Postmodernism

Résumé du document

Ce document est une compilation de fiches à propos de la " Postmodern American Literature" idéal pour les amateurs de postmodernisme ainsi que pour les étudiants de LLCER Anglais

Extraits

[...] How do they differ? [...]

[...] classic scifi) coinciding with the development of capitalism the copy is the multiplication of real possibilities a shoe (original) and mass-produced shoes (countless copies), the difference between the two is hard to discern third order simulacra: simulacra of simulation, hyperreal, founded on information, models are anticipation of the real typical for the postindustrial state of capitalism models are no longer a projection but an anticipation of the real simulation produces the model we are bombarded with information copy of the original) and we can't verify each piece and process them, but you can decide on how compatible the information is with your reality and your current systems of information our notions of reality depend on information we receive throughout our lives potential fourth order simulacra: any point of reference is gone, simulation no longer points to anything, models produce models information comes from information generators (media, social media, TV, radio, newspapers, books) - fiction is also a medium, because it generates information no differences between the media because we're always dealing with the same type of code cyberpunk resolves the postmodern crisis of representation by replacing characters with types of characters there is no point of stability shown by juxtaposing pieces of information that failed to unite a fully rounded character existed in the late 19th century, then they were stereotypes (kind grandmother, young dandy etc.) cyberpunk introduces types, but they are different (console cowboy, assassin, AI, merchant) arbitrary constructs of reality taking certain subcultural markers (from various subcultures), putting them together and creating a new type material for metaphorization in hyperreality space in cyberpunk is a means to create a multiplicity of worlds which aren't fictional but complementary to ours a version of our world it uses traditional sci-fi environments (space station, spaceships), but tends to provide `worldness' to alternative worlds even though they're thousands of miles away, they seem like ours cyberpunk environments are constructed from existing elements not extrapolation, but creation of hyperreality they seem like parallel variants of our world these worlds can be considered as third order simulacra (copies without the original) information from the book becomes our reality most radical changes happened in the domain of style reading sci-fi demands more active cognitive investment (you have to think because you're reading about things that aren't an everyday thing) normally you're comparing a technological item to something natural, but here it is the opposite technology used for description of natural phenomena (technology precedes the natural) neologisms don't have symbolic counterparts they don't refer to anything, words without reference we decode them in the same way we treat new technological words we encounter every day they don't function metaphorically they produce the reference neologisms produce hyperreal notions (cyberspace) in cyberpunk the constructions of worlds and protagonists correspond with the construction of hyperreality postmodern only on the level of reception, not production still created with the classic sci-fi elements it is the ultimate realization of possibilities offered by postmodernism (they materialize them), but offers an insight into literature that will no longer be understood or explained with traditional tools of literary scholarship individual segments already function as a third order simulacra main representatives of cyberpunk: William Gibson (Neuromancer, Count Zero, Mona Lisa Overdrive), Bruce Sterling (author of the cyberpunk manifesto, Schismatrix, Islands in the Net, Heavy Weather), John Shirley (Eclipse, Total Eclipse), Lewis Shiner (Frontera, Deserted Cities of the Heart), Rudy Rucker (Freeware, Software, Wetfare), Lance Olsen (younger generation, Tonguing the Zeitgeist) William Gibson: Neuromancer introduces novelties in the field of character creation and the creation of worlds still cartesian, but pointing in a new direction Molly: used to be a prostitute, now an assassin; she takes over the male role (she does all the fighting) Case: the brain behind everything gender roles are reversed, but the male-female dichotomy still exists (plus, the one who oversees everything is still a man) continuing the division between men and women, with men being the spirit and brain, while women being the flesh and closer to nature Gibson tried making female characters stronger, but he did that by making them male the novel suggests that AI is the next evolutionary step the co-existence of parallel worlds (similar to those of quantomechanics) hyperreality a sum total of all possible realities new things invented: clones, prostheses, AI, intelligent textiles (changing colors, medical textiles), computer diagnostics, virtual reality (social networks are VR that isn't VR anymore), drones it's not that Gibson was a magician who could see into the future everything still has wires and cables cyberpunk works were already received in the reality governed by third order simulacra not perceived as fun reading, but as instructions, information on how to make the things in the novel real the geeks who read Gibson developed the internet the author is still the authority, in control the reader has no control over what's happening in the text cyberpunk works were still defined by the traditional media of print written on typewriters written according to the logic of print works are linear, the role of the reader and writer is still traditional the decisive novelty is the fact that it dealt with technology offering an accurate reflection of the society it doesn't feel fantastic the link between the traditional and the fiction of the new epoch the missing element was a new dominant medium that would function according to the functioning of postmodern realities Postmodern Hyperrealities according to Frederic Jameson the defining feature of the postmodern situation is the culturalization of all aspects of social life, including economy and finance cultural and economic merge coded in the same way cultural objects are becoming objects of consumption media are connected to the technology of postindustrial capitalism culture becomes something you consume in order to represent you there is no difference between a yogurt and a film leading artists are those whose works are sold for a lot of money the matter of prestige connected to what Baudrillard says products function as signs that produce meaning in relation to other signs they acquire value because they're not another sign they define the individual and gain cultural value Apple has its meaning because it's not Samsung simulation produces its own reality postmodern reality is built of media generated data hyperreality structure network systems of differential signs that can be arbitrarily combined, dismantled and shifted according to one's preferences hypertext structure each new epoch comes with a new form of dominant media the new media shows what the main metaphysical ideas were Marshall McLuhan: "Societies have always been shaped more by the nature of the media by which men communicate than by the content of communication." in the space of hypertext, the receiver can arbitrarily construct their own reality and (in case of social media) also personality in the space of hypertext, you can choose who you want to be or completely erase your profile you create your own self in forums and chat rooms you can be whatever you want catfishing playing with stereotypes of women, constructing reality of a she guy who pretends to be a woman online) social media, video games you choose what you do, you are not a passive reader the merging of writer and reader wreader signs that you choose based on what you're interested in (e.g. [...]

