Productive Postmodernism: Consuming Histories and Cultural by John N. Duvall

By John N. Duvall

Efficient Postmodernism addresses the differing bills of postmodernism present in the paintings of Fredric Jameson and Linda Hutcheon, a debate that facilities round the theorists’ senses of pastiche and parody. For Jameson, postmodern texts are ahistorical, fidgeting with pastiched photos and aesthetic varieties, and are consequently not able to supply a severe buy on tradition and capital. For Hutcheon, postmodern fiction and structure stay political, establishing areas for social critique via a parody that deconstructs respectable historical past. pondering within the area among those sharply assorted positions, the essays during this assortment examine a vast variety of up to date fiction, movie, and architecture—from such narratives as Don DeLillo’s Libra, Toni Morrison’s loved, and Ridley Scott’s Blade Runner, to the enormously diversified areas of Las Vegas casinos and the us Holocaust Memorial Museum—in order to invite what the cultural paintings of a postmodern aesthetic should be.

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In their utopian anticipations, these collective imaginings of cyberpunk effectively demonstrate Jameson’s view of the progressive political potential in postmodern cultural production, a view that is complemented by his discussion elsewhere of the repositioning of the subject within the postmodern collective. In Postmodernism, or, The Cultural Logic of Late Capitalism, Jameson draws a distinction between groups and classes: “Classes are few; they come into being by slow transformations in the mode of production [ .

This problem of moving between modern/postmodern architecture and contemporary narrative is even more complicated in the work of Hutcheon. 5. From Bob Pearlman’s perspective, however, Jameson’s parataxical style renders it more akin to pastiche (323). Troping History 21 6. The absence of popular culture from Jameson’s field of vision is one of Burnhams’s insightful focuses in The Jamesonian Unconscious. ”) 7. Cornel West discusses Jameson’s debt to Luk´acs (123–24). 8. As Astradur Eysteinsson points out, someone wishing to value modernism over realism could appropriate Hassan’s list and merely substitute realism for modernism and modernism for postmodernism (129).

Here Hutcheon and Jameson shake hands most vigorously and here postmodern culture comes to know its true place—not as the inflated and belated logic of some thoroughly commodified avant garde, but as the last chance for ideological critique before the past is swept away utterly. But even if we are tempted to understand postmodernism as a critical culture hauled out in some ritual fashion to attend the celebratory unveiling of a shiny new world system, we should finally keep in mind Jameson’s suggestion that the postmodern might well represent “little more than a transitional period between two stages of capitalism” (Postmodernism 417).

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