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tanding at,ntersections
,raversing mazes:mbracing spacesThe Postmodern
in
Film,
Fiction,
Ma. Antoinette Cusi-Montealegre, D.A.Ma. Antoinette Cusi-Montealegre, D.A.Alice Hollister-Marcquardt Professorial Chair in English
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,
Just as when Iknow all the
answers, theychanged thequestions!
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Pruitt-Igoe, 1955
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“Modern architecture
died in St. Louis,Missouri on July 15, 1972 at 3:32 pm when theinfamous Pruitt-Igoe
scheme, or rather several of its slab blocks, weregiven the final coup degrace by dynamite.” --
Charles Jencks
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Pruitt-Igoe, 1972
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Los Angeles, CA. Disney Hall, c.1998-2003. Newhome for the L.A. Philharmonic.
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Indianapolis, IN. College Life Insurance Company of Americabuilding, c.1972. This was one of the first office buildings todeviate from the modernist "glass box" ideal, and set the stage for future postmodern architecture.
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a deep aversion to any project
that sought universal humanemancipation throughmobilization of the powers of
technology, science and reason
Harvey (1989) claims thatHarvey (1989) claims thatthere emerged -there emerged -
a rage against humanism and theEnlightenment legacy
a vigorous denunciation of abstractreason
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are undermined Modernist sentiments
deconstructed surpassed
even interrogated
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W ho wa s I ?
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Tsk, tsk, tsk…
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Brian McHale (1987) asserts…
•How do we know or perceive theworld?
•How does art create or change
perception?•What is the nature of reality?
Modernism emphasizes questions of epistemology or knowledge:
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Postmodernism more stronglyemphasizes questions of ontology or being
What constitutes identity?
How is the self constructed in and
through culture?
A n o
d a w ?
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Jameson (1998) sought to defineand describe the concept of
postmodernism.
reaction against established
forms of high modernism
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The great modernistpoetry of Pound, Eliot or
Wallace Stevens…
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The fiction of Joyce,Proust, and Mann…
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The style of Le Corbusier or Miesvan de Rohe in architecture…
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are considered dead, stifling,canonical – they are the reified
monuments that one has todestroy to do anything new.
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In postmodernism, Jameson
continues, there is the erosionof the older distinction betweenhigh culture and the so-calledmass or popular culture.
HIGH CULTURE
mass/popular culture
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There is an effacement of the older categories of
genre and discourse.
genrediscoursediscourse
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The postmodernists incorporate them, tothe point where the line between high art
and pop art/commercial forms seemsdifficult to draw.
HIGH ART
pop art/commercial art
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MICHEL FOUCAULT
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??
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P h i l o
s o p h y ?
P h i l o
s o p h y ?
H i s t o r y ? H i s t o r y ?
Soc ia l t heo r y ?
P o l i t i c al sc i e nc e ?
P o l i t i c al sc i e nc e ?
L i t e r a r y
theo r y ?
L i t e r a r y
the o r y ?
??
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P h i l o
s o p h y ?
P h i l o
s o p h y ?
H i s t o r y ? H i s t o r y ?
Soc ia l t heo r y ?
P o l i t i c al sc i e nc e ?
P o l i t i c al sc i e nc e ?
L i t e r a r y
theo r y ?
L i t e r a r y
the o r y ?
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Andy Warhol
Campbell Soup, 1962
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Andy
Warhol
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OLDER MODELS –Picasso, T. S. Eliot,Proust, or Joyce – donot work any more since
nobody has that kind of unique private world andstyle to express anylonger
Postmodernism claims
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qWriters and artists
of the present daywill no longer beable to invent newstyles and worlds –
they have alreadybeen invented
Really??
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qOnly a limitednumber of
combinations arepossible
qThe unique ones
have been thoughtof already(Jameson, 1998)
Talaga lang ha!
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What?
wHen?
Why?
How?
wHere?
ti h ti t
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pastichepasticepast
epastichepastichhepastichepastichepastichepchepastich
ti h
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pastiche
Mimicry of other styles
Incorporation
of old styles
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Casablanca, 1942
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Intertextual collage
Intertextual archetypes
De ja vu
Intertextual Frames
Ancestral IntertextualTradition
Moulin Rouge
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Jasper Fforde
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HEROINE: Thursday Next
– a literary detectivewhose job is to huntdown book criminalswho steal books and
jump their way intounpublished books toescape the law.
