The Real but Greatly Exaggerated Death of Postmodernism Steve
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Table of Contents 0. Introduction..................................................................................................... 4 1. Terminological issues ...................................................................................... 6 2. Placement of David Foster Wallace ................................................................. 8 2.1 Critical literature on David Foster Wallace .................................................. 9 2.2 Starting point and purpose of this thesis ................................................. 11 3. General aspects of the postmodern era, epistemology ................................. 13 4. Literary postmodernism ................................................................................. 16 4.1 Philosophical orientation, complication of authorship ............................... 16 4.2 Foregrounding structure, breaking the narrative illusion .......................... 19 4.3 Pastiche, parody ....................................................................................... 20 4.4 Disjunction, interruption, fragmentation .................................................. 21 4.5 Temporality and temporal disorder .......................................................... 25 5. Post-postmodernisms .................................................................................... 26 5.1 Performatism ............................................................................................ 27 5.2 Digimodernism ........................................................................................ -
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. -
Slow Expansion. Neomodernism As a Postnational Tendency in Contemporary Cinema
TRANSMISSIONS: THE JOURNAL OF FILM AND MEDIA STUDIES 2016, VOL.1, NO. 2, PP. 100-117. Miłosz Stelmach Jagiellonian University Slow Expansion. Neomodernism as a Postnational Tendency in Contemporary Cinema Abstract The article presents a theoretical overview of a distinctive strand of contemporary cinema identified in the text as neomodernism (as defined by Rafał Syska). It focuses on works of filmmakers such as Béla Tarr, Aleksander Sokurov or Tsai Ming-liang and their followers and tries to present them as a part of informal postnational artistic movement developing in cinema from mid-90s onward. The aim of the article is to examine critically the journalistic and reductive category of slow cinema usually applied to auteurs mentioned above and propose term more burdened with cultural connotations and thus open for nuanced historical and theoretical studies. The particular attention is given to the international character of neomodernism that negates the traditional boundaries of national schools as well as the division of centre-periphery in world cinema shaped by the first wave of postwar modernist cinema. Neomodernism rather moves the notion of centre to the institutional level with the growing importance of festivals, film agents and public fund that take the place of production companies as the main actors in the transnational net of art-house cinema circulation. Key words: contemporary cinema, modernism, slow cinema, postnational cinema, neomodernism Introduction Over the course of the last two decades, the debate over cinema and modernism has taken the form of a dialectical struggle since two distinctive theoretical standpoints emerged, of which the more traditional and still dominant is rooted in art history and literary studies of the post-war years. -
English Artist L
ISSN 2616-7581 (Print) 2019 • 2(1) • 8-18 Питання культурології ISSN 2617-4030 (Online) ТЕОРІЯ ТА ІСТОРІЯ КУЛЬТУРИ Питання культурології ISSN 2410-1311 (Print) 2020 • 36 • 14-23 ISSN 2616-4264 (Online) DOI: 10.31866/2410-1311.36.2020.221039 UDC 008:[130.2:141.78 METAMODERNISM AS A CONCEPT OF CULTURAL STUDIES Iryna Petrova Doctor of Art Studies, Professor, ORCID: 0000-0002-8146-9200, e-mail: [email protected], Kyiv National University of Culture and Arts, 36, Ye. Konovaltsia St., Kyiv, Ukraine, 01133 For citation: Petrova, I. (2020). Metamodernism as a Concept of Cultural Studies. Issues in Cultural Studies, (36), 14-23. doi: https://doi.org/10.31866/2410-1311.36.2020.221039. Abstract The essence of metamodernism as a concept of cultural studies is analysed in the article. The article points out the expediency of conceptualization of the cultural features of the (post) postmodernism era, on the one hand, and the need to develop adequate approaches, different from the traditional ones, for the implementation of a cultural analysis of a new research direction and modern world trends, on the other. The purpose of the article deals with a critical understanding of metamodernism as a contemporary concept of cultural studies. Comparative, analytical, and systematic methods were used to achieve the research objectives. The application of these methods allows us to substantiate the intertextuality of traditional cultural strategies that encourage the creation of a new discursive field; to “read” the changing and unpredictable cultural processes of the 21st century; to analyse the significant issues of metamodernism in the context of the relevance of the present-day needs. -