[...] Introduction POSTMODERNITY = age after the modern age nobody has a clue about this epoch it involves processes after the 2nd World War it talks about basic concepts on who we are and what is around us, what we recognize as reality it is basically Post World War II American writing we can see how American fiction adapted male dominated literature this period is still ongoing, we live in exciting times of changing historical ages What causes the changing of the epochs? [...]

[...] - Mexico, the magic land at the end of the journey ends up being a sad paradise dirty, pathetic brothel) Sal is not angry that Dean abandons him in a foreign country if Dean started behaving like a nurse, that would not be the Dean of absolute freedom that Sal idolizes after a lifetime of pursuing freedom, without any obligations, Dean ends up mute infantilism - going back to being an infant language is a set of norms, reaching complete freedom means to abandon language as well it is a system of rules that sets limits absolute freedom means being alone any kind of attachment makes you less free freedom is counting only on yourself, counterproductive in the sense of socialization pursuit of freedom the wish of being somewhere else you can only be truly free if you're an egotistical bastard or non-human main themes of the novel: the pursuit of freedom: freedom as an elusive concept coming of age: pursuing the ideal with the might of youth and evading responsibilities male bonding, friendship: connected with the pursuit of natural existence (finding the meaning of life), hero worship (Sal puts Dean on a pedestal, but can't find himself being his equal), admiration constant dissatisfaction: they are always in motion and restless the novel itself is very linear it lacks a story it doesn't force any meaning or message to the reader, it's just information piling symbolism: the white stallion in Mexico: the elusive nature of IT, the ideal that is chased away by reality Mexico: that which is not America, but close enough to be reached; it brings out the worst in them driving: Dean is often described as a good driver, the means to transcend time is technology (it has the same effect as the usage of drugs), the need for constant flight time: not having enough time, fighting death is the ultimate goal, death is an ultimate boundary to our ideals American Metafiction: America Goes Postmodernist no great difference between these writers and the Beatniks, except the fact that they don't believe drugs should be used for writing palimpsest metaphor for postmodernism, it points to the instability of realities and how they are all equally important a manuscript on which later writing has been superimposed; reused and altered, but still bearing traces of its earlier form the term `Metafiction' was first used by William Gass in his book Fiction and Figures of Life (1970) describing the literary production of 1960s and 1970s fiction about fiction fiction the subject of which is other fiction "Novels which imitate the form of a Novel, by an author who imitates the role of Author." (John Barth: ˝Literature of Exhaustion˝) concepts that nobody knows who they are novels that try to be novels, written by someone who wants to be an author the author is knowingly drawing attention to the fact that everything he is writing about is being made up, while in some cases also addressing the process of the novel being written main representatives: John Barth, Donald Barthelme, Robert Coover, Thomas Pynchon, William Gass although the term was invented in the 20th century, metafiction has been present in literature for a while (e.g. [...]

[...] - Denver II. [...]