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A Poetics of Postmodernism: History, Theory, Fiction

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First published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.


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First published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.

30 review for A Poetics of Postmodernism: History, Theory, Fiction

  1. 5 out of 5

    Dajana

    Svakako vrlo korisna studija, uz napomenu da smatram da je to sve moglo na mnogo manje strana. Previše ima ponovljenih teza i parafraza jednog istog (nešto kao kad Bahtin govori o karnevalizaciji), ali bar sam zapamtila, pa to i nije tako loše. :) Svakako preporučujem, ali bih se složila sa Tijaninim upozorenjem da je bolje čitati u originalu. Ja sam čitala sve u prevodu čisto zato što mi je prevodilac profesor Postmoderne teorije i književnosti i zanimalo me je sa čim imam posla. :D

  2. 4 out of 5

    Mattia Ravasi

    Featured in my Introduction to Postmodernist Literature: https://www.youtube.com/watch?v=zT4L4... Very interesting, very illuminating, though I don't buy Hutcheon's theory, or to put it differently, I don't like her categorization very much. Also, seriously Linda, a simile's not a metaphor, that's basic. Featured in my Introduction to Postmodernist Literature: https://www.youtube.com/watch?v=zT4L4... Very interesting, very illuminating, though I don't buy Hutcheon's theory, or to put it differently, I don't like her categorization very much. Also, seriously Linda, a simile's not a metaphor, that's basic.

  3. 4 out of 5

    Phillip

    I absolutely love both of Hutcheon's books I've read so far, in fact I keep returning to A Theory of Parody throughout my own work. But A Poetics of Postmodernism has a broader focus and will almost certainly become my go-to text for Hutcheon references in future. Essentially Hutcheon's argument is that postmodern historiographic metafiction (a term she coined) is principally concerned with the epistemological status of the past (and therefore the present, which is constructed out of the past). T I absolutely love both of Hutcheon's books I've read so far, in fact I keep returning to A Theory of Parody throughout my own work. But A Poetics of Postmodernism has a broader focus and will almost certainly become my go-to text for Hutcheon references in future. Essentially Hutcheon's argument is that postmodern historiographic metafiction (a term she coined) is principally concerned with the epistemological status of the past (and therefore the present, which is constructed out of the past). This is the historiographic component--a concern with the logic, limitations, and strategies through which historical meaning is made and related. The metafictional aspect of these texts is the preoccupation with their own methods of historical meaning making, a meta- interrogation of the strategies used to narrativize and make sense of historical events, texts, and, artifacts. So, for instance, a play like Tom Stoppard's Travesties shows us the processes through which Henry Carr tries to relate the history of his experiences in Zurich in 1917. The form of the play--with its breaks, repetitions, and shifts in the nature and dialects of its characters--prevents any mistaking the play for realist history, and the parodic interplay of various intertexts (Carr's faulty memories, as well as The Importance of Being Earnest, Tzara's poetry, Joyce's Ulysses, and the writings of Lenin) hints at the crucial role playaed by culturally constructed narratives and texts in constructing histories.

  4. 5 out of 5

    Dan

    Useful for its descriptions and analysis of a type of fiction Hutcheon terms “historiographic metafiction," in which actual historical persons are represented interacting with fictional or even intertextual persons: novels like Ragtime, The Public Burning, The White Hotel and Famous Last Words are among the examples that Hutcheon discusses. The book includes an extensive bibliography of works relating to the critique and theorizing of postmodernism. Useful for its descriptions and analysis of a type of fiction Hutcheon terms “historiographic metafiction," in which actual historical persons are represented interacting with fictional or even intertextual persons: novels like Ragtime, The Public Burning, The White Hotel and Famous Last Words are among the examples that Hutcheon discusses. The book includes an extensive bibliography of works relating to the critique and theorizing of postmodernism.

  5. 5 out of 5

    Emannuel K.

