The author moves easily among the areas of literature, art, and philosophy, all of which she discusses with authority.Her story begins with the birth of 'japonisme,' the term coined by critic Philippe Burty in 1876 to refer to the passion-artistic and commercial-for things Japanese. She identifies three waves of japonisme in French literature: pre-World War I, between the wars, and post-World War II. She leads the reader through each of these waves, detailing the cultural and artistic milieu in each and closely analyzing key figures.For the origins of japonisme, Hokenson takes us to the studio of Parisian engraver, printmaker, and designer Felix Bracquemond in 1856, which was just after the end of Sakoku. Bracquemond, according to the "most persistent legend," [End Page 699] opened a box of Asian ceramics and discovered that they were wrapped in extraordinary materials-layers of Hokusai woodcut prints the likes of which he had never seen. He summoned members of his circle, which included Manet, Degas, and Whistler (pp. 13-15). It is thus through an intriguing historical contingency that this relatively inexpensive, mass-produced art form would become the inspiration for some of the most personal and expensive art works today. More relevant to Hokenson's interest, however, is the fact that these woodcuts would be a seminal force in the direction of French letters.Had Bracquemond not had the vision to see the artistry of these prints or had the shipper used a different packing material, would Western painting and literature have taken a different turn? Would the West have seen impressionism, symbolism, or art nouveau? Would Proust, Claudel, Mallarmé, and others have written different works? From Hokenson's account one gleans that the French avant-garde eye was ready to see Hokusai and others, for artists felt that the mimetic view of art had led them to an impasse. Visual and literary artists were ready to abandon the Renaissance ideals of verisimilitude, perspective, the integrity of space, and the linearity of time. They were ready to accept the fragmentation of picture space, perspectivism, and suggestiveness that were all characteristic of the Japanese aesthetic.She explains how Henri Bergson, with his theories of intuition and subjective time, provided a philosophical foundation for the artistic commitments of the early japonistes. She documents the access many of the japonistes had to Bergson. Bergson, like the japoniste poets and painters themselves, emerged from a French tradition of using subjectivity as a starting point. The reader sees this respect for the subjective interact with various Japanese influences over the course of the twentieth century. The receptiveness to the haiku exemplifies this phenomenon, as it begins from a fleeting, intuitive, personal experience. She points out that "by 2000, the haiku was almost a commonplace in French poetry" (p. 407).Although she says little about what Bergson may have absorbed from the japonistes, she does tell of the little-known influence exerted by the Japanese phenomenologist Kuki Shūzō in 1928 on Jean-Paul Sartre. Both Sartre and Simone de Beauvoir either forgot this relationship or forgot to mention it in their respective narratives about the development of existentialism. Indeed, this was not discovered, Hokenson reports, until the 1980s. She rightly points out that that this changes the usual story about French philosophy in the early twentieth century, for it means that Sartre became acquainted with German phenomenology before 1932 and from someone other than Raymond Aron (pp. 333-334, 343, 474 n. 10). In a fascinating discussion of Kuki's... (shrink)

On post-modernism and ideology of postmodern thinkers.

Understanding Literary Theory is the essential guide for every reader looking to understand what literary theory is and why it matters. This concise and accessible text introduces today's foremost schools of literary theory, offering historical background and outlining the important ideas of each. The theories are then applied to a variety of classic short stories, demonstrating how the different theoretical approaches can yield diverse interpretations of the same literary works. This volume separates itself from similar texts by providing clear and (...) accurate explanations of theory's most challenging concepts. It examines all of the major schools of criticism, including ecocriticism, ethnic studies, feminism, formalism, Marxism, narratology, new historicism, postcolonialism, postmodernism, post-structuralism, psychoanalysis, queer theory, reader response, and structuralism. Each chapter begins with a straightforward summary that outlines the focus of the theoretical approach, its notable practitioners, its advantages and disadvantages, and a concise definition. The chapters then delve into each theory by explaining the key concepts and the ideas that led to them. This book is indispensable for anyone intimidated by words like deconstruction, differance, heteroglossia or hyperreality. Understanding Literary Theory shows readers the interpretative possibilities that literary theory can provide. It is the ideal introduction for those who want to get the most out of the literature they read. (shrink)

