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Susan Bassnett. Linda Hutcheon. Patricia Waugh. Keir Elam. Catherine Belsey. Christopher Norris. Terence Hawkes. John Fiske. John Drakakis. Roger Sabin. Gayle Greene. Home Contact us Help Free delivery worldwide. Free delivery worldwide. Bestselling Series. Harry Potter. Popular Features. Home Learning.

The Politics of Postmodernism. Description This classic text remains one of the clearest and most incisive introductions to postmodernism. Perhaps more importantly, it is a compelling discussion of why postmodernism matters.

Working through the issue of representation in art forms from fiction to photography, Linda Hutcheon sets out postmodernism's highly political challenge to the dominant ideologies of the western world. A new epilogue traces the fate of the postmodern over the last ten years and into the future, responding to claims that it has, once and for all, 'failed'. Together with the new epilogue, this edition contains revised notes on further reading and a fully updated bibliography.

This revised edition of The Politics of Postmodernism continues its position as essential reading. Product details Format Paperback pages Dimensions x x Other books in this series. Add to basket. Narrative Fiction Shlomith Rimmon-Kenan.

Subculture Dick Hebdige. Orality and Literacy Walter J. Dialogism Michael Holquist. Fantasy Rosemary Jackson. Translation Studies Susan Bassnett. The Politics of Postmodernism Linda Hutcheon. Metafiction Patricia Waugh. Critical Practice Catherine Belsey. Deconstruction Christopher Norris. Structuralism and Semiotics Terence Hawkes.

Reading Television John Fiske. Alternative Shakespeares John Drakakis. Adult Comics Roger Sabin. Making a Difference Gayle Greene. Alternative Shakespeares Terence Hawkes. Studying British Cultures Susan Bassnett. Table of contents General editor's preface. Representing the postmodern: What is postmodernism? Representation and its politics, Whose postmodernism?

Postmodernity, postmodernism, and modernism. Postmodernist representation: De-naturalizing the natural, Photographic discourse, Telling Stories: fiction and history.

Re-presenting the past: 'Total history' de-totalized, Knowing the past in the present, The archive as text. The politics of parody: Parodic postmodern representation, Double-coded politics, Postmodern film? Postmodernism and feminisms: Politicizing desire, Feminist postmodernist parody, The private and the public. Concluding note: some directed reading. Rating details. Book ratings by Goodreads. Goodreads is the world's largest site for readers with over 50 million reviews. We're featuring millions of their reader ratings on our book pages to help you find your new favourite book.

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Linda Hutcheon

Few words are more used and abused in discussions of contemporary culture than the word 'postmodernism. It will aim to say what postmodernism is but at the same time it will have to say what it is not. Perhaps this is an appropriate condition, for postmodernism is a phenomenon whose mode is resolutely contradictory as well as unavoidably political. Postmodernism manifests itself in many fields of cultural endeavor - architecture, literature, photography, film, painting, video, dance, music, and elsewhere. In general terms it takes the form of self-conscious, self-contradictory, self-undermining statement.


The Politics of Postmodernism

In she was elected the th President of the Modern Language Association , the third Canadian to hold this position, and the first Canadian woman. She is particularly known for her influential theories of postmodernism. Hutcheon's publications reflect an interest in aesthetic micro-practices such as irony in Irony's Edge Routledge, , parody in A Theory of Parody Meuthen, , and adaptation in A Theory of Adaptation Routledge, Hutcheon has also authored texts which synthesize and contextualize these practices with regard to broader debates about postmodernism, such as The Politics of Postmodernism Routledge, , A Poetics of Postmodernism Routledge, , and Rethinking Literary History OUP, Hutcheon's version of postmodernism is often contrasted with that of Fredric Jameson in North America: while the latter laments the lack of critical capacities to which postmodern subjects have access, and analyses present capitalist cultural production in terms of a dehistoricized spatial pastiche, Hutcheon highlights the ways in which postmodern modalities actually aid in the process of critique.



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