Moving on to the Past
Moving on to the Past Metamodernism in Neo-Victorian Biofiction MA Thesis Rozemarijn Zwitser MA Literary Studies: European Literature First Supervisor: Dr. D. Kersten Second Supervisor: Dr. C.J.J. Louttit 1 October 2020 Zwitser | 4361741 | 2 ABSTRACT Door Metamodernisme in drie neo-Victoriaanse bioficties te bestuderen, toont dit onderzoek aan dat het Metamodernisme begrepen kan worden als een culturele logica die zowel verder gaat van als voortbeweegt met het Postmodernisme. Daarnaast beargumenteert deze scriptie hoe hedendaagse neo-Victoriaanse biofictie met de inherente Postmodernistische kwaliteiten van pastiche en hyperrealiteit niet langer enkel als Postmodernistisch kan worden geïnterpreteerd. De bioficties in dit onderzoek demonstreren hoe deze kwaliteiten als Metamodernistisch kunnen worden geïnterpreteerd. De resultaten van dit onderzoek tonen aan dat een academische re-evaluatie van ‘rewriting’ aan de orde is. Het onderzoek vult een leemte in het academische veld van biofictie, neo-Victorian studies, en Metamodernisme, omdat een dergelijk onderzoek waarbij deze drie aspecten worden gecombineerd nog niet heeft plaatsgevonden. Daarnaast biedt deze scriptie ook een mogelijke methode die in vervolgonderzoek naar Metamodernisme in hedendaagse literatuur kan worden overgenomen en geperfectioneerd. KEY WORDS Metamodernism, neo-Victorianism, biofiction, Modernism, Postmodernism, rewriting Zwitser | 4361741 | 3 CONTENTS ABSTRACT ............................................................................................................................. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright There’s a Problem with the Connection: American Eccentricity and Existential Anxiety Kim Wilkins 305165062 A thesis submitted in fulfilment of the degree of Doctor of Philosophy. University of Sydney. 1 I hereby declare that, except where indicated in the notes, this thesis contains only my own original work. As I have stated throughout this work, some sections of this thesis have been published previously. A version of Chapter Two features in Peter Kunze’s collection The Films of Wes Anderson: Critical Essays on an Indiewood Icon, published by Palgrave Macmillan in 2014, and Chapter Three was published under the title ‘The sounds of silence: hyper-dialogue and American Eccentricity’ as an article in New Review of Film and Television Studies no. -
Metamodernism As We Perceive It (Quick Review)
European Scientific Journal December 2013 /SPECIAL/ edition vol.2 ISSN: 1857 – 7881 (Print) e - ISSN 1857- 7431 METAMODERNISM AS WE PERCEIVE IT (QUICK REVIEW) Dali Kadagishvili, Full Prof. Grigol Robakidze University, Georgia Abstract Metamodernism is a new moment in philosophy, art, literature, fashion, photography, economics, politics and other spheres of human activities. It is expressed through variety of mindsets, practices, forms and genres. Its prerequisites were Modernist and Postmodernist movements, the roots of which were found in the early XIX and then in the midst of the XX century. Metamodernism comprises changes and oscillations in style and manner of thinking and behavior. The prefix meta is a term of Greek origin and means “after, between, beyond” that is Metamodernism is a movement that emerged and covered the period after Postmodernism. Its features completely distinguish from its predecessor: Metamodernism is serious, sincere, it oscillates from one polarity to another, between diametrically opposed ideas, like enthusiasm and irony, naivety and knowingness, totality and fragmentation, bright and plain and so on, whereas Postmodernism is playful, insincere, unsteady and ironic. Robin van den Akker and Timotheus Vermeulen, the researchers from the Netherlands, describe Metamodernism as a nonstop action, a “constant repositioning” between position and mindsets, something like a “pendulum swinging” between the above mentioned polarities. The article is a quick review of identity of Metamodernism in culture, particularly, in poetry and architecture, as these fields give an easier chance to see the characteristic features of the movement and its results in the development of the XXI century culture more distinctly. Keywords: Modernism, postmodernism, metamodernism, surrealism, oscillate Introduction: Metamodernism combines elements of modernism and postmodernism as the prerequisites of it were Modernist and Postmodernist movements, which substantially contributed to the formation of current metamodernist tendency. -