Purpose. The paper considers the establishment of the paradigmatic determinants of the understanding of crime on the basis of fundamental changes in understanding of the essence of a man in ancient, medieval, Renaissance, modern and postmodern philosophy. Theoretical basis. The author determines that the understanding of the concept of crime is possible only in the combination of historical, philosophical, legal and sociological approaches. The interpretation of the essence of this concept dynamics and relevant legal practices is based on structuralist, (...) class='Hi'>post-structuralist and hermeneutical methodological principles. Originality. The author has proved that the concept of "crime" is not a constant but a historically variable category whose dynamics of meanings is linked to a change in philosophical anthropological paradigms. Its understanding is primarily related to the interpretation of the essence of a man and the imperatives of his behavior. This allows a new understanding of the philosophical foundations of modern criminology. Conclusions. The article establishes that in the history of Western philosophy, there are five anthropological paradigms that differ in a thorough rethinking of the essence of a man. The first cosmocentric regards man as a microcosm, his soul and actions must be in harmony with the harmony of the Cosmos. The second Theocentric considers a man the image and likeness of God, though he is at the same time burdened with original sin. In the era of early Modernism, the third paradigm, which we called cognitive-centric, becomes dominant, since the essence of a man is reduced primarily to his mind. It gradually changes to the fourth – sociocentric, which focuses on the social essence of a man. However, despite its continued existence in our time, at the end of the XX century, there is a transition to the fifth paradigm – postmodernist, which deconstructs the essence of a man, reducing it to the role of an element of power systems. These paradigms, with a certain synchronicity, create the corresponding concepts of "crime": from violation of polis-space laws to identification with sin, from non-observance of mental and moral standards to social deviance. Contemporary understandings of crime are, for the most part, relativistic and constructivist, which is consistent with the postmodern anthropological paradigm. However, the diversity of interpretations of the concept of "crime" that exists in the current scientific literature needs further comprehension. (shrink)

At least two recent collections of essays – Postmodernism and the Enlightenment and What’s Left of Enlightenment?: A Postmodern Question – have responded to postmodern critiques of Enlightenment by arguing that Enlightenment philosophes themselves embraced a number of post-modern themes. This essay situates Kant’s essay Was ist Aufklärung in the context of this recent literature about the appropriate characterization of modernity and the Enlightenment. Adopting an internalist reading of Kant’s Aufklärung essay, this paper observes that Kant is (...) surprisingly ambivalent about who might be Enlightened and unspecific about when Enlightenment might be achieved. The paper argues that this is because Kant is concerned less with elucidating his concept of Enlightenment and more with characterizing a political condition that might provide the conditions for the possibility of Enlightenment. This paper calls this political condition modernity and it is achieved when civil order can be maintained alongside fractious and possibly insoluble public disagreement about matters of conscience, including the nature and possibility of Enlightenment. Thus, the audience for the Aufklärung essay is not the tax collector, soldier or clergyman, but rather the sovereign. Kant enjoins and advises the prince that discord and debate about matters of conscience need not entail any political unrest or upheaval. It is in this restricted sense that the Enlightenment essay is Kant’s Machiavellian moment. (shrink)

Theorrhoea and After completes the work of the author's previous critiques which demolished post-Saussurean thought and observes the tactics used by theorists to keep theory alive. The book examines literature and the other arts from a viewpoint which goes beyond the ideas of those bewitched by contemporary postmodernist thought. Witty and profound, it aims to entertain as well as illuminate.

Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger's later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger's 'The Origin of the Work of Art' and his notoriously difficult Contributions to Philosophy, this book explains precisely what postmodernity meant for Heidegger, the greatest philosophical critic of modernity, and what it could still mean for us today. Exploring these issues, Iain D. Thomson examines several (...) postmodern works of art, including music, literature, painting and even comic books, from a post-Heideggerian perspective. Clearly written and accessible, this book will help readers gain a deeper understanding of Heidegger and his relation to postmodern theory, popular culture and art. (shrink)

This book provides a clear, concise and readable introduction to philosophy in the continental tradition. It is a wide-ranging and reliable guide to the work of such major figures as Habermas, Foucault, Derrida, Heidegger, Sartre and Nietzsche. At the same time, it situates their thought within a coherent overall account of the development of continental philosophy since the Enlightenment. Individual chapters consider the character of modernity, the Enlightenment and its continental critics; the ideas of Marxism, the Frankfurt School and Habermas; (...) hermeneutics and phenomenology; existentialism; structuralism and post-structuralism; and postmodernism. In addition to the thinkers already mentioned, there is extended discussion of the ideas of Kant, Hegel, Dilthey, Husserl, Gadamer, Kierkegaard, De Beauvoir and Lyotard. An Introduction to Continental Philosophy is an invaluable introductory text for courses on continental philosophy as well as courses dealing with major figures or influential approaches within that tradition. It will also be most helpful to students and academics from the many disciplines which have been significantly influenced by continental philosophy in recent years, including politics, sociology, anthropology, psychology, theology, literature and cultural studies. (shrink)

