DOCSLIB.ORG

Metamodernism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Metamodernism Metamodernism Metamodernism is a set of developments in philosophy, culture of relativism, irony, and pastiche” is over, having aesthetics, and culture which are emerging from and re- been replaced by a post-ideological condition that stresses acting to postmodernism. One definition characterizes engagement, affect, and storytelling.[8] metamodernism as mediations between aspects of both The prefix “meta-" here referred not to a reflective stance modernism and postmodernism. Metamodernism is sim- or repeated rumination, but to Plato’s metaxy, which de- ilar to post-postmodernism. notes a movement between opposite poles as well as be- yond them.[6] Vermeulen and van den Akker described metamodernism as a “structure of feeling” that oscillates 1 Historical development of the between modernism and postmodernism like “a pendu- term lum swinging between…innumerable poles”.[9] Accord- ing to Kim Levin, writing in ARTnews, this oscillation “must embrace doubt, as well as hope and melancholy, The term metamodernist appeared as early as 1975, where sincerity and irony, affect and apathy, the personal and Zavarzadeh used it to describe a cluster of aesthetics or the political, and technology and techne.”[8] For the meta- attitudes which had been emerging in American literature modern generation, according to Vermeulen, "grand nar- since the mid-1950s.[1] ratives are as necessary as they are problematic, hope By 1999, metamodernism was being described as an “ex- is not simply something to distrust, love not necessarily tension of and challenge to modernism and postmod- something to be ridiculed.”[10] ernism” with the aim to “transcend, fracture, subvert, cir- Vermeulen asserts that “metamodernism is not so much a cumvent, interrogate and disrupt, hijack and appropri- philosophy—which implies a closed ontology—as it is an ate modernity and postmodernity”.[2] In 2002, metamod- attempt at a vernacular, or…a sort of open source doc- ernism in literature was described as an aesthetic that is ument, that might contextualise and explain what is go- "after yet by means of modernism…. a departure as well ing on around us, in political economy as much as in the as a perpetuation.”[3][4] The metamodernists’ relationship arts.”[10] The return of a Romantic sensibility has been with modernism was seen as going “far beyond homage, posited as a key characteristic of metamodernism, ob- toward a reengagement with modernist method in order served by Vermeulen and van den Akker in the archi- to address subject matter well outside the range or interest tecture of Herzog & de Meuron, and the work of artists of the modernists themselves.”[3] such as Bas Jan Ader, Peter Doig, Olafur Eliasson, Kaye In 2007 metamodernism was described as partly a con- Donachie, Charles Avery, and Ragnar Kjartansson.[6] currence with, partly an emergence from, and partly a re- action to, postmodernism, “champion[ing] the idea that only in their interconnection and continuous revision lie the possibility of grasping the nature of contemporary 2 Cultural acceptance cultural and literary phenomena.”[5] In November 2011, the Museum of Arts and Design in 1.1 Vermeulen and van den Akker New York acknowledged the influence of Vermeulen and van den Akker when it staged an exhibition entitled No In 2010, cultural theorists Timotheus Vermeulen and More Modern: Notes on Metamodernism, featuring the work of Pilvi Takala, Guido van der Werve, Benjamin Robin van den Akker proposed metamodernism as an in- [11] tervention in the post-postmodernism debate.[6][7] In their Martin, and Mariechen Danz. essay Notes on Metamodernism, they asserted that the In March 2012, Galerie Tanja Wagner in Berlin cu- 2000s were characterized by the return of typically mod- rated Discussing Metamodernism in collaboration with ern positions that did not forfeit the postmodern mindsets Vermeulen and van den Akker, billed as the first ex- of the 1980s and 1990s. According to them, the meta- hibition in Europe to be staged around the concept of modern sensibility “can be conceived of as a kind of in- metamodernism.