    Essa foi uma leitura demorada. Comecei a ler esse livro quando estava fazendo os primeiros esboços de um projeto de pesquisa para o mestrado, recomecei ele quando estava prestes a fazer a qualificação e terminei, finalmente, agora, quando me preparo para elaborar um projeto de doutorado. Apesar da demora, é uma leitura que foi muito importante para mim. Apesar de ter uma abordagem bem diferente da minha, a visão de pós-modernismo que é apresentada nesse texto fundamental de Linda Hutcheon bate m Essa foi uma leitura demorada. Comecei a ler esse livro quando estava fazendo os primeiros esboços de um projeto de pesquisa para o mestrado, recomecei ele quando estava prestes a fazer a qualificação e terminei, finalmente, agora, quando me preparo para elaborar um projeto de doutorado. Apesar da demora, é uma leitura que foi muito importante para mim. Apesar de ter uma abordagem bem diferente da minha, a visão de pós-modernismo que é apresentada nesse texto fundamental de Linda Hutcheon bate muito com a minha visão, e com muitas coisas que pretendo explorar numa carreira acadêmica. O livro quebra com muitos dos preconceitos relacionados ao tema, que quase sempre é visto negativamente. Afinal, pessoas de todos os lados políticos e teóricos concordam em criticar tudo aquilo que é pós-moderno, muitas vezes usando essa palavra justamente para definir aquilo do que não se gosta. Para essas pessoas, não sei se a leitura seria muito boa, pois a teimosia é algo difícil de se desvenciliar, mas, para quem tem uma cabeça mais aberta, pode ser um rumo na floresta de significados do estudo da literatura e das artes. É fácil de ver que muitas coisas mudaram desde a publicação dessa obra, que os rumos do fazer artístico não estão mais no mesmo lugar, mas suas considerações continuam sendo importantes, se não por outro motivo, ao menos pela insistência de muitos em chutar o cachorro morto do pós-moderno.

  6. 5 out of 5

    Sanya

    Buku yang sow-sowan d1b4c4, sebab harus dan perlu demi selesainya skkripsweet yang tidak penting-penting amat bagi perk3mb4ngan ilmu sastra. Jika saja menulis karya sastra dapat menjadi tugas akhir, barangkali saya akan lebih bersemangat mengerjakannya—selesai lebih cepat pula. Tapi entah kenapa, sekalipun profesor sastra di kampus saya sudah mencetuskan tentang kemungkinan profesi penulis, yang saat ini masih menjadi profesi pinggiran, suatu hari menjadi profesi yang pusat, menjadikan penulisan Buku yang sow-sowan d1b4c4, sebab harus dan perlu demi selesainya skkripsweet yang tidak penting-penting amat bagi perk3mb4ngan ilmu sastra. Jika saja menulis karya sastra dapat menjadi tugas akhir, barangkali saya akan lebih bersemangat mengerjakannya—selesai lebih cepat pula. Tapi entah kenapa, sekalipun profesor sastra di kampus saya sudah mencetuskan tentang kemungkinan profesi penulis, yang saat ini masih menjadi profesi pinggiran, suatu hari menjadi profesi yang pusat, menjadikan penulisan karya sastra sebagai tugas akhir belum diizinkan. Kembali ke buku ini. Hutcheon mendasarkan gagasan posmodernismenya pada bidang arsitektur, utamanya karya Paulo Portoghesi. Modernitas yang ingin 'ditangguhkan' --barangkali kata ini tidak begitu tepat--oleh Hutcheon adalah jenis yang mengabaikan sejarah. Karena itu, karya historiografi metafiksi (sebutah Hutcheon untuk fiksi posmodernis) menggunakan sejarah sekaligus menyalahgunakannya. Penggunaan dan penyalahgunaan sejarah dilakukan untuk menyampaikan, hmm apa ya, semacam pendapat penulis, juga berusaha 'memunculkan' yang pinggir. Tapi bukan berarti menghancurkan pusat. Karena ketika pusat hancur, pusat-pusat baru akan muncul. Gitulah. 'not here not even there' menjadi semacam rumus yang seringkali saya temui di sini.

  7. 5 out of 5

    Prerazmišljavanje

    U mom paklu se iznova i iznova pada na kolokvijumu iz ovoga.