A lively and accessible history of Modernism, _The First Moderns_ is filled with portraits of genius, and intellectual breakthroughs, that richly evoke the _fin-de-siècle_ atmosphere of Paris, Vienna, St. Louis, and St. Petersburg. William Everdell offers readers an invigorating look at the unfolding of an age. "This exceptionally wide-ranging history is chock-a-block with anecdotes, factoids, odd juxtapositions, and useful insights. Most impressive.... For anyone interested in learning about late 19th- and early 20th- century imaginative thought, this engagingly written book is (...) a good place to start."—_Washington Post Book World_ "_The First Moderns_ brilliantly maps the beginning of a path at whose end loom as many diasporas as there are men."—Frederic Morton, _The Los Angeles Times Book Review_ "In this truly exciting study of the origins of modernist thought, poet and teacher Everdell roams freely across disciplinary lines.... A brilliant book that will prove useful to scholars and generalists for years to come; enthusiastically recommended."—_Library Journal_, starred review "Everdell has performed a rare service for his readers. Dispelling much of the current nonsense about 'postmodernism,' this book belongs on the very short list of profound works of cultural analysis."—_Booklist_ "Innovative and impressive... [Everdell] has written a marvelous, erudite, and readable study."-Mark Bevir, _Spectator_ "A richly eclectic history of the dawn of a new era in painting, music, literature, mathematics, physics, genetics, neuroscience, psychiatry and philosophy."—Margaret Wertheim, _New Scientist_ "[Everdell] has himself recombined the parts of our era's intellectual history in new and startling ways, shedding light for which the reader of _The First Moderns_ will be eternally grateful."—Hugh Kenner, _The New York Times Book Review_ "Everdell shows how the idea of "modernity" arose before the First World War by telling the stories of heroes such as T. S. Eliot, Max Planck, and Georges Serault with such a lively eye for detail, irony, and ambiance that you feel as if you're reliving those miraculous years."—Jon Spayde, _Utne Reader_. (shrink)

This book demonstrates how the conceptual resources of contemporary French philosophy from the early 20thCentury to the present day can be applied to give us new perspectives on business ethics and the ethics of organizations. In providing an overview of possible applications,the book covers a wide range of philosophers, philosophical movements and perspectives, and provides detailed analyses of core materials relevant to business ethics. It explores and analyzes French philosophy, taking into account phenomenology,existentialism, French epistemology, structuralism, post-structuralism,deconstruction and (...) class='Hi'>postmodernism as well as recent discussions of philosophy of organizations and management. Each chapter contains suggestions for further reading and educational illustrations of possible applications to the mainstream business ethics and ethics of organization literature. (shrink)

Jung: A Feminist Revision explores the relationship between feminist theory and Jungian studies. It combines an original student-friendly introduction to Jung, his life and work, his treatment of gender and the range of post-Jungian gender theory, with new research linking Jung to deconstruction, post-Freudian feminism, postmodernism, the sublime, and the postmodern body. Feminism has neglected Jung to its own detriment. While evaluating the reasons for this neglect, Jung: A Feminist Revision uses the diversity of feminist critical tools (...) from historical analysis to poststructuralism. In a fresh and illuminating study, this book provides both a critique of Jung and demonstrates his positive potential for future feminisms. New theories are explored which develop relationships between the work of Jung and Jacques Lacan, Luce Irigaray, Hélène Cixous, Julia Kristeva and Judith Butler. Particular attention is paid to the growth of post-Jungian studies of gender. This includes a cogent study of the tradition of Jungian feminism that looks to the feminine principle′ and narratives of goddesses. Jungian ′goddess′ feminism′s enduring appeal is re-examined in the context of postmodern re-thinking of subjectivity and gender. The book proposes a re-orientation of Jungian studies in its relationship to feminism. The result is an accessible text that introduces Jung and sets out his relevance to contemporary feminisms. This book will be essential reading for undergraduates and postgraduates studying feminist theory, psychoanalytical theory, literature and psychology. (shrink)

