Working through the issue of representation in art forms from fiction to photography, Linda Hutcheon sets out postmodernism’s highly political challenge to the. Working through the issue of representation, in art forms from fiction to photography, Linda Hutcheon sets out postmodernism’s highly political challenge to the. LINDA HUTCHEON is very careful to distinguish between postmodernity and work: for him postmodernism is the ‘cultural logic of late capitalism'” (Politics 25).
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His old students remember him with fondness and wonder.
The politics of postmodernism – Linda Hutcheon – Google Books
One of them writes this account, rekindling his memory in a community he never quite joined, but never entirely abandoned. Thanks be for his life, and for this evocation of it. Most of them make accessible poltics arguments of abstruse postmodrnism a few present their authors’ own positions and situate these politucs the broader discourse.
Linda Hutcheon’s latest book belongs to the latter group. One might call it ‘a’ politics rather than ‘the’ politics of postmodernism, because Hutcheon’s stance is recognizably her own, and differs from the varied, mostly neo-Marxist, philosophical and politicalagendas represented in thecollectionsedited by Andrew Ross, Jonathan Arac, and Hal Foster.
What she gives us is an admirably coherent, usable definition – something of a rarity among the theorists of this field.
Her illustrative examples draw primarily on literature and photography, but also on film, painting, and architecture. Although her own Poetics of Postmodernism analyses the alternative definitions and relevant texts in far greater detail, The Politics ofPostmodernism offers a good introduction to the issues.
As always with this series, the bibliography is very helpful. Do postrnodern phenomena helplessly reflect a decadent, late capitalist age?
Do they challenge it? Is the challenge effective? Hutcheon sees the postrnodern as both partaking of and challenging our culture.
The allpervasive postmodern irony both uses and interrogates all forms of representation, whether of gender, history, meaning, control, or the poatmodernism. Postrnodern texts, verbal or visual, put such representations and masternarratives in quotation marks by means of ironic appropriations that are often labelled pastiche or parody.
Such interrogation invites us to ponder the signifying practices of both the original constructs and their postmodern avatars. The postrnodern is resolutely contradictory, because it works within and uses the systems it questions.
It is also unaVOidably political, acutely aware of history’S textuality, and dedicated to unsettling orthodox opinions. It ‘de-doxifies’ our unexamined social narratives. Hutcheon sketches useful contrasts between the postrnodern and related movements-poststructuralismand feminism in particular.
Sheadmits that postrnodernism has no effective theory of agency, so it does not readily convert to political action. One of her most important arguments derives from the nature of her definition: Doctorow may seem conventional as narratives, but they challenge racial or gender or historiographic stereotypes in a fashion that registers as postmodernfor Hutcheon.
This takes postmodernism huycheon white, male, formalistically avant-garde preserve that it occupies in other definitions, and fruitfully links works that have been seen as belonging to different impulses within the culture.
If Shklovsky’s art makes us see the stoniness of a stone, Hutcheon’s postmodernart makes us see the mearis by which we attach to that uutcheon, and consider what we mean by placing that representation in a museum, a shrine postmodetnism economic and cultural power. Loss, Literature and Psychoanalysis. Jean-Jacques Rousseau’s mother died when he was nine days old. When he was still a child, he and his father would spend entire nights reading her novels. John Lennon was neglected by both of his parents.
The Politics of Postmodernism
These and numerous other examples of early loss or neglect in the lives of writers, thinkers, and public figures form the basis of David Aberbach’s book, which he calls ‘the postmodernis full-length thematic study of loss in literature.
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Introduction to Linda Hutcheon, Module on Postmodernity
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