Alluring Anamodernist: Action, Idea, Attitude, Pre-Concept, Concept, Form and Medium
Volume 3, Issue 4, 2020 ISSN: 2617-9938 DOI: https://doi.org/10.31058/j.ad.2020.34008 Alluring Anamodernist: Action, Idea, Attitude, Pre-concept, Concept, Form and Medium Lepota Lazar Cosmo1* 1 Independent Scholar, New York, NY, USA Email Address [email protected] (Lepota Luba Cosmo) *Correspondence: [email protected] Received: 8 January 2020; Accepted: 1 September 2020; Published: 10 November 2020 Abstract: In the new, anamodernist tendencies, the contextualization of art, the contextualization of acts and processes, the tendency that emerged in performance and interactive art (eg, active performance then participatory performance) its reliable affirmation found in relational art, which has transformed this multi-ferential, in collaboration with installation, instructional art, place art, public media art, turned into one complex relationship. Development of art, out-institutional, out-of-place, transitive, non-conformist. Or in the example of an adversive act of non exhibit, a non-arbitrated act, a parallel and a counter-act, an out-exhibit that can only derive its meaning from a non-exhibit, non-event, event, etc. A work of art is not an object, but a multiactive variable, the ultimate product of experience, perception, presentation, publicity, interaction, positioning. The work does not have to exist, for an artist to exist, form does not have to exist, and even activity itself understood as interactivity with objects does not have to exist. Activity (more precisely, actions, ideas) the object-concept, relation, and actor (the viewer, not the interpretation). Work exists as action, idea, attitude, concept, pre-concept, pre-context. Form, activity, medium, object. Interaction has a long-lasting and mutual value; it is not the work that is produced but the interaction, not the means, but the effect. -
Neo-Modernity: a New Framework for Political Reality the Middle Eastern Case
Neo-Modernity: A New Framework for Political Reality The Middle Eastern Case Vassily A. Kuznetsov Vassily A. Kuznetsov, PhD in History Institute of Oriental Studies of the Russian Academy of Sciences, Moscow, Russia Head of the Center for Arab and Islamic Studies SPIN-RSCI: 8052-7393 IstinaResearcherID (IRID): 3553785 Scopus AuthorID: 57196044428 E-mail: [email protected] Address: 12 Rozhdestvenka Str., Moscow 107031, Russia DOI: 10.31278/1810-6374-2020-18-2-132-154 Abstract This paper explores the possibility of considering neo-modernism as a framework concept for studying political processes in the Middle East. The study starts with an analysis of the notion of neo-modernity as a new way of treating reality that emerged out of postmodernism as a reaction to its totalizing criticism. A comparative analysis of the main publications on the matter has revealed key features of neo-modernism: the ability to avoid postmodern fragmentariness, problematization of values and meanings, and return to metanarratives. In the political realm, these features manifest themselves in five ways: the search for new political unities; the growing demand for projects of the future and for ideology; the creation of a new political mythology; the use of postmodern tools in political practice; and awareness of the fundamental instability of the current state of affairs. The main features of neo-modernism have been scrutinized with reference to the specific Middle Eastern political reality at the regional, national, and 132 RUSSIA IN GLOBAL AFFAIRS Neo-Modernity: A New Framework for Political Reality social levels. This approach has revealed the search for new regional, sub- regional, and national unities in the Middle East, as well as the creation of new ideologies, often directly related to attempts to devise new national development strategies, and the emergence (and sometimes deliberate engineering) of new elements of political mythologies. -
Le Cinéma Remoderniste Histoire Et Théorie D'une Esthétique Contemporaine