A lively and accessible history of Modernism, _The First Moderns_ is filled with portraits of genius, and intellectual breakthroughs, that richly evoke the _fin-de-siècle_ atmosphere of Paris, Vienna, St. Louis, and St. Petersburg. William Everdell offers readers an invigorating look at the unfolding of an age. "This exceptionally wide-ranging history is chock-a-block with anecdotes, factoids, odd juxtapositions, and useful insights. Most impressive.... For anyone interested in learning about late 19th- and early 20th- century imaginative thought, this engagingly written book is (...) a good place to start."—_Washington Post Book World_ "_The First Moderns_ brilliantly maps the beginning of a path at whose end loom as many diasporas as there are men."—Frederic Morton, _The Los Angeles Times Book Review_ "In this truly exciting study of the origins of modernist thought, poet and teacher Everdell roams freely across disciplinary lines.... A brilliant book that will prove useful to scholars and generalists for years to come; enthusiastically recommended."—_Library Journal_, starred review "Everdell has performed a rare service for his readers. Dispelling much of the current nonsense about 'postmodernism,' this book belongs on the very short list of profound works of cultural analysis."—_Booklist_ "Innovative and impressive... [Everdell] has written a marvelous, erudite, and readable study."-Mark Bevir, _Spectator_ "A richly eclectic history of the dawn of a new era in painting, music, literature, mathematics, physics, genetics, neuroscience, psychiatry and philosophy."—Margaret Wertheim, _New Scientist_ "[Everdell] has himself recombined the parts of our era's intellectual history in new and startling ways, shedding light for which the reader of _The First Moderns_ will be eternally grateful."—Hugh Kenner, _The New York Times Book Review_ "Everdell shows how the idea of "modernity" arose before the First World War by telling the stories of heroes such as T. S. Eliot, Max Planck, and Georges Serault with such a lively eye for detail, irony, and ambiance that you feel as if you're reliving those miraculous years."—Jon Spayde, _Utne Reader_. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Transgressing the Boundaries: An Afterword*Alan D. SokalAlas, the truth is out: my article, “Transgressing the Boundaries: Toward a Transformative Hermeneutics of Quantum Gravity,” which appeared in the spring/summer 1996 issue of the cultural-studies journal Social Text, is a parody. 1 Clearly I owe the editors and readers of Social Text, as well as the wider intellectual community, a non-parodic explanation of my motives and my true views. One of (...) my goals here is to make a small contribution toward a dialogue on the Left between humanists and natural scientists—“two cultures” which, contrary to some optimistic pronouncements (mostly by the former group), are probably farther apart in mentality than at any time in the past fifty years.Like the genre it is meant to satirize—myriad exemplars of which can be found in its reference list—my article is a mélange of truths, half-truths, quarter-truths, falsehoods, non sequiturs, and syntactically correct sentences that have no meaning whatsoever. (Sadly, there are only a handful of the latter: I tried hard to produce them, but I found that, save for rare bursts of inspiration, I just didn’t have the knack.) I also employed some other strategies that are well-established (albeit sometimes inadvertently) in the genre: appeals to authority in lieu of logic; speculative theories passed off as established science; strained and even absurd analogies; rhetoric that sounds good but whose meaning is [End Page 338] ambiguous; and confusion between the technical and everyday senses of English words (for example: linear, nonlinear, local, global, multidimensional, relative, frame of reference, field, anomaly, chaos, catastrophe, logic, irrational, imaginary, complex, real, equality, choice).I should emphasize that all works cited in my article are real, and all quotations are rigorously accurate; none are invented. Indeed, the most hilarious passages in my article were not written by me: they are direct quotes from the Masters.But why did I do it? I confess that I’m an unabashed Old Leftist who never quite understood how deconstruction was supposed to help the working class. And I’m a stodgy old scientist who believes, naively, that there exists an external world, that there exist objective truths about that world, and that my job is to discover some of them. (If science were merely a negotiation of social conventions about what is agreed to be “true,” why would I bother devoting a large fraction of my all-too-short life to it? I don’t aspire to be the Emily Post of quantum field theory.)But my main concern isn’t to defend science from the barbarian hordes of lit crit. Rather, my concern is explicitly political: to combat a currently fashionable postmodernist/poststructuralist/social-constructivist discourse—and more generally a penchant for subjectivism—which is, I believe, inimical to the values and future of the Left. 2 Alan Ryan said it well:It is, for instance, pretty suicidal for embattled minorities to embrace Michel Foucault, let alone Jacques Derrida. The minority view was always that power could be undermined by truth.... Once you read Foucault as saying that truth is simply an effect of power, you’ve had it.... But American departments of literature, history and sociology contain large numbers of self-described leftists who have confused radical doubts about objectivity with political radicalism, and are in a mess. 3Likewise, Eric Hobsbawm has decriedthe rise of “postmodernist” intellectual fashions in Western universities, particularly in departments of literature and anthropology, which imply that all “facts” claiming objective existence are simply intellectual constructions. In short, that there is no clear difference between fact and fiction. But there is, and for historians, even for the most militantly antipositivist ones among us, the ability to distinguish between the two is absolutely fundamental. 4 [End Page 339](Hobsbawm goes on to show how rigorous historical scholarship can refute the fictions propounded by reactionary nationalists in India, Israel, the Balkans and elsewhere.) And as the acerbic sociologist Stanislav Andreski noted long ago,So long as authority inspires awe, confusion and absurdity enhance conservative tendencies in society. Firstly, because clear and logical thinking leads to a cumulation of knowledge (of which the progress of... (shrink)