[12][13][14] The show featured the work of formed naivety, a pragmatic idealism”, characteristic of Ulf Aminde, Yael Bartana, Monica Bonvicini, Mariechen cultural responses to recent global events such as climate Danz, Annabel Daou, Paula Doepfner, Olafur Eliasson, change, the financial crisis, political instability, and the Mona Hatoum, Andy Holden, Sejla Kameric, Ragnar digital revolution.[6] They asserted that “the postmodern Kjartansson, Kris Lemsalu, Issa Sant, David Thorpe, An- 1 2 4 REFERENCES gelika J. Trojnarski, Luke Turner, and Nastja Rönkkö.[14] with Turner and Nastja Säde Rönkkö, described by Dazed In his formulation of the “quirky” cinematic sensibility, as “a multi-platform meditation on celebrity and vulnera- bility,” and referred to by the collaborators as metamod- film scholar James MacDowell described the works of [27] Wes Anderson, Michel Gondry, Spike Jonze, Miranda ernist performance art. This included a performance July, and Charlie Kaufman as building upon the "New in a Los Angeles gallery entitled #IAMSORRY, in which Sincerity", and embodying the metamodern structure of LaBeouf sat for six days silently crying in front of visitors, wearing a tuxedo and a brown paper bag over his head em- feeling in their balancing of “ironic detachment with sin- [28] cere engagement”.[9] blazoned with the words “I am not famous anymore”. The 2013 issue of the American Book Review was dedi- cated to metamodernism and included a series of essay 3 See also identifying authors such as Roberto Bolaño, Dave Eg- gers, Jonathan Franzen, Haruki Murakami, Zadie Smith, and David Foster Wallace as metamodernists.[15][16] In 4 References a 2014 article in PMLA, literary scholars David James and Urmila Seshagiri argued that “metamodernist writing [1] Zavarzadeh, Mas’ud. “The Apocalyptic Fact and the incorporates and adapts, reactivates and complicates the Eclipse of Fiction in Recent American Prose Narratives”. aesthetic prerogatives of an earlier cultural moment”, in Journal of American Studies, Vol. 9, no. 1 (Apr. 1975). discussing twenty-first century writers such as Tom Mc- Retrieved July 4, 2014. Carthy.[17] [2] Okediji, Moyo (1999). Harris, Michael, ed. Transatlantic Professor Stephen Knudsen, writing in ArtPulse, noted Dialogue: Contemporary Art In and Out of Africa. Ack- that metamodernism “allows the possibility of staying land Museum, University of North Carolina. pp. 32–51. sympathetic to the poststructuralist deconstruction of Retrieved July 26, 2014. subjectivity and the self—Lyotard’s teasing of everything into intertextual fragments—and yet it still encourages [3] Furlani, Andre (Winter 2002). “Guy Davenport: Post- genuine protagonists and creators and the recouping of modern and After”. Contemporary Literature, Vol. 43, some of modernism’s virtues.”[18] No. 4. p. 713. In May 2014, country music artist Sturgill Simpson told [4] Furlani, Andre (2007). Guy Davenport: Postmodernism CMT that his album Metamodern Sounds in Country Mu- and After. Northwestern University Press. sic had been inspired in part by an essay by Seth Abram- son, who writes about metamodernism on his Huffington [5] Dumitrescu, Alexandra. “Interconnections in Blakean and Post blog.[19][20] Simpson stated that “Abramson homes Metamodern Space”. On Space. Deakin University. Re- trieved September 15, 2011. in on the way everybody is obsessed with nostalgia, [19] even though technology is moving faster than ever.” [6] Vermeulen, Timotheus; van den Akker, Robin. “Notes on According to J.T. Welsch, “Abramson sees the 'meta- Metamodernism”. Journal of Aesthetics and Culture, Vol. ' prefix as a means to transcend the burden of mod- 2 (2010): 1–14. Retrieved 28 July 2014. ernism and postmodernism’s allegedly polarised intellec- tual heritage.”