  8. 4 out of 5

    Jennifer

    Well, it would be a lie to say I completely read this book, but books like these aren't always for reading front-to-back. Hutcheon has a truly deep understanding of the content, and she very thoroughly details the conversation surrounding postmodernism. Some of it is a bit over my head, but Hutcheon overall is skilled at making big ideas accessible and digestible. Well, it would be a lie to say I completely read this book, but books like these aren't always for reading front-to-back. Hutcheon has a truly deep understanding of the content, and she very thoroughly details the conversation surrounding postmodernism. Some of it is a bit over my head, but Hutcheon overall is skilled at making big ideas accessible and digestible.

  9. 4 out of 5

    Tobias

    A brilliant and accessible run-through of the historical, cultural and literary theoretical conundrum(s) of postmodernism, interrupted by simplistic, shoehorned and reductive readings of the actual works.

  10. 5 out of 5

    Lysergius

    Er, yes. I think I get the picture now. Problematizing the paradox of historiography as metafiction. OK. Good.

  11. 4 out of 5

    Vanessa Hack Gatteli

    Lendo pela quarta ou quinta vez, achei repetitivo (mas também, né...).

  12. 4 out of 5

    Christopher Howard

    Highly coherent and affirms my theory that I haven't wasted the last year or so of my life on a bunch of gobbledygook. Highly coherent and affirms my theory that I haven't wasted the last year or so of my life on a bunch of gobbledygook.

  13. 4 out of 5

    Camila

    Reading this for the third time for research reasons and I still don't get why Hutcheon repeats herself so much. Reading this for the third time for research reasons and I still don't get why Hutcheon repeats herself so much.

  14. 5 out of 5

    Khanim Garayeva

    A Poetics of Postmodernism reflects Linda Hutcheon’s theorising postmodernism and historiographic metafiction, a type of narration that is principally concerned with the constructed nature of the past. The past which is the source of the present that is established on the past. The past that is not a nostalgic reminiscing of the forgotten but its parody. However, throughout the book, Hutcheon broadly elaborates on the modelling, limiting, decentering, contextualising, historicising, intertextual A Poetics of Postmodernism reflects Linda Hutcheon’s theorising postmodernism and historiographic metafiction, a type of narration that is principally concerned with the constructed nature of the past. The past which is the source of the present that is established on the past. The past that is not a nostalgic reminiscing of the forgotten but its parody. However, throughout the book, Hutcheon broadly elaborates on the modelling, limiting, decentering, contextualising, historicising, intertextuality, referencing, subjectivity, discourse and paradoxicality of the postmodernism, and thus, articulates the essential nature of historiographic metafiction. This book can be considered as one of the foundational studies of postmodernism with practical readings of major literary works as underlying basis.

  15. 5 out of 5

    Nessa

    A wonderfuly enlightening book

  16. 5 out of 5

    Kristina Polidano

    Yup, that postmodernism sure is problematic!

  17. 4 out of 5

    Mahitosh Mandal

    Lucid and comprehensive. Critiques Baudrillard in a way that I had always considered as appropriate, even before reading this book.

  18. 5 out of 5

    Steven

    Should be an essential text on postmodernism just for its bibliography. Index is also quite useful. An interesting aspect of this book first published in 1988 is that it argues(d) the need for a poetics of postmodernism - which we take for granted now. This "arguing for" makes for more engaged reading than some of the other tomes in which so much is assumed. Strong sections on historiographic metafiction. Should be an essential text on postmodernism just for its bibliography. Index is also quite useful. An interesting aspect of this book first published in 1988 is that it argues(d) the need for a poetics of postmodernism - which we take for granted now. This "arguing for" makes for more engaged reading than some of the other tomes in which so much is assumed. Strong sections on historiographic metafiction.

  19. 5 out of 5

    Pritam Chattopadhyay

  20. 4 out of 5

    J.

  21. 4 out of 5

    Laura

  22. 5 out of 5

    Kevin

  23. 4 out of 5

    Michaela

  24. 4 out of 5

    Heart Pujiati

  25. 4 out of 5

    Jovana

  26. 4 out of 5

    John Ridener

  27. 5 out of 5

    Virginia

  28. 4 out of 5

    Saranda Krasniqi

  29. 4 out of 5

    Ozli

  30. 4 out of 5

    Bogdan

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