This essay mobilizes Fanon as a point of entry into mapping the current state of postcolonial studies, and within that, reflects on what constitutes the postcolonial canon. Over a gradual course of the eighties and nineties, there has come about a transition from the field’s founding moments in which anti-imperialism, tricontinentalism, Third World nationalism and aesthetics of realism and resistance thrived, to the current trends that show a slant toward postmodernist fragmentation, multiculturalism, issues of diaspora, metropolitan narratives as well as (...) a proclivity toward theorizing the field itself. There are many reasons for this: the specific dynamics of the post-Cold War American culture within which these works were received; the compromised relationship between academic and commercial publishing culture, which made a jump from narratives of decolonization and neocolonialism to metropolitan multiculturalism; and the sway of postmodernism over academia as a whole, which led to a disregard for Marxist theories and, more importantly, to a neglect of realism as a mode and aesthetic in postcolonial theory. These factors have worked together to shape how the genealogy of postcolonial studies and its theory have come to be accepted as “obvious.” This has, in turn, had strong repercussions for the kind of literature and theory that have come to be celebrated and canonized within the field. The essay draws on Anthony Alessandrini's Frantz Fanon and the Future of Cultural Politics: Finding Something Different and Neil Lazarus' The Postcolonial Unconscious to offer a reconstructed genealogy of the field of postcolonial studies. (shrink)

This collection of essays argues that any valid theory of the modern should—indeed must—reckon with the medieval. Offering a much-needed correction to theorists such as Hans Blumenberg, who in his _Legitimacy of the Modern Age_ describes the “modern age” as a complete departure from the Middle Ages, these essays forcefully show that thinkers from Adorno to Žižek have repeatedly drawn from medieval sources to theorize modernity. To forget the medieval, or to discount its continued effect on contemporary thought, is to (...) neglect the responsibilities of periodization. In _The Legitimacy of the Middle Ages_, modernists and medievalists, as well as scholars specializing in eighteenth-, nineteenth-, and twentieth-century comparative literature, offer a new history of theory and philosophy through essays on secularization and periodization, Marx’s theory of commodity fetishism, Heidegger’s scholasticism, and Adorno’s nominalist aesthetics. One essay illustrates the workings of medieval mysticism in the writing of Freud’s most famous patient, Daniel Paul Schreber, author of _Memoirs of My Nervous Illness_. Another looks at Michael Hardt and Antonio Negri’s _Empire_, a theoretical synthesis whose conscientious medievalism was the subject of much polemic in the post-9/11 era, a time in which premodernity itself was perceived as a threat to western values. The collection concludes with an afterword by Fredric Jameson, a theorist of postmodernism who has engaged with the medieval throughout his career. _Contributors_: Charles D. Blanton, Andrew Cole, Kathleen Davis, Michael Hardt, Bruce Holsinger, Fredric Jameson, Ethan Knapp, Erin Labbie, Jed Rasula, D. Vance Smith, Michael Uebel. (shrink)

After acknowledging that the crisis of the present-day-world is in its very essence the crisis of reason, I consider both the logical notion of reason and an odyssey which reason accomplished within the spread of the modern and postmodern Western history. Doing that, I regard reason not as a subjective human power, being a conventional and formal notion which means nothing if it would not be taken in action of great groups of people and in connection with material contents from (...) which the most important are values or sets of values. I indicate two main kinds of hitherto existing rationality as paradigms of acting reason: (1) metaphysical rationality and (2) instrumental rationality. I put on a thesis that, at all contemporary conditionings: social, cultural, political, also philosophical and others, the two paradigms of rationality have exhausted nowadays their creative possibilities. It has come a time which inclines for looking for another kind of rationality better corresponding to the existing, at present, challenges that would fit better to the state of the contemporary philosophical awareness. The instrumental rationality seems to be ambiguous in consequences and, additionally, has an inclination to turn into irrationality. On the other hand, the traditional metaphysical rationality lost its power of being effective because of historical evolution of the philosophy itself. The 20th century has been by many currents of contemporary philosophy, and by many philosophers, announced as post-metaphysical or even antimetaphysical. I am of an opinion that, taking into account many essential threats of further existence of humankind as well as of physical world, the problem of the socalled metaphysics of foundations has lost its importance. All efforts of philosophers, and all reasoning and acting people, should be directed towards shaping a new kind of rationality as a new paradigm which could function within all contemporary existing civilizations. My proposal is to label this new kind of rationality with the term dialogical rationality. And I think that this rationality could be something that would unite peoples, nations, regions, civilizations, cultures, religions, philosophical directions etc., beyond all hitherto existing differences and controversies, and in the name of the most important present values as well as for diminishing, if not annihilating, great threats. The concept of dialogical rationality is discussed on the basis of views belonging to the greatest achievements of contemporary philosophy like philosophy of dialogue, views of Jaspers, Popper, Habermas, representatives of postmodernism, and others. (shrink)