[21] [7] Eve, Martin Paul. “Thomas Pynchon, David Foster Wal- lace and the Problems of Metamodernism”. Journal of 21st-century Writings, Vol. 1, no. 1 (2012). Retrieved 28 July 2014. 2.1 The Metamodernist Manifesto [8] Levin, K. (15 October 2012). “How PoMo Can You In 2011, Luke Turner published a Metamodernist Mani- Go?". ARTnews. Retrieved 14 July 2014. [21] festo. The manifesto recognised “oscillation to be the [9] Kunze, Peter, ed. (2014). The Films of Wes Anderson: natural order of the world” and called for an end to “the Critical Essays on an Indiewood Icon. Palgrave Macmil- inertia resulting from a century of modernist ideological lan. naivety and the cynical insincerity of its antonymous bas- tard child.”[21][22] Instead, it proposed metamodernism as [10] Potter, Cher (Spring 2012). “Timotheus Vermeulen talks “the mercurial condition between and beyond irony and to Cher Potter”. Tank: 215. sincerity, naivety and knowingness, relativism and truth, [11] 'No More Modern: Notes on Metamodernism' Museum of optimism and doubt, in pursuit of a plurality of disparate Arts and Design, Retrieved June 19, 2014. and elusive horizons.”[23] The text cited the work of Ver- meulen and van den Akker, and concluded “we must go [12] 'The Metamodern Mindset' Berlin Art Journal, Retrieved forth and oscillate!”[24][10] Turner later credited his mani- June 26, 2014. festo to the actor Shia LaBeouf as part of the pair’s wider artistic collaboration.[25][26] [13] 'Discussing Metamodernism with Tanja Wagner and Tim- otheus Vermeulen' Blouin ARTINFO, Retrieved June 19, In early 2014, Shia LaBeouf embarked on a collaboration 2014. 3 [14] 'Discussing Metamodernism' Galerie Tanja Wagner, Re- trieved June 19, 2014. [15] Moraru et al”", “American Book Review” 34:4 (2013) [16] Gheorghe, C. “Metamodernismul sau despre amurgul postmodernismului”. Observator Cultural. Retrieved 16 July 2014. [17] James, David and Urmila Seshagiri. "Metamodernism: Narratives of Continuity and Revolution, Publications of the Modern Language Association of America 129: 1 (Jan- uary 2014): 87–100. [18] Knudsen, S. (March 2013). “Beyond Postmodernism. Putting a Face on Metamodernism Without the Easy Clichés”. ArtPulse. Retrieved 14 July 2014. [19] Hight, Jewly. “Sturgill Simpson’s New Set is a Mind- expanding Take on Country Traditionalism”. Country Music Television (May 8, 2014).
Load more

Recommended publications
  • The Primitivist Critique of Modernity: Carl Einstein and Walter Benjamin1
    The Primitivist Critique of Modernity: Carl Einstein and Walter Benjamin1 David Pan In the “Sirens” episode in Homer’s Odyssey, Odysseus, relying on nothing more than the wax in his sailors’ ears and the rope binding him to the mast of his ship, was able to hear the sirens’ song without being drawn to his death like all the sailors before him.2 Franz Kafka, finally giving the sirens their due, points out that their song could certainly pierce wax and would lead a man to burst all bonds. Instead of attributing Odysseus’ sur- vival to his cunning use of technical means, which he calls “childish mea- sures,”3 Kafka attributes it to the sirens’ use of an even more horrible weapon than their song: their silence. Believing his trick had worked, Odysseus did not hear their silence, but imagined he heard the sound of their singing, for no one could resist “the feeling of having triumphed over them by one’s own strength, and the consequent exaltation that bears down everything before it.”4 The sirens disappeared from Odysseus’per- ceptions, which were focused entirely on himself. Kafka concludes: “If the sirens had possessed consciousness, they would have been annihilated at that moment. But they remained as they had been; all that had hap- pened was that Odysseus had escaped them.”5 Max Horkheimer and Theodor Adorno have argued that this ancient 1. From Primitive Renaissance: Rethinking German Expressionism by David Pan. Copyright 2001 by the University of Nebraska Press. 2. Homer, Odyssey, Book 12, pp.166-200. 3.
