A Poetics of Postmodernism: History, Theory, Fiction by Linda Hutcheon 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 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 background 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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Extra resources for A Poetics of Postmodernism: History, Theory, Fiction

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What to Wolfe is just camp historical reference in the work of Charles Moore is seen by Portoghesi as revealing the nearly limitless possibilities for recycling historic forms (1982, 86). Moore’s famous Piazza d’Italia in New Orleans is perhaps the best example of what novelist John Fowles (1974, 18) once called both a homage and a kind of ironic thumbed nose to the past. With none of modernism’s iconoclasm, this parodic project shows both its critical awareness and its love of history by giving new meaning to old forms, though often not without irony.

History is not made obsolete: it is, however, being rethought—as a human construct. And in arguing that history does not exist except as text, it does not stupidly and “gleefully” deny that the past existed, but only that its accessibility to us now is entirely conditioned by textuality. We cannot know the past except through its texts: its documents, its evidence, even its eye-witness accounts are texts. Even the institutions of the past, its social structures and practices, could be seen, in one sense, as social texts.

Rather than separating theory from practice, it would seek to integrate them and would organize itself around issues (narrative, representation, textuality, subjectivity, ideology, and so on) that both theory and art problematize and continually reformulate in paradoxical terms. ) First, however, any poetics of postmodernism should come to terms with the immense amount of material that has already been written on the subject of postmodernism in all fields. The debate invariably begins over the meaning of the prefix, “post”—a four-letter word if ever there was one.

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

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