International Postmodernism: Theory and literary practiceHans Bertens, Douwe W. Fokkema John Benjamins Publishing, 20 févr. 1997 - 581 pages Containing more than fifty essays by major literary scholars, International Postmodernism divides into four main sections. The volume starts off with a section of eight introductory studies dealing with the subject from different points of view followed by a section that deals with postmodernism in other arts than literature, while a third section discusses renovations of narrative genres and other strategies and devices in postmodernist writing. The final and fourth section deals with the reception and processing of postmodernism in different parts of the world. Three important aspects add to the special character of International Postmodernism: The consistent distinction between postmodernity and postmodernism; equal attention to the making and diffusion of postmodernism and the workings of literature in general; and the focus on the text and the reader (i.e., the reader's knowledge, experience, interests, and competence) as crucial factors in text interpretation. This comprehensive study does not expressly focus on American postmodernism, although American interpretations of postmodernism are a major point of reference. The recognition that varying literary and cultural conditions in this world are bound to produce endless varieties of postmodernism made the editors, Hans Bertens and Douwe Fokkema, opt for the title International Postmodernism. |
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Page 12
... parody and other destabilizing techniques, postmodernism “establishes, differentiates, and then disperses stable narrative voices (and bodies) that use memory to try to make sense of the past (1 18); it “reinstalls historical contexts ...
... parody and other destabilizing techniques, postmodernism “establishes, differentiates, and then disperses stable narrative voices (and bodies) that use memory to try to make sense of the past (1 18); it “reinstalls historical contexts ...
Page 16
... parody or irony. In imitation of Fredric Jameson (1991: 4), Remo Ceserani, however, states that “we cannot rely on style differences in order to make cultural and historical differences, especially when we deal with a period-change of ...
... parody or irony. In imitation of Fredric Jameson (1991: 4), Remo Ceserani, however, states that “we cannot rely on style differences in order to make cultural and historical differences, especially when we deal with a period-change of ...
Page 35
... parody, generic hybridizaton and eclecticism. Self—reflexivity is balanced by what McCorkle (in this volume) calls dialogism. Modernists would concede the artificial, but not the arbitrary nature of their texts (except in dada and other ...
... parody, generic hybridizaton and eclecticism. Self—reflexivity is balanced by what McCorkle (in this volume) calls dialogism. Modernists would concede the artificial, but not the arbitrary nature of their texts (except in dada and other ...
Page 46
... Parody, elegy, allusion, and all forms of heterogeneous voices surface in the postmodern lyric. W. S. Merwin's work, for instance, has consistently questioned the dominating “I”: Years from now someone will come upon a layer of birds ...
... Parody, elegy, allusion, and all forms of heterogeneous voices surface in the postmodern lyric. W. S. Merwin's work, for instance, has consistently questioned the dominating “I”: Years from now someone will come upon a layer of birds ...
Page 53
... parody, pastiche, and other kinds of textual me'langes), arguing that political effects reside not in texts but in the way they are read — not in what a work “is,” but in what it “does” for a given reader or community of readers in a ...
... parody, pastiche, and other kinds of textual me'langes), arguing that political effects reside not in texts but in the way they are read — not in what a work “is,” but in what it “does” for a given reader or community of readers in a ...
Table des matières
Section 2 Postmodernism in the Other Arts | 119 |
Section 3 Renovations and Innovations in Postmodernist Writing | 175 |
Section 4 The Reception and Processing of Postmodernism | 295 |
Contributors | 517 |
Bibliography of Secondary Sources | 523 |
Subject Index | 553 |
Index of Names | 558 |
Autres éditions - Tout afficher
International Postmodernism: Theory and Literary Practice Johannes Willem Bertens,Douwe Wessel Fokkema Affichage d'extraits - 1997 |
International Postmodernism: Theory and Literary Practice Johannes Willem Bertens,Douwe Wessel Fokkema Aucun aperçu disponible - 1997 |
Expressions et termes fréquents
aesthetic African American architecture artistic authors autobiography avant-garde Barth Baudrillard Bertens Borges Calinescu character cinema concept of postmodernism conflict contemporary context conventions critique D’haen dance debate deconstruction defined definition discourse discussion dominant epistemological essay European example feminist fiction fictional field figure film find first Fokkema Fredric Jameson genre German Habermas Hans Bertens Hassan Hutcheon identification Ihab Ihab Hassan influence intellectual intertextuality Jameson John John Barth language Late Capitalism Linda Hutcheon literature London Lyotard magic realism McHale metafiction metanarratives modernism modernist narration narrative nouveau roman novel ontological parody philosophical plurality poetics political popular postcolonial postmod postmodern culture postmodern dance postmodern literature postmodernist postmodernist texts postmodernist writers poststructuralism poststructuralist prose published question radical reader reality recent reflection representation rewriting Rorty Routledge sense significant social specific story strategies structure teleology term postmodernism textual theatre theory Thomas Pynchon tradition trans translated University Western York