"Hans-Georg Gadamer is one of the most important philosophers of the post-1945 era. His name has become all but synonymous with the philosophical study of hermeneutics, the field concerned with theories of understanding and interpretation and laid out in his landmark book, Truth and Method. Influential not only within continental philosophy, Gadamer's thought has also made significant contributors to related fields such as religion, literary theory and education. The Gadamerian Mind is a major survey of the fundamental aspects of (...) Gadamer's thought, with contributions from leading scholars of Gadamer and hermeneutics from around the world. Thirty-eight chapters are divided into six clear parts: Overviews Key Concepts Historical Influences Contemporary Encounters Beyond Philosophy Legacies and Questions. Although Gadamer's work addresses a remarkable range of topics, careful consideration is given throughout the volume to consistent concerns that orient his thought. Important in this respect is his relation to philosophers in the Western tradition, from Plato to Heidegger. An indispensable resource for anyone studying and researching Gadamer, hermeneutics and the history of twentieth-century philosophy, The Gadamerian Mind will also be of interest to those in related disciplines such as religion, literature, political theory and education"--. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Criticism, Imagination, and the Subjectivization of AestheticsRoger W. H. SavageThe growing discontent with reductivist practices signals a new current in contemporary criticism's understanding of music, literature and art. George Levine's unease with critics who are unable or unwilling to account for their continuing preoccupation with literary texts they expose as "imperialist, sexist, homophobic and racist" illumines the contradiction fueling the reduction of aesthetics to ideology.1 Cultural studies that (...) deploy literature as evidence of the aesthetics' socio-historical substance mask literature's capacity to break open new perspectives on reality by assuming that literary works are politically complicit with the aesthetics' strategic "mystification of the status quo" (A&I, p. 3). Criticism's indifference to its philosophical presuppositions exacerbates the paradox of denouncing a body of works that constitute criticism's aesthetic and intellectual heritage. According to Mario Valdés, literary studies' coming of age mandates that criticism take account of a tradition nurtured by a succession of philosophers including Hans-Georg Gadamer and Paul Ricoeur.2 For Valdés, the post-structuralist realization that literary texts are indeterminate and inexhaustible prohibits replacing the work of art with critical commentaries on it; criticism's collective and determining role belongs to a shared community of commentary whose history and thought is a record of the changing interpretations and understandings of literary texts' meanings. [End Page 164]Valdés's claim extends to the field of contemporary music criticism, where the fashion of denouncing aesthetics as socially pernicious turns against traditional musicology's institutional authority. By demystifying absolute music (instrumental music devoid of programmatic associations), a self-proclaimed critical musicology revolts against traditional musicology's perceived political and ideological agenda. Critical musicology militates against the aesthetic conceit that absolute music transcends its social construction. Yet, by overlooking the philosophical presuppositions that set music's autonomy against practical affairs, new musicology accedes to the schema it recoils against.The tradition nurtured by Gadamer's philosophical hermeneutics and Ricoeur's hermeneutic phenomenology represents a critical current whose significance has been overshadowed by postmodernist investments in decoding music's social and political content. Gadamer's critique of the subjectivization of aesthetics and Ricoeur's meditations on the imagination's capacity for invention offer an alternativeto contemporary music criticism's reaction against the principle of music's aesthetic autonomy. Gadamer and Ricoeur question art's formal separation from reality, which belongs to the history of Kant's radical subjectivization of aesthetics. Gadamer's critique of art's aesthetic differentiation prepares the ground for revealing how socially informed analyses conform to the schema Kant initiates by divorcing judgments of taste from their surrounding cultural ethos. Gadamer argues that, by discrediting theoretical knowledge that does not rely on the methodology of the natural sciences, the transcendental function Kant ascribes to aesthetic judgment lays the foundation for differentiating between art's aesthetic constitution and a concept of truth that accommodates the standard of the natural sciences. Through reducing the "sensus communis to a subjective principle," Kant legitimates his critique of aesthetic judgments by denying taste any importanceas a mode of knowledge.3Ricoeur's hermeneutical reflections on imagination complement Gadamer's critique of a differentiating consciousness that abstracts art works from their cultural worlds. For Ricoeur, imagination is productive when the fictions that works create affect our understanding of ourselves and our world by re-describing reality. Aesthetics' alignment with ideology encounters a limit in the power works evince by unfolding different ways of seeing or hearing reality. Ricoeur's reflections on imagination stand in stark contrast to the idea that individual works represent a form of cultural capital in the struggle for social position [End Page 165] and power. Contemporary critical practices' failure to account for the philosophical separation of judgments of taste from knowledge of reality precipitates the impasse criticism encounters when it identifies aesthetics with ideology at the expense of a work's capacity to affect reality in productive ways. The dispersal and potential disappearance of music's aesthetic character into the recesses of cultural and political analysis keeps step with the conceptual narrowing imposed by a restrictive sociological critique. Demystifying music's ideological representations of gender, race and identity purges romantic... (shrink)

This is a study of the relationship between postmodernism and post-enlightenment German thought reading the contemporary theoretical scene through its nineteenth-century counterpart and examining the intersections.