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CHARACTERS
Mycroft Next – Thursday’s uncle
Polly Next – Mycroft’s wife who jumps into Wordsworth’s I Wandered Lonely as a Cloud.
Jack Schitt – punished by havinghim jump in The Poems of Edgar
Allan Poe, specifically TheRaven.
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VILLAIN: Acheron Hades
steals the original copyof Jane Eyreof CharlotteBrontë. He uses theProse Portal to book
jump inside the novel,kidnaps Jane and asksfor ten million pounds asransom.
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Jane Eyre
Charlotte Bronte
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‘…There were thousands of them,encircling the station behind crowdbarriers, silently holding candlesand clutching their copies of JaneEyre, now seriously disrupted, thenarrative stopping abruptly halfwaydown page 107 after a mysterious“Agent in Black” enters Rochester’sroom following the fire. …’ (p. 301)
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‘…She cackledmaniacally and twisted
a pair of scissors thatshe had buriedbetween Hades’shoulder blades. He
cried out once againand fell to his knees asthe flame from the litcandle set fire to the
layers of wax polishthat had built up on abureau.
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‘The flames greedily enveloped thepiece of furniture and Rochester pulled some curtains down in order to
smother them. But Hades was upagain, his strength renewed: Thescissors had been withdrawn. Heswiped at Rochester and caught him
on the chin; Edward reeled and fellheavily to the floor. A manic gleeseemed to overcome Acheron as hetook a spirit lamp from the sideboard
and hurled it to the end of thecorridor; it burst into flames andignited some wall hangings. …’(p. 338)
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Postmodernism
This scene is straight out of aclimactic scene of an action
movie. Jasper Fforde told thestory with a cinematic eye.
Jane Eyre, in Jasper Fforde’s
hands, became an exciting andaction- packed story.
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Postmodernism
• Combination of the retardation of thenarrative and defamiliarization(Jane Eyre becomes a detectivestory), and intertextuality
• Points to the allusive and elusiveimitation/ plagiarism of older plots
and styles which is also a featureof pastiche.
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Postmodernism
The effect is an open
playfulness about fictionality. ‘Jouissance’.
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Postmodernism
Question of subjectivity
Conscious and unconscious
(modernist)Absence of interiority in the self
(postmodern)
Presence, surface,depthlessness
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“There is nothing for me after Janeleaves with that slimy and patheticexcuse for a vertebrate, St. John Rivers.”“So what will you do?”
“Do? I won’t do anything. Existencepretty much ceases for me about then.”“Death?”“Not as such,” replied Rochester,
choosing his words carefully. “Whereyou come from you are born, you liveand then you die. Am I correct?’“More or less.”
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“A pretty poor way of living, I shouldimagine!” laughed Rochester. “Andyou rely upon that inward eye we calla memory to sustain yourself in timesof depression, I suppose?”“Most of the time,” I replied, “althoughmemory is but one hundredth of thestrength of currently felt emotions.”“I concur. Here, I neither am born,nor die. I come into being at the ageof thirty-eight and wink out againsoon after, …”
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Who am I?
Sino ako?
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Postmodernism
Retardation of the narrative
Defamiliarisation
IntertextualityAllusive and elusive
imitation/plagiarism
Open playfulness andfictionality
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Tim O’Brien
The Things They Carried(National Book Award infiction, 1979)
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Tim O’Brien
The Things They Carried(National Book Award infiction, 1979)
How to Tell a True War Story
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How to Tell a True War Story
‘In any war story, but especially a true one, it’s difficult to
separate what happened from what seemed tohappen. What seems to happen becomes its ownhappening and has to be told that way. The angles of vision are skewed. When a booby trap explodes, youclose your eyes and duck and float outside yourself.
When a guy dies, like Lemon, you look away and thenlook back for a moment and then look away again.The pictures get jumbled; you tend to miss a lot. Andthen afterward, when you go to tell about it, there is
always that surreal seemingness, which makes thestory seem untrue, but which in fact represents thehard and exact truth as it seemed.’ (p. 176)
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‘In many cases a true war story cannot bebelieved. If you believe it, be skeptical. It’s aquestion of credibility. Often the crazy stuff istrue and the normal stuff isn’t because the
normal stuff is necessary to make you believethe truly incredible craziness.
