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The Postmodern Turn: Essays In Postmodern Theory And Culture

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Ihab Hassan pioneered studies of postmodernism as a concept of literary theory and a cultural phenomenon. The essays in this collection present his seminal and provocative reflections on both the concept and the phenomenon. This edition also includes a new Foreword and the recently published essay "Queries for Post-Colonial Studies." Ihab Hassan pioneered studies of postmodernism as a concept of literary theory and a cultural phenomenon. The essays in this collection present his seminal and provocative reflections on both the concept and the phenomenon. This edition also includes a new Foreword and the recently published essay "Queries for Post-Colonial Studies."


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Ihab Hassan pioneered studies of postmodernism as a concept of literary theory and a cultural phenomenon. The essays in this collection present his seminal and provocative reflections on both the concept and the phenomenon. This edition also includes a new Foreword and the recently published essay "Queries for Post-Colonial Studies." Ihab Hassan pioneered studies of postmodernism as a concept of literary theory and a cultural phenomenon. The essays in this collection present his seminal and provocative reflections on both the concept and the phenomenon. This edition also includes a new Foreword and the recently published essay "Queries for Post-Colonial Studies."

30 review for The Postmodern Turn: Essays In Postmodern Theory And Culture

  1. 5 out of 5

    E. C. Koch

    The critical literature on postmodernism is broad. Everyone has their own take, their own twist, their own coined neologism for what makes something pomo. These works, far more often than not, fall out of memory as quickly as they rise into the postmodern consciousness, a consciousness (being postmodern) ever-alert for the next new thing. And so postmodernism is exhausted, schizophrenic, incredulous, hyperreal, neo-avant-garde, neo-conservative, and neo-liberal by (very, very tight) turns. The c The critical literature on postmodernism is broad. Everyone has their own take, their own twist, their own coined neologism for what makes something pomo. These works, far more often than not, fall out of memory as quickly as they rise into the postmodern consciousness, a consciousness (being postmodern) ever-alert for the next new thing. And so postmodernism is exhausted, schizophrenic, incredulous, hyperreal, neo-avant-garde, neo-conservative, and neo-liberal by (very, very tight) turns. The critical literature on postmodernism is not deep. Critics, driven by the vicissitudes of tenure committees and university politics to distinguish themselves, seem rarely to unify their work with that of others, making the critical literature as ephemeral, as breathless, as its subject. (Right, like, maybe we all think pomo lit. is all the things we think it is because the criticism on it is superficial and anchorless and hyper-concerned with difference and wholly self-reflexive.) Hassan’s The Postmodern Turn is broad and deep. Maybe this is because his book is more of an anthology than a singular text (these ten chapters are all previously published articles from a fifteen-year span compiled together), which matters in the too-fast pomo crit. game. And I suspect this does help my sense of his text’s depth. But, then, so too does the feeling that he’s read everything (in their original languages) and has been around since the Renaissance and is just super judicious and gracious in his criticism. His recurring argument – his version of postmodernism – is what he calls “indetermanence” or the combined aesthetics of indeterminacy and immanence. To make his interpretation stick, though, he shows how both indeterminacy and immanence are synonymous with lots of other critics’ theories, how they’re all making the same fundamental observation. This practice of connection fashions a depth in his criticism that is largely absent from the greater critical literature. And while all of this is great, what really blew me away was his conclusion. Ultimately, Hassan argues for a “pragmatic pluralism” that recognizes the intransigence of certain of pomo’s features and “supervents” them by taking on faith. This is not a deluded, religious faith, but, instead, a collective recognition of the need for collective standards in the face of postmodern relativism. While Hassan doesn’t employ this term, I think of this popomo faith as being Sincerity, which makes this broad, deep, and totally ahead of its time.

  2. 5 out of 5

    Маx Nestelieiev

    гарне доповнення до його "Розчленування Орфея", Гассан тут уже підбиває підсумки й зрештою стає зрозуміло, що більше про постмодернізм йому вже нічого сказати. а найцінніше з його доробку - відома табличка "Модернізм/постмодернізм" - кращого він так нічого і не запропонував. гарне доповнення до його "Розчленування Орфея", Гассан тут уже підбиває підсумки й зрештою стає зрозуміло, що більше про постмодернізм йому вже нічого сказати. а найцінніше з його доробку - відома табличка "Модернізм/постмодернізм" - кращого він так нічого і не запропонував.

