By Linda Hutcheon
1 Theorizing the postmodern: towards a poetics
2 Modelling the postmodern: parody and politics
3 proscribing 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 prior time”
8 Intertextuality, parody, and the discourses of history
9 the matter of reference
10 topic in/of/to heritage and his story
11 Discourse, energy, 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
But the looking to both the aesthetic and historical past in postmodernist architecture Modelling the Postmodern 27 is anything but what Jameson describes as pastiche, that is “the random cannibalization of all the styles of the past, the play of random stylistic allusion” (65–6). There is absolutely nothing random or “without principle” in the parodic recall and re-examination of the past by architects like Charles Moore or Ricardo Bofill. To include irony and play is never necessarily to exclude seriousness and purpose in postmodernist art.
12) acutely noted, literary discussions of postmodernism often appear to exclude the work of women (and, one might add, often of blacks as well), even though female (and black) explorations of narrative and linguistic form have been among the most contesting and radical. Certainly women and Afro-American artists’ use of parody to challenge the male white tradition from within, to use irony to implicate and yet to critique, is distinctly paradoxical and postmodernist. Both black and feminist thought have shown how it is possible to move theory out of the ivory tower and into the larger world of social praxis, as theorists like Said (1983) have been advocating.
With novels like Ian Watson’s The Embedding around, it is not surprising that the link would be made. I do not at all think, however, that this has contributed to any “inflation of discourse” at the expense of historical contextualization (Newman 1985, 10), primarily because historiography is itself taking part in what LaCapra has called a “reconceptualization of culture in terms of collective discourses” (1985a, 46). White 1973; 1980; 1981; 1984). This is exactly what historiographic metafiction is doing: Graham Swift’s Waterland, Rudy Wiebe’s The Temptations of Big Bear, Ian Watson’s Chekhov’s Journey.
A Poetics of Postmodernism: History, Theory, Fiction by Linda Hutcheon