Linda Hutcheon's A Poetics of Postmodernism: History, Theory, Fiction PDF

By Linda Hutcheon

ISBN-10: 0415007054

ISBN-13: 9780415007054

Half I
1 Theorizing the postmodern: towards a poetics
2 Modelling the postmodern: parody and politics
3 restricting the postmodern: the paradoxical aftermath of modernism
4 Decentering the postmodern: the ex-centric
5 Contextualizing the postmodern: enunciation and the revenge of “parole”
6 Historicizing the postmodern: the problematizing of history

7 Historiographic metafiction: “the hobby of earlier time”
8 Intertextuality, parody, and the discourses of history
9 the matter of reference
10 topic in/of/to historical past and his story
11 Discourse, strength, ideology: humanism and postmodernism
12 Political double-talk
13 end: a poetics or a problematics?

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Additional info for A Poetics of Postmodernism: History, Theory, Fiction

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It marks neither a simple and radical break from it nor a straightforward continuity with it: it is both and neither. And this would be the case in aesthetic, philosophical, or ideological terms. ” In fact, much of what is offered here is repeated in other theorizing on postmodernism. Like many before him (both defenders and detractors), Eagleton separates practice and theory, choosing to argue primarily in abstract theoretical terms and almost seeming deliberately to avoid mention of exactly what kind of aesthetic practice is actually being talked about.

The exact structural echoing is made parodic—that is ironically different—by the use of new materials: vertically placed bricks and stones, instead of plaster. In addition, the church’s interior shaping of corners has become the house’s exterior form. Another kind of formal echoing occurs in the relation of this building to its environment. Portoghesi inverts the eighteenth-century taste for inserting ruins into the garden: the nearby (real) Roman ruins, overrun with vegetation, are echoed in his allowing nature to overrun the house as well.

Wolfe’s is a negative aesthetic response to what he amusingly calls “the whiteness & lightness & leanness & cleanness & bareness & spareness of it all” (1981, 4). But it is also an ideological rejection of what can only be called the modernist architects’ “policing” of the impulses of both the clients and the tenants of their buildings. This is the tyranny of the European theorists working in their “compounds” (be they the Bauhaus or, later, the American universities). This is a tyranny—both moral and aesthetic—over American clients.

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A Poetics of Postmodernism: History, Theory, Fiction by Linda Hutcheon

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