  3. 5 out of 5

    Adam

    pretty good. Hassan is typically dense, and unnecessarily, but interesting.

  4. 5 out of 5

    Dylan

    quotes: Thus in Beckett, literature rigorously unmakes itself, and in miller, literature pretends erratically to be life. In Cent Mille Millards de Poemes, Queneau has constructed a "poetry machine", ten overlapping pages of fourteen line sonnets, each line of which can be read in every possible combination with all other lines; the result takes two hundred million years to "read". After the silence of Rimbaud, the blank page of Mallarmé, the inarticulate cry of Artaud, aliterature finally dissolv quotes: Thus in Beckett, literature rigorously unmakes itself, and in miller, literature pretends erratically to be life. In Cent Mille Millards de Poemes, Queneau has constructed a "poetry machine", ten overlapping pages of fourteen line sonnets, each line of which can be read in every possible combination with all other lines; the result takes two hundred million years to "read". After the silence of Rimbaud, the blank page of Mallarmé, the inarticulate cry of Artaud, aliterature finally dissolves in alliteration with Joyce and for Beckett words all say the same thing. Ruldolph Schwarzkogler slowly amputates his penis, and expires. Modernism: Elitism, Irony, Abstraction; Style takes over; let life and the masses fend for themselves. Aristocratic and Crypto-Fascist. The authority of modernism rests on intense, elitist, self-generated orders in times of crisis. [Is posthumanism the fusion of modernism and postmodernism? Or is it the gentrification of postmodernism? Is it inherently a movement of conformity and defeat?] Parodic Reflexiveness: multiple, fractured, and ambiguous perspectives. The Re-Creation of Reality: the conventional ideas of time, place, character, and plot are shattered. Nonlinear form: circular, simultaneous, coincident--a mesh or mosiac or montage or Moebius time strip of motifs Characters are subject to a constant process of recurrence, metempsychosis, and superimposition; and opposites become the other The actual and the possible, the historical and the fabulous have equal validity in eternity; in the gnostic view, fact and fiction fuse. In a world of simultaneity, cause and effect coincide; eternity and the instant merge in the Perpetual Now, as in mystic doctrines; sequence becomes synchronicity. Indeterminacy: all manners of ambiguities, ruptures, and displacements affecting knowledge and society. Kurt Gödel's proof of incompleteness, Thomas Kuhn's paradigms, and Paul Feyerabend's dadism of science. Harold Rosenberg's anxious art objects. Mikhail Bakhtin's dialogic imagination, Roland Barthes' textes scriptibles, Wolfgang Iser's literary Unbestimmtheiten, Harold Bloom's misprisons, Paul de Man's allegorical readings, Stanley Fish's affective stylistics, Norman Holland's transactive analysis, and David Bleich's subjective criticism. Of American Marxism: And i find unsettling their concealed social determinism, collectivist bias, distrust of aesthetic pleasure, proclivity to rationalize or "blueprint" human reality, and readiness to confuse their beliefs with universal values and their theories with the irrefutable scheme of things.

  5. 4 out of 5

    XI JIN

  6. 5 out of 5

    Dmitriy Lupu

  7. 5 out of 5

    Estela

  8. 5 out of 5

    Mohammed Elsalam

  9. 5 out of 5

    Simão Ribeiro

  10. 5 out of 5

    Shemonti Hasan

  11. 4 out of 5

    Dave

  12. 4 out of 5

    Patrick

  13. 4 out of 5

    Christine

  14. 4 out of 5

    Scottiev

  15. 4 out of 5

    Alex Moran

  16. 5 out of 5

    Sara

  17. 4 out of 5

    Salma Harland

  18. 5 out of 5

    Charles

  19. 5 out of 5

    €l!na

  20. 4 out of 5

    Em

  21. 5 out of 5

    Ellen

  22. 5 out of 5

    Rae

  23. 4 out of 5

    Jacob

  24. 5 out of 5

    Artu

  25. 5 out of 5

    Dalia

  26. 4 out of 5

    Robert

  27. 5 out of 5

    Abs

  28. 4 out of 5

    Mypatronusisaweasley

  29. 5 out of 5

    Carrie

  30. 5 out of 5

    Śamīk Malla

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