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239 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.
List of Illustrations

Preface

1. Troping History: Modernist Residue in Jameson's Pastiche and Hutcheon's Parody
John N. Duvall

2. Postmodernism and History: Complicitous Critique and the Political Unconscious
Thomas Carmichael

Postmodernism, Fiction, History

3. A Mother (and a Son, and a Brother, and a Wife, et al.) in History: Stories Galore in Libra and the Warren Commission Report
Stacey Olster

4. Donald Barthelme and the President of the United States
Michael Zeitlin

5. Postmodern Blackness: Toni Morrison's Beloved and the End of History
Kimberly Chabot Davis

6. Historiographic Metafiction and the Celebration of Differences: Ishmael Reed's Mumbo Jumbo
W. Lawrence Hogue

7. Troping the Renaissance: Postmodern Historiography and Early Modern History
Paul Budra

Postmodernism, Architecture, History

8. Los Angeles, 2019: Two Tales of a City
Kevin R. McNamara

9. Postmodern Casinos
Shelton Waldrep

10. Postmodernism and Holocaust Memory: Productive Tensions in the U.S. Holocaust Memorial Museum
Nancy J. Peterson

Afterword: Acting from the Midst of Identities: Questions from Linda Hutcheon

Works Cited

Contributors

Index

Sujets

Philosophie

Esthétique et philosophie de l'art

Popular culture

Literary theory

Informations

Publié par	State University of New York Press
Date de parution	01 février 2012
Nombre de lectures	0
EAN13	9780791489468
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,1648€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Productive Postmodernism

Productive Postmodernism Consuming Histories and Cultural Studies

Edited by John N. Duvall with an afterword by Linda Hutcheon

State University of New York Press

Published by State University of New York Press, Albany

2002 State University of New York

Printed in the United States of America

No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.

For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207

Production by Dana Foote Marketing by Patrick Durocher

Library of Congress CataloginginPublication Data

Productive postmodernism : consuming histories and cultural studies / edited by John N. Duvall ; with an afterword by Linda Hutcheon. p. cm. — (The SUNY series in postmodern culture) Includes bibliographical references and index. ISBN 0–7914 –5193–3 (alk. paper) — ISBN 0–7914 –5194 –1 (pbk. : alk. paper) 1. Postmodernism. 2. Arts, Modern—20th century. I. Duvall, John N. (John Noel), 1956– II. Series.

NX456.5.P66 P763 2002

10 9 8 7 6 5 4 3 2 1

2001049575

Contents

List of Illustrations

Preface

Troping History: Modernist Residue in Jameson’s Pastiche and Hutcheon’s Parody John N. Duvall

Postmodernism and History: Complicitous Critique and the Political Unconscious Thomas Carmichael

Postmodernism, Fiction, History

A Mother (and a Son, and a Brother, and a Wife, et al.) in History: Stories Galore inLibraand the Warren Commission Report Stacey Olster

Donald Barthelme and the President of the United States Michael Zeitlin

“Postmodern Blackness”: Toni Morrison’sBelovedand the End of History Kimberly Chabot Davis

Historiographic Metaﬁction and the Celebration of Differences: Ishmael Reed’sMumbo Jumbo W. Lawrence Hogue

Troping the Renaissance: Postmodern Historiography and Early Modern History Paul Budra

vii

111

Contents

Postmodernism, Architecture, History

10.

Los Angeles, 2019: Two Tales of a City Kevin R. McNamara

Postmodern Casinos Shelton Waldrep

Postmodernism and Holocaust Memory: Productive Tensions in the U.S. Holocaust Memorial Museum Nancy J. Peterson

Afterword

“Acting from the Midst of Identities”: Questions from Linda Hutcheon

Works Cited

Contributors

Index

123

137

167

199

207

219

221

Illustrations

1.1Nothing to Wearby Lou Brooks 1.2Drowning Girlby Roy Lichtenstein 9.1 Exterior of the Sands Hotel 9.2–9.3 Exteriors of tropical-themed hotels 9.4 –9.7 Exterior and interior of the Excalibur Hotel 9.8 Luxor sign 9.9 Exterior of the Luxor Hotel 9.10 Exterior of the MGM Grand Hotel 9.11 New York, New York Hotel under construction 9.12–9.14 The theme park at the MGM Grand Hotel 9.15 Petroglyphs 10.1 The Hall of Witness 10.2 Opaque window panes in the Hall of Remembrance 10.3 U.S. Holocaust Memorial Museum 10.4 Ringelblum milk can 10.5 Identiﬁcation card 10.6 The Tower of Faces 10.7 The Hall of Remembrance

vii

18 19 145 146 148 153 154 155 157 158 164 171

173 174 178 183 188 190

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Preface

This volume grew out of a conference panel I chaired in 1996. My call for papers asked that panelists think not only about the relation between postmodernism and history but also about the possibili-ties suggested by Fredric Jameson’s focus on pastiche and Linda Hutcheon’s emphasis on parody as the deﬁning tropes of postmod-ernism. But well prior to 1996, my own thinking about postmodern-ism had been shaped by Jameson and Hutcheon. During the 1983 NEH Summer Seminar, “Marxism and the Interpretation of Culture,” at the University of Illinois, I heard Jameson lecture from his work on postmodernism and read in galley form the now famous essay “Post-modernism, or, The Cultural Logic of Late Capitalism,” which served as the starting point for his book of the same title. Later, as a teacher of postmodern ﬁction, I found in Hutcheon’s two books from the late 1980s—The Poetics of Postmodernism andThe Politics of Postmodernism—a useful heuristic to introduce and categorize a number of contemporary cultural narratives. Until her work on post-modern ﬁction, when someone referred to the postmodern novel, a fairly small number of highly aestheticized texts, almost invariably written by white male authors, came to mind. Hutcheon’s concept “historiographic metaﬁction” clearly allowed one to include a num-ber of women and minority writers under the rubric “postmodern-ism” who had previously been excluded from the designation. Although I give students a number of theoretical perspectives on postmodernism, including those of Andreas Huyssen and David Harvey, for me, one of the biggest sticking points has always been how to approach Jameson’s and Hutcheon’s radically different per-spectives on the cultural work of contemporary narrative. The need to explore their differences seems all the more urgent given the shared intellectual assumptions of Hutcheon and Jameson, particu-larly their reliance on Louis Althusser’s sense of ideology as uncon-scious systems of representation. Brian McHale has argued that Hutcheon’s project “is fueled and animated by the anxiety of master narratives—that is by her desire not to be thought to have invoked, endorsed, or relied upon one or other totalizing master narrative in her account of postmodern poetics” (“Postmodernism” 18). For McHale, Hutcheon’s postmodernism fails for its unsuccessful incor-

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