    [Show full text]
  • Metamodern Writing in the Novel by Thomas Pynchon
    INTERLITT ERA RIA 2019, 24/2: 495–508 495 Bleeding Edge of Postmodernism Bleeding Edge of Postmoder nism: Metamodern Writing in the Novel by Thomas Pynchon SIMON RADCHENKO Abstract. Many different models of co ntemporary novel’s description arose from the search for methods and approaches of post-postmodern texts analysis. One of them is the concept of metamodernism, proposed by Timotheus Vermeulen and Robin van den Akker and based on the culture and philosophy changes at the turn of this century. This article argues that the ideas of metamodernism and its main trends can be successfully used for the study of contemporary literature. The basic trends of metamodernism were determined and observed through the prism of literature studies. They were implemented in the analysis of Thomas Pynchon’s latest novel, Bleeding Edge (2013). Despite Pynchon being usually considered as postmodern writer, the use of metamodern categories for describing his narrative strategies confirms the idea of the novel’s post-postmodern orientation. The article makes an endeavor to use metamodern categories as a tool for post-postmodern text studies, in order to analyze and interpret Bleeding Edge through those categories. Keywords: meta-modernism; postmodernism; Thomas Pynchon; oscillation; new sincerity How can we study something that has not been completely described yet? Although discussions of a paradigm shift have been around long enough, when talking about contemporary literary phenomena we are still using the categories of feeling rather than specific instruments. Perception of contemporary lit era- ture as post-postmodern seems dated today. However, Joseph Tabbi has questioned the novelty of post-postmodernism as something new, different from postmodernism and proposes to consider the abolition of irony and post- modernism (Tabbi 2017).
    [Show full text]
  • Metamodernism, Or Exploring the Afterlife of Postmodernism
    “We’re Lost Without Connection”: Metamodernism, or Exploring the Afterlife of Postmodernism MA Thesis Faculty of Humanities Media Studies MA Comparative Literature and Literary Theory Giada Camerra S2103540 Media Studies: Comparative Literature and Literary Theory Leiden, 14-06-2020 Supervisor: Dr. M.J.A. Kasten Second reader: Dr.Y. Horsman Master thesis submitted in accordance with the regulations of Leiden University 2 Table of Contents Acknowledgments ................................................................................................................................. 3 Introduction ........................................................................................................................................... 4 CHAPTER 1: Discussing postmodernism ........................................................................................ 10 1.1 Postmodernism: theories, receptions and the crisis of representation ......................................... 10 1.2 Postmodernism: introduction to the crisis of representation ....................................................... 12 1.3 Postmodern aesthetics ................................................................................................................. 14 1.3.1 Sociocultural and economical premise ................................................................................. 14 1.3.2 Time, space and meaning ..................................................................................................... 15 1.3.3 Pastiche, parody and nostalgia ............................................................................................
    [Show full text]
  • Chapter 12. the Avant-Garde in the Late 20Th Century 1
    Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college.
    [Show full text]
  • Action Yes, 1(7): 1-17
    http://www.diva-portal.org This is the published version of a paper published in . Citation for the original published paper (version of record): Bäckström, P. (2008) One Earth, Four or Five Words: The Notion of ”Avant-Garde” Problematized Action Yes, 1(7): 1-17 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-89603 ACTION YES http://www.actionyes.org/issue7/backstrom/backstrom-printfriendl... s One Earth, Four or Five Words The Notion of 'Avant-Garde' Problematized by Per Bäckström L’art, expression de la Société, exprime, dans son essor le plus élevé, les tendances sociales les plus avancées; il est précurseur et révélateur. Or, pour savoir si l’art remplit dignement son rôle d’initiateur, si l’artiste est bien à l’avant-garde, il est nécessaire de savoir où va l’Humanité, quelle est la destinée de l’Espèce. [---] à côté de l’hymne au bonheur, le chant douloureux et désespéré. […] Étalez d’un pinceau brutal toutes les laideurs, toutes les tortures qui sont au fond de notre société. [1] Gabriel-Désiré Laverdant, 1845 Metaphors grow old, turn into dead metaphors, and finally become clichés. This succession seems to be inevitable – but on the other hand, poets have the power to return old clichés into words with a precise meaning. Accordingly, academic writers, too, need to carry out a similar operation with notions that are worn out by frequent use in everyday language.