Since literary historian Robert Bone published his seminal essay ‘Richard Wright and the Chicago Renaissance’ in 1986, scholars have created new cartographies of previously unexplored terrain in American cultural history. The earliest studies focused on literature, but more recently attention has turned to other disciplines, including visual arts. Recent publication of The Muse in Bronzeville: African American Creative Expression in Chicago, 1932–1950 (2011) by Robert Bone and Richard A. Courage promises to decisively broaden scholarly understandings of the scope and (...) significance of Chicago-centred cultural production during the Great Depression and post-war years. Of particular relevance to contemporary studies of new media art is the manner in which then-emergent ideas and practices – centring on racialized subject matter, elite and mass audiences, traditional and new mediums of expression, private vs public sponsorship, and passive vs active reception of art objects – converged to create new paradigms and possibilities for visual artists to reshape consciousness in a period of institutional collapse and change. Chicago’s New Negro artists of the 1930s and 1940s, like their counterparts in 1920s Harlem, sought to reframe perceptions of African American life, to re-present the black subject as something other than an object of contempt or amusement beneath the privileged gaze of the white viewer. Just as these artists sought to revise perceptions of racial reality, examination of the wide range of actual images they created and the mediums and styles they explored revises reductive notions about creative expression in this period, which often portray a mere subordination of art to propaganda and an embrace of representational aesthetics and simplistic narratives in a fruitless detour in the evolution from modernism to postmodernism. On the contrary, Andrew Hemingway notes the range of stylistic experiment and characterizes so-called ‘social art’ as ‘a hybrid and unstable mode [which] had to carry the imperative to be an art equal in formal achievement to both the great art of the past and the modern tradition … [and] to suggest a political orientation without becoming overt revolutionary propaganda’ (2002).New media theorist Oliver Grau observes thatIn many quarters, virtual reality is viewed as a totally new phenomenon… but it did not make its first appearance with the technical invention of computer-aided virtual realities. On the contrary, virtual reality forms part of the core of the relationship of humans to images… grounded in art traditions that have receivedscant attention up to now.(2004)In the midst of another period of change, of transformed and transforming ideas and practices in the arts, we have much to learn from the attempts of Chicago’s New (Media) Negro artists to create ‘art for the people’, to immerse broad audiences in such accessible media as mural painting, photography and graphic arts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Baudelaire’s Satanic VersesJonathan Culler (bio)Paul Verlaine was perhaps the first to declare the centrality of Baudelaire to what we may now call modern French studies: Baudelaire’s profound originality is to “représenter puissament et essentiellement l’homme moderne” [599–600]. Whether Baudelaire embodies or portrays modern man, Les Fleurs du mal is seen as exemplary of modern experience, of the possibility of experiencing or dealing with what, taking Paris as the exemplary (...) modern city, we have come to call the modern world. T. S. Eliot wrote, “Baudelaire is indeed the greatest exemplar in modern poetry in any language, for his verse and language is the nearest thing to a complete renovation that we have experienced. But his renovation of an attitude towards life is no less radical and no less important” [426]. And outside the field of literature we find such affirmations as Harold Rosenberg’s dating of “the tradition of the New” to Baudelaire, “who exactly one hundred years ago invited fugitives from the too-narrow world of memory to come aboard with him in search of the new” [11]. Baudelaire, writes another critic, “did more than anyone else in the nineteenth century to make the men and women of his century aware of themselves as moderns.... If we had to nominate a first modernist, Baudelaire would surely be the man” [Berman 132–33].There seems to be considerable agreement on this point, but, surprisingly, there is great difference of opinion about what it is that makes Baudelaire modern and worthy of special attention. Is it, as Albert Thibaudet and Walter Benjamin argue, that he was the first true poet of the city, the first to take the alienated experience of life in the modern city as the norm? Or is it, as Leo Bersani claims, that Baudelaire discovered and displayed the mobility of fantasy and of the desiring imagination? Or is it, as Paul de Man maintains, that Baudelaire invents modern self-consciousness about poetry itself, producing poems that allegorically expose the operations of the lyric?There are many competing accounts of what is most particularly modern and important about Baudelaire, but the one thing on which contentious critics seem to agree is that there is a side of Baudelaire that is of no interest today, that belongs to a bas romantisme and is the very antithesis of Baudelaire’s modernity, of Baudelaire the founder of modern poetry: this is the Baudelaire who invokes demons and the Devil. Most critics today pass over this in silence, but even those who explicitly address this Baudelaire seem to find him an embarrassment. Even the author of a book entitled The Demonic Imagination: Style and Theme in French Romantic Poetry begins his chapter on Baudelaire: “Baudelaire has, by now, ceased to interest us for the reasons which once appeared