UNIVERSITÉ SORBONNE NOUVELLE – PARIS III Mémoire final de Master 2 Mention : Études cinématographiques et audiovisuelles Spécialité : Recherche Titre : LE CINÉMA REMODERNISTE HISTOIRE ET THÉORIE D'UNE ESTHÉTIQUE CONTEMPORAINE Auteur : Florian MARICOURT n° 21207254 Mémoire final dirigé par Nicole BRENEZ Soutenu à la session de juin 2014 LE CINÉMA REMODERNISTE HISTOIRE ET THÉORIE D'UNE ESTHÉTIQUE CONTEMPORAINE Florian Maricourt Illustration de couverture : Photogramme extrait de Notre espoir est inconsolable (Florian Maricourt, 2013) Une chanson que braille une fille en brossant l'escalier me bouleverse plus qu'une savante cantate. Chacun son goût. J'aime le peu. J'aime aussi l'embryonnaire, le mal façonné, l'imparfait, le mêlé. J'aime mieux les diamants bruts, dans leur gangue. Et avec crapauds. Jean Dubuffet Prospectus et tous écrits suivants, 1951 En ces temps d'énormité, de films à grand spectacle, de productions à cent millions de dollars, je veux prendre la parole en faveur du petit, des actes invisibles de l’esprit humain, si subtils, si petits qu’ils meurent dès qu’on les place sous les sunlights. Je veux célébrer les petites formes cinématographiques, les formes lyriques, les poèmes, les aquarelles, les études, les esquisses, les cartes postales, les arabesques, les triolets, les bagatelles et les petits chants en 8mm. Jonas Mekas Manifeste contre le centenaire du cinéma, 1996 i am a desperate man who will not bow down to acolayed or success i am a desperate man who loves the simplisity of painting and hates gallarys and white walls and the dealers in art who loves unreasonableness and hot headedness who loves contradiction hates publishing houses and also i am vincent van gough Billy Childish I am the Strange Hero of Hunger, 2005 Je tiens à remercier chaleureusement les cinéastes remodernistes qui ont aimablement répondu à mes questions, en particulier Scott Barley, Heidi Elise Beaver, Dean Kavanagh, Rouzbeh Rashidi, Roy Rezaäli, Jesse Richards et Peter Rinaldi. -
TOWARDS TRANSMODERNISM: Transcendence, Technospirituality, and Technoculture
TOWARDS TRANSMODERNISM: Transcendence, Technospirituality, and Technoculture Felicity Van Rysbergen (B.A. Hons, University of Melbourne) Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy March 2011 Journalism and Media Research Centre The University of New South Wales 2 ABSTRACT This thesis argues that the pervasive merging of technocultural and sacred metaphors uncovers a longstanding Western tradition of inscribing the technologically new with the language of mysticism – a transcendental excess that underlies the logic of late capitalist notions of progress and evolution. By claiming that the transcendent moment has utterly saturated our technological desires, preserving an originary sense of the sacred at the inventive heart of science and technology, it sees this ‘technocultural transcendence’ as a model for thinking about an ironic return of grand narratives like metaphysics, truth, and the absolute, used wittingly to revitalise theory just as its last gasp has (perhaps prematurely) been proclaimed. The thesis therefore also seeks to theorise an emerging ‘transmodernity,’ or the post of postmodernism, through critical cultural readings of key transcendent myths in technoculture – Italian Futurism (art), cyberpunk (science fiction), cyberfeminism (film and performance art), and Integral theory (secular transformative spirituality). Each chapter offers examples of how the twinned concepts of transcendence and technology help create the conditions for the emergence of transmodernism, and works to provide potential examples of a resulting transmodern methodology in action. Throughout this thesis, the burgeoning desire for reconstructing what was once deconstructed, fragmented, and disavowed is examined, not to simply return past foci of theoretical enquiry to the margins or the marginalised to the centre, but to reveal the primary message of transmodernism – that both deconstruction and reconstruction hold equal significance on a continuum of understanding socio-cultural change. -
After Postmodernism: Ethical Paradigms in Contemporary
After Postmodernism: Ethical Paradigms in Contemporary American Fiction Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig-Maximilians-Universität München vorgelegt von Andrew Frederick Allen aus Torrance, CA USA 2021 Referent/in: Prof. Dr. Klaus Benesch Korreferent/in: Prof. Dr. Raoul Eshelman Tag der mündlichen Prüfung: 17.07.2018 Allen 1 Table of Contents Introduction 3 1 After Postmodernism 14 1.1 Introduction 14 1.2 Theories Extending Postmodernism 14 1.2.1 Altermodernism 14 1.2.2 Metamodernism 20 1.2.3 Post-postmodernism 25 1.2.4 Cosmodernism 33 1.3 Theories Deviating from Postmodernism 38 1.3.1 Hypermodernism 38 1.3.2 Performatism 46 1.3.3 Digimodernism 53 1.4 The Importance of Ethics 61 2 Postmodern Ethics and the Ethical Dominant 65 2.1 Introduction 65 2.2 Postmodern Ethics and its Discontents 65 2.3 An Ethical Dominant? 74 2.4 Conclusion 77 3 The Period After Postmodernism 78 3.1 A New World Order 78 3.1.1 The End of Postmodernity 78 3.1.2 A New Modernity 83 3.1.3 The Death of Privilege 85 Allen 2 3.1.4 An Ethical Gap 88 3.2 Signs of Postmodernism's Passing: Three Ethical Paradigms 90 3.2.1 The Virtue of Selfishness 90 3.2.2 A Higher Power 92 3.2.3 The Ecological Metanarrative 98 3.3 Conclusion 100 4 The Virtue of Selfishness 101 4.1 Introduction 101 4.2 Two Girls, Fat and Thin by Mary Gaitskill 106 4.3 Big If by Mark Costello 128 5.