    [Show full text]
  • Metamodernism and Vaporwave: a Study of Web 2.0 Aesthetic Culture
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 14 | Issue 1 Article 3 Metamodernism and Vaporwave: A Study of Web 2.0 Aesthetic Culture Nicholas Morrissey University of Wisconsin-Oshkosh Recommended Citation Morrissey, Nicholas. “Metamodernism and Vaporwave: A Study of Web 2.0 Aesthetic Culture.” Nota Bene: Canadian Undergraduate Journal of Musicology 14, no. 1 (2021): 64-82. https://doi.org/10.5206/notabene.v14i1.13361. Metamodernism and Vaporwave: A Study of Web 2.0 Aesthetic Culture Abstract With the advent of Web 2.0, new forms of cultural and aesthetic texts, including memes and user generated content (UGC), have become increasingly popular worldwide as streaming and social media services have become more ubiquitous. In order to acknowledge the relevance and importance of these texts in academia and art, this paper conducts a three-part analysis of Vaporwave—a unique multimedia style that originated within Web 2.0—through the lens of a new cultural philosophy known as metamodernism. Relying upon a breadth of cultural theory and first-hand observations, this paper questions the extent to which Vaporwave is interested in metamodernist constructs and asks whether or not the genre can be classed as a metamodernist text, noting the dichotomy and extrapolation of nostalgia promoted by the genre and the unique instrumentality it offers to its consumers both visually and sonically. This paper ultimately theorizes that online culture will continue to play an important role in cultural production, aesthetic mediation, and even
    [Show full text]
  • Transmodern Reconfigurations of Territoriality
    societies Article Transmodern Reconfigurations of Territoriality, Defense, and Cultural Awareness in Ken MacLeod’s Cosmonaut Keep Jessica Aliaga-Lavrijsen Centro Universitario de la Defensa Zaragoza, Zaragoza 50090, Spain; [email protected] Received: 5 September 2018; Accepted: 17 October 2018; Published: 19 October 2018 Abstract: This paper focuses on the science fiction (SF) novel Cosmonaut Keep (2000)—first in the trilogy Engines of Light, which also includes Dark Light (2001) and Engines of Light (2002)—by the Scottish writer Ken MacLeod, and analyzes from a transmodern perspective some future warfare aspects related to forthcoming technological development, possible reconfigurations of territoriality in an expanding cluster of civilizations travelling and trading across distant solar systems, expanded cultural awareness, and space ecoconsciousness. It is my argument that MacLeod’s novel brings Transmodernism, which is characterized by a “planetary vision” in which human beings sense that we are interdependent, vulnerable, and responsible, into the future. Hereby, MacLeod’s work expands the original conceptualization of the term “Transmodernism” as defined by Rodríguez Magda, and explores possible future outcomes, showing a unique awareness of the fact that technological processes are always linked to political and power-related uses. Keywords: cultural awareness; future warfare; globalization; Fifth-Generation War; intergalactic territoriality; planetary civilizations; SF; space ecoconsciousness; speculative fiction; technological development; transmodernism “Where there is no vision, the people perish.” —Proverbs 29:18 “If these are the early days of a better nation there must be hope, and a hope of peace is as good as any, and far better than a hollow hoarding greed or the dry lies of an aweless god.” —Graydon Saunders 1.
