Brian McHale provides a series of readings of a wide range of postmodernist fiction, from Eco's Foucault's Pendulum to the works of cyberpunk science-fiction, relating the works to aspects of postmodern popular culture.
After the veritable hype concerning postmodernism in the 1980s and early 1990s, when questions about when it began, what it means and which texts it comprises were apt to trigger heated discussions, the excitement has notably cooled down at the turn of the century. Voices are now beginning to be heard which seem to suggest a new episteme in the making which points beyond postmodernism, while it remains at the same time very uncertain whether what appears as newness is not rather a return to traditional concepts, theoretical premises, and authorial practices. Contributors to this volume propose to explore new openings and recent developments in anglophone literatures and cultural theories which engage with issues seen to be central in the construction of a postmodern paradigm, but deal with them in ways that promise new openings or a new Zeitgeist.
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.
"Postmodernism" has become the buzzword of contemporary society. Yet it remains baffling in its variety of definitions, contexts and associations. Beginning Postmodernism aims to offer clear, accessible and step-by-step introductions to postmodernism across a wide range of subjects. It encourages readers to explore how the debates about postmodernism have emerged from basic philosophical and cultural ideas. With its emphasis firmly on "postmodernism in practice," the book contains exercises and questions designed to help readers understand and reflect upon a variety of positions in the following areas of contemporary culture: philosophy and cultural theory; architecture and concepts of space; visual art; sculpture and the design arts; popular culture and music; film, video and television culture; and the social sciences.
"Postmodern Spiritual Practices: The Construction of the Subject and the Reception of Plato in Lacan, Derrida, and Foucault, by Paul Allen Miller, argues that a key element of postmodern French intellectual life has been the reception of Plato. This fact has gone underappreciated in the Anglophone world due to a fundamental division in culture. Until very recently, the concerns of academic philosophy and philology have had little in common. On the one hand, this is due to analytic philosophy's self-confinement to questions of epistemology, speech act theory, and philosophy of science. As such, it has had little to say about the relation between antique and contemporary modes of thought." "On the other hand, blindness to the merits of postmodern thought is also due to Anglo-American philology's own parochial instincts. Ensconced within a nineteenth-century model of Alterumswissenchaft, only a minority of classicists have made forays into philosophical, psychoanalytic, and other speculative modes of inquiry. The result has been that postmodern French thought has largely been the province of scholars of modern languages." "A situation thus emerges in which most classicists do not know theory, and so cannot appreciate the scope of these thinkers' contribution to our understanding of the genealogy of Western thought, while most theorists do not know the Platonic texts and their contexts that ground them. This book bridges this gap, offering detailed and theoretically informed readings of French postmodernism's chief thinkers' debts to Plato and the ancient world."--BOOK JACKET.
For nearly three quarters of a century, the modernist way of reading has been the only way of reading Joyce - useful, yes, and powerful but, like all frameworks, limited. This book takes a leap across those limits into postmodernism, where the pleasures and possibilities of an unsuspected Joyce are yet to be found. Kevin J. H. Dettmar begins by articulating a stylistics of postmodernism drawn from the key texts of Roland Barthes, Mikhail Bakhtin, and Jean-Francois Lyotard. Read within this framework, Dubliners emerges from behind its modernist facade as the earliest product of Joyce's proto-post-modernist sensibility. Dettmar exposes these stories as tales of mystery, not mastery, despite the modernist earmarks of plentiful symbols, allusions, and epiphanies. Ulysses, too, has been inadequately served by modernist critics. Where they have emphasized the work's ingenious Homeric structure, Dettmar focuses instead upon its seams, those points at which the narrative willfully, joyfully overflows its self-imposed bounds. Finally, he reads A Portrait of the Artist and Finnegans Wake as less playful, less daring texts - the first constrained by the precious, would be poet at its center, the last marking a surprising retreat from the constantly evolving, vertiginous experience of Ulysses.
Jonathan Franzen is one of the most influential, critically-significant and popular contemporary American novelists. This book is the first full-length study of his work and attempts to articulate where American fiction is headed after postmodernism. Stephen Burn provides a comprehensive analysis of each of Franzen's novels - from his early work to the major success of The Corrections - identifying key sources, delineating important narrative strategies, and revealing how Franzen's themes are reinforced by each novel's structure. Supplementing this analysis with comparisons to key contemporaries, David Foster Wallace and Richard Powers, Burn suggests how Franzen's work is indicative of the direction of experimental American fiction in the wake of the so-called end of postmodernism.