important: his diabolical Catholicism is a familiar, historical mode of sensibility which neither shocks nor has morbid appeal...” [Houston 85]. And Fredric Jameson distinguishes the modernist and the postmodernist Baudelaires—both worthy of our attention—from what he calls the “second-rate post-Romantic Baudelaire, the Baudelaire [End Page 86] of diabolism and of cheap frisson, the poet of blasphemy and of a creaking and musty religious machinery that was no more interesting in the mid-nineteenth century than it is today” [427].But Baudelaire called his collection “Les Fleurs du mal” and opens it with a poem that declares, “C’est le Diable qui tient le fils qui nous remuent [it’s the Devil who holds the strings that move us]” [OC 1: 5; FE 5]. Can this be dismissed as an irrelevancy—something mistakenly appended to this quintessentially modern poetry? That critics of such different orientations should agree in shunting aside the Satanic Baudelaire suggests that there is something worth investigating here, something disquieting and embarrassing, which may not in fact be merely trivial—which may complicate the story of modernity that has come to depend on Baudelaire as its originator. Perhaps the Satanic Baudelaire would tell us things about modernity we don’t want to know.Certainly the idea of the Devil seems fundamentally at odds with accounts of modernity. Even Christianity itself seems to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments TO THE UGHTHOUSE AND THE FEMINIST PATH TO POSTMODERNITY by Bill Martin Postmodernity is in part the existence of an unprecedented space for feminism. Already in this formulation, however, we encounter two major terms that require explication. I will argue in this essay that Virginia Woolf's To the Lighthouse provides the basis for productively understanding postmodernism and feminism in relation to each other.1 The question (...) of placing feminism temporally has of course been raised before; I will simply mention two occasions. In Sexual/Textual Politics, Toril Moi argues for a kind of natural affinity of feminism with literary modernism's implicit critique of notions of the unified self.2 Here the comparison of Woolf with Joyce is appropriate. Moi moves from this perceived affinity toward the notion of écriturefeminine. Practitioners of the latter have been much more interested in Joyce than Woolf. Joyce, especially in Finnegans Wake, thoroughly shatters the self, reaching the highest expression of modernism. Woolf does something different. In To tL· Lighthouse, she not only decenters the subject, she also reconstitutes the subject. If Woolf had only reinstated the subject, as a matter of simply returning to the previous paradigm, then obviously her writing would have to be considered anachronistic. Though the affinity posited by Moi is real and useful (if made problematic by what seem to be real affinities that also exist between modernism and misogyny ), the force of another affinity can also be felt: in her deconstruction /reconstitution, Woolf achieves a writing that is both postmodern and feminist. The both/and relation here is itself a cultural creation, 307 308PHrLOSOPHY and Literature however, which points to the elective affinity involved in joining a particular politics with a particular artistic practice. The question is whether a political argument that does not avoid questions of artistic integrity can be marshaled to the task of showing that the affinity of feminism and postmodernism is more viable in the contemporary context than the affinity posited by Moi.3 Elaine Showalter, in her formulation of "women's time," raises the possibility ofanother kind of temporalized feminism. In "Feminist Criticism in the Wilderness," Showalter pursues the idea that there might be a time and space which women occupy without their location being known or knowable to men, and perhaps without women fully knowing it themselves.4 In short, this "time" is conditional and predicated upon a possible future in which people will remember and be more fully aware of their spatial/temporal context. I would propose that this same conditional and uncertain sense of time applies to postmodernism. For the very terms "postmodernism" and "postmodernity" connote a transitional period in which it is not certain how elements which are for the time being in flux will ultimately setde down and congeal. The "aftereffect of the "post" in postmodernity will be truly understood only in the longer run, if even then. Showalter takes it that there is a sense in which "women's time," the "Age of Feminism," is occurring right now, but in a concealed way. Again, something like this may be said of postmodernism. In either case there is the sense of creating artifacts for a future which may or may not exist. There is also the sense of permanent postponement or deferral which is integral to the very notion of "possibility." Add to these references the by now familiar postmodern and feminist criticisms of grand narratives that crush difference, and I think we are in possession of a set of basic issues common to both feminism and postmodernism: the nature of the self and its possible recreation, the question of periodization and our "time," problems of difference and questions of doing something different (in the latter case feminism is much more explicit about doing something different that is also emancipatory, though some forms ofpostmodernism stress this as well). Given these common concerns I simply want to set the new affinity as follows: postmodernism is a social and cultural atmosphere in which feminism and other emancipatory trends might flourish. In this context, To tL· Lighthouse is a trailblazing feminist-postmodern artifact. The project here is not to generate or force a postmodern reading (any more... (shrink)