In other cases you can’t even tell a true war story. Sometimes it’s just beyond telling.’ (p.176)
How to Tell a True War Story
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‘… these guys get themselves deep in thebush, all camouflaged up, and they liedown and wait and that’s all they do,nothing else, they lie there for sevenstraight days and just listen. … and there’salways this fog – like rain, except it’s notraining – everything’s all wet and swirly
and tangled up…Like you don’t have abody. … You just go with the vapors – thefog sort of takes you in …’ (p. 177)
How to Tell a True War Story
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‘He stepped back and shot it through theright front knee. The animal did not makea sound. It went down hard, then got upagain, and Rat took careful aim and shot
off an ear. He shot it in the hindquarters…He put the rifle muzzle up against themouth and shot the mouth away. Nobodysaid much. The whole platoon stood there
watching, feeling all kinds of things, butthere wasn’t a great deal of pity for thebaby water buffalo. Lemon was dead.
How to Tell a True War Story
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‘Rat Kiley had lost his best friend inthe world. … Rat went to automatic.He shot randomly, almost casually, …
Then he reloaded, squatted down,and shot it in the left front knee. …Rat shot it in the nose. He bentforward and whispered something, as
talking to a pet, then he shot it in thethroat. …’ (p. 180)
How to Tell a True War Story
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‘How do you generalize? War is hell, but that’s not the half of it,
because war is also mystery and terror andadventure and courage and discovery and
holiness and pity and despair and longing andlove. War is nasty; war is fun. War is thrilling;war is drudgery. War makes you a man; war makes you dead.
The truths are contradictory. … but war isalso beauty. For all its horror, you can’t help butgape at the awful majesty of combat.
How to Tell a True War Story
How to Tell a True War Story
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… Mitchell Sanders was right. For the
common soldier, at least, war has the feel – thespiritual texture – of a ghostly fog, thick and
permanent. There is no clarity. Everythingswirls. The old rules are no longer binding, theold truths no longer true. Right spills over intowrong. Order blends into chaos, love into hate,ugliness into beauty, law into anarchy, civility
into savagery. The vapors suck you in. Youcan’t tell where you are, or why you’re there, andthe only certainty is absolute ambiguity.’ (p. 181)
How to Tell a True War Story
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‘In a true war story, if there’s amoral at all, it’s like the thread thatmakes the cloth. You can’t tease itout. You can’t extract the meaningwithout unraveling the deeper meaning. And in the end, really,there’s nothing much to say about atrue war story, except maybe “Oh.”…’ (p. 179)
How to Tell a True War Story
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postmodern postmodern postmodern postmodern postmodern postmodern postmodernpostmodern postmodern postmodern postmodern postmodern postmodern postmodernpostmodern postmodern postmodern postmodern postmodern postmodern postmodern
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INTRODUCTION…
Flashed back through the story and the storyComes out backwards and woof-side up. This isNo one’s story! At least they think thatFor a time and the story is architecture
Now, and then history of a diversified kind.A vacant episode during which the bricks gotRepointed and browner. And it ends upNobody’s, there is nothing for any of us
Except that fretful vacillating around the centralQuestion that brings us closer,For the better and worse, for all this time.
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Haryette
Mullen
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S
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Susan Howe
SUSAN HOWE
The NONCONFORMIST’S MEMORIAL
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The NONCONFORMIST S MEMORIAL
Postmodernism
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The term postmodern connotespostmodernism, a historical periodstretching from the 1960’s to the present,marked by such phenomena as upheavals
in the international economic system, theCold war and its decline, the increasingethnic heterogeneity of the Americanpopulation, the growth of the suburbs as a
cultural force, the predominance of television as cultural medium, and the riseof the computer (Geyh et al., 1998).
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Collage
Historical period
Television as cultural medium
Grouping of ideas
Thematic preoccupation
Postmodernism
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Postmodernism
Pastiche
Pluralism
DecenterednessFragmentation
Discontinuity
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Postmodernism
Indeterminacy
Metafictionality
Heterogeneity
Dislocation
Ludism
Self consciousness
Reflexivity
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h a n k!o u