His old students remember him with fondness and wonder. 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 the arguments of abstruse theorists; a few present their authors' own positions and situate these within the broader discourse. Linda Hutcheon's latest book belongs to the latter group.
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Few words are more used and abused in discussions of contemporary culture than the word 'postmodernism. It will aim to say what postmodernism is but at the same time it will have to say what it is not. Perhaps this is an appropriate condition, for postmodernism is a phenomenon whose mode is resolutely contradictory as well as unavoidably political.
Postmodernism manifests itself in many fields of cultural endeavor - architecture, literature, photography, film, painting, video, dance, music, and elsewhere. In general terms it takes the form of self-conscious, self-contradictory, self-undermining statement.
It is rather like saying something whilst at the same time putting inverted commas around what is being said. The effect is to highlight, or 'highlight,' and to subvert, or 'subvert,' and the mode is therefore a 'knowing' and an ironic - or even 'ironic' - one. Postmodernism's distinctive character lies in this kind of wholesale 'nudging' commitment to doubleness, or duplicity.
In many ways it is an even-handed process because postmodernism ultimately manages to install and reinforce as much as. An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while. No cover image. Read preview. Synopsis This remains one of the clearest and most incisive introductions to postmodernism. Perhaps more importantly, it is a compelling discussion of why postmodernism matters.
Working through the issue of representation in art forms from fiction to photography, Linda Hutcheon sets out postmodernism's highly political challenge to the dominant ideologies of the western world.
A new epilogue traces the fate of the postmodern over the last ten years and into the future, responding to claims that it has, once and for all, 'failed'. Together with the new epilogue, this edition contains revised notes on further reading and an updated bibliography.
The Politics of Postmodernism
In she was elected the th President of the Modern Language Association , the third Canadian to hold this position, and the first Canadian woman. She is particularly known for her influential theories of postmodernism. Hutcheon's publications reflect an interest in aesthetic micro-practices such as irony in Irony's Edge Routledge, , parody in A Theory of Parody Meuthen, , and adaptation in A Theory of Adaptation Routledge, Hutcheon has also authored texts which synthesize and contextualize these practices with regard to broader debates about postmodernism, such as The Politics of Postmodernism Routledge, , A Poetics of Postmodernism Routledge, , and Rethinking Literary History OUP, Hutcheon's version of postmodernism is often contrasted with that of Fredric Jameson in North America: while the latter laments the lack of critical capacities to which postmodern subjects have access, and analyses present capitalist cultural production in terms of a dehistoricized spatial pastiche, Hutcheon highlights the ways in which postmodern modalities actually aid in the process of critique. Specifically, Hutcheon suggests that postmodernism works through parody to "both legitimize and subvert that which it parodies" Politics, Thus, far from dehistoricizing the present or organizing history into an incoherent and detached pastiche, postmodernism can rethink history and offer new critical capacities.