    [Show full text]
  • ASIB 110 Winter 2014 LETTER
    M E R I C A T U D I E S R I T A I N NO. 110 WINTER 2014 ISSN 1465-9956 N ASINB BAAS.AC.UK 6 0 Special Anniversary Issue EDITOR’S ASIB 110 Winter 2014 LETTER ‘Neurolysis’ and Wilka Hudson ext year is the 60th anniversary of BAAS. To mark the address as Chair of the Association is reprinted from occasion, this special issue of ASIB pays homage to page 4. (Sue reviewed many of the recent activities Nsome of the beautiful architecture of next year’s and achievements across the community at the 59th conference host city, Newcastle-upon-Tyne. The BAAS conference in Birmingham organised by Sara image above is a wide-angle shot of the Newcastle Wood.) This issue of ASIB also includes a piece by Quayside. The cover shows the Sage Gateshead and Hannah Murray (p. 11) on the transatlantic legacy of Tyne Bridge at dusk. More details about the the civil rights activist and author Frederick Douglass. conference, including the website and Twitter handle Finally, postgraduate students in the community are supplied by Northumbria University, can be found on encouraged to get in touch with the BAAS PG the next page. A preliminary programme is expected representative, Rachael Alexander (p. 12). in March on baas.ac.uk. I hope you enjoy this issue of ASIB. As ever, this issue of ASIB is brimming with report writing by the Association’s travel/research Warm regards, award recipients. There is certainly enough to ignite any Americanist’s wanderlust, with articles (starting p.
    [Show full text]
  • Modernity, Modernism, and Fascism. a "Mazeway Resynthesis"
    0RGHUQLW\PRGHUQLVPDQGIDVFLVP$PD]HZD\UHV\QWKHVLV 5RJHU*ULIILQ Modernism/modernity, Volume 15, Number 1, January 2008, pp. 9-24 (Article) 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/mod.2008.0011 For additional information about this article http://muse.jhu.edu/journals/mod/summary/v015/15.1griffin.html Access provided by Universitätsbibliothek Bern (1 Mar 2015 12:52 GMT) GRIFFIN / modernity, modernism, and fascism 9 Modernity, modernism, and fascism. A “mazeway resynthesis”1 Roger Griffin MODERNISM / modernity VOLUME FIFTEEN, NUMBER Fascism and modernism: finding the “big picture” ONE, PP 9–24. Researchers combing through back numbers of this journal © 2008 THE JOHNS HOPKINS in search of authoritative guidance to the relationship between UNIVERSITY PRESS modernity, modernism, and fascism could be forgiven for occa- sionally losing their bearings. In one of the earliest issues they will alight upon Emilio Gentile’s article tracing the paternity of early Fascism to the campaign for a “modernist national- ism” which was launched in the 1900s by Italian avant-garde artists and intellectuals fanatical about providing the catalyst to a national program of radical modernization.2 They will also come across the eloquent case made by Peter Fritzsche for the thesis that there was a distinctive “Nazi modern,” that the Third Roger Griffin is Reich embodied an extreme, uncompromising form of politi- Professor in Modern History at Oxford cal modernism, a ruthless bid to realize an alternative vision of Brookes University modernity whatever the human cost.3 But closer to the present (UK), and author of they will encounter Lutz Koepnik’s sustained argument that over 70 publications on the aesthetics of fascism reflected its aspiration “to subsume generic fascism, notably everything under the logic of a modern culture industry, hop- The Nature of Fascism ing to crush the emancipatory substance of modern life through (Pinter, 1991).
