Productive Postmodernism: Consuming Histories and Cultural Studies

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John N. Duvall
SUNY Press, 2002 - Art - 224 pages
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Productive Postmodernism addresses the differing accounts of postmodernism found in the work of Fredric Jameson and Linda Hutcheon, a debate that centers around the two theorists’ senses of pastiche and parody. For Jameson, postmodern texts are ahistorical, playing with pastiched images and aesthetic forms, and are therefore unable to provide a critical purchase on culture and capital. For Hutcheon, postmodern fiction and architecture remain political, opening spaces for social critique through a parody that deconstructs official history. Thinking in the space between these two sharply different positions, the essays in this collection investigate a broad range of contemporary fiction, film, and architecture—from such narratives as Don DeLillo’s Libra, Toni Morrison’s Beloved, and Ridley Scott’s Blade Runner, to the vastly different spaces of Las Vegas casinos and the United States Holocaust Memorial Museum—in order to ask what the cultural work of a postmodern aesthetic might be.
 

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Contents

Troping History Modernist Residue in Jamesons Pastiche and Hutcheons Parody
1
Postmodernism and History Complicitous Critique and the Political Unconscious
23
A Mother and a Son and a Brother and a Wife et al in History Stories Galore in Libra and the Warren Commission Report
43
Donald Barthelme and the President of the United States
61
Postmodern Blackness Toni Morrisons Beloved and the End of History
75
Historiographic Metafiction and the Celebration of Differences Ishmael Reeds Mumbo Jumbo
93
Troping the Renaissance Postmodern Historiography and Early Modern History
111
Los Angeles 2019 Two Tales of a City
123
Postmodern Casinos
137
Postmodernism and Holocaust Memory Productive Tensions in the US Holocaust Memorial Museum
167
Questions from Linda Hutcheon
199
Works Cited
207
Contributors
219
Index
221
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About the author (2002)

John N. Duvall is Associate Professor of English at Purdue University and the author of The Identifying Fictions of Toni Morrison: Modernist Authenticity and Postmodern Blackness and Faulkner's Marginal Couple: Invisible, Outlaw, and Unspeakable Communities.

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