    [Show full text]
  • Pushkin and the Futurists
    1 A Stowaway on the Steamship of Modernity: Pushkin and the Futurists James Rann UCL Submitted for the Degree of Doctor of Philosophy 2 Declaration I, James Rann, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Acknowledgements I owe a great debt of gratitude to my supervisor, Robin Aizlewood, who has been an inspirational discussion partner and an assiduous reader. Any errors in interpretation, argumentation or presentation are, however, my own. Many thanks must also go to numerous people who have read parts of this thesis, in various incarnations, and offered generous and insightful commentary. They include: Julian Graffy, Pamela Davidson, Seth Graham, Andreas Schönle, Alexandra Smith and Mark D. Steinberg. I am grateful to Chris Tapp for his willingness to lead me through certain aspects of Biblical exegesis, and to Robert Chandler and Robin Milner-Gulland for sharing their insights into Khlebnikov’s ‘Odinokii litsedei’ with me. I would also like to thank Julia, for her inspiration, kindness and support, and my parents, for everything. 4 Note on Conventions I have used the Library of Congress system of transliteration throughout, with the exception of the names of tsars and the cities Moscow and St Petersburg. References have been cited in accordance with the latest guidelines of the Modern Humanities Research Association. In the relevant chapters specific works have been referenced within the body of the text. They are as follows: Chapter One—Vladimir Markov, ed., Manifesty i programmy russkikh futuristov; Chapter Two—Velimir Khlebnikov, Sobranie sochinenii v shesti tomakh, ed.
    [Show full text]
  • From Postmodernism to Metamodernism
    FROM POSTMODERNISM TO METAMODERNISM: CHANGING PERSPECTIVES TOWARDS IRONY AND METANARRATIVES IN JULIAN BARNES’S A HISTORY OF THE WORLD IN 10 AND ½ CHAPTERS AND THE NOISE OF TIME A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY MELTEM ATEŞ IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH LITERATURE SEPTEMBER 2019 Approval of the Graduate School of Social Sciences Prof. Dr. Yaşar Kondakçı Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Arts. Prof. Dr. Çiğdem Sağın Şimşek Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Arts. Assist. Prof. Dr. Elif Öztabak Avcı Supervisor Examining Committee Members Assoc. Prof. Dr. Nil Korkut Naykı (METU, FLE) Assist. Prof. Dr. Elif Öztabak Avcı (METU, FLE) Assist. Prof. Dr. Selen Aktari Sevgi (Başkent Uni., AMER) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Meltem Ateş Signature : iii ABSTRACT FROM POSTMODERNISM TO METAMODERNISM: CHANGING PERSPECTIVES TOWARDS IRONY AND METANARRATIVES IN JULIAN BARNES’S A HISTORY OF THE WORLD IN 10 AND ½ CHAPTERS AND THE NOISE OF TIME Ates, Meltem M.A., English Literature Supervisor: Assist.
    [Show full text]
  • LEISURE PLACES and MODERNITY the Use and Meaning of Recreational Cottages in Norway and the USA
    LEISURE PLACES AND MODERNITY The use and meaning of recreational cottages in Norway and the USA Daniel R. Williams and Bjom P Kaltenborn Williams, D. R., & Kaltellbom, B. P. (1999). Leisure places and modernity: The use and meaning of recreational cottages in Norway and the USA. In D. Crouch (Ed.), Leisure practices and geographic Itnowledge (pp. 214-230). London: Routledge. Introduction When we think of tourism we often dunk of travel to exotic destinations, but modernization has also dispersed and extended our network of relatives, friends, and acquaintances. Fewer people live out their lives in a single place or even a single region of their natal country. Modern forms of dwelling, working, and playing involve circulating through a geographically extended network of social relations and a multiplicity of widely dispersed places and regions. Much of the "postmodern" discourse on tourism leaves the impression that tourists seek out only the exotic, authentic "other" and experience every destination through a detached "gaze" that rarely engages the "real" (i.e., uncommodified) aspects of the place (MacCanneU. 1992, Selwyn 1996, Urry 1990). Contrary to images of "gazing" tourists on a pilgrimage for the authentic, much of modern tourism is rather ordinary and involves complex patterns of social and spatial interaction that cannot be neatly reduced to a shallow detached relation. Leisure/tourism is often less packaged, commodified, and colonial than contemporary academic renderings seem to permit. One widespread, but largely unexamined form of leisure travel involves the seemingly enigmatic practice of establishing and maintaining a second home (what we will generally refer to as cottaginl).
    [Show full text]