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Journal articles on the topic 'Chilean literature Politics and literature Postmodernism (Literature) Literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Selim, Samah. "Literature and Revolution." International Journal of Middle East Studies 43, no. 3 (2011): 385–86. http://dx.doi.org/10.1017/s0020743811000456.

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The three-week uprising in Egypt that ended with the removal of Husni Mubarak on February 11 happened to coincide with the section of my spring course syllabus on the Egyptian novel from Najib Mahfuz to Ahmed Alaidy. As was the case for many of my colleagues and their students, the rapid and awe-inspiring events unfolding daily before us pushed purely academic concerns to the margins of class discussion. This tidal wave of revolutionary politics erupting into the classroom forced me to the realization that my larger syllabus was not simply some neutral or systematic survey of half a century's worth of Arabic literature. I began to think about the largely invisible dystopic intellectual and historical paradigms through which modern Arabic literature is often framed, at least in the United States. The nahḍa/naksa narrative, which compelled many of us to read Arab cultural history of the 20th century as a story of brief “awakening” followed by irredeemable decline and corruption, is clearly no longer tenable in the wake of February 11. This same narrative underpinned the highly self-conscious postmodernism that began to emerge in Egypt in the 1990s and that reached its apogee a couple of decades later at the end of the 2000s, a postmodernism that was celebrated (though by no means universally) as the true beginning of literary modernity and the emancipation of the subject from the dead weight of a past ideological age.

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2

McH., B., Jonathan Arac, John Fekete, Jerome J. McGann, and Robert von Hallberg. "Postmodernism and Politics." Poetics Today 9, no. 4 (1988): 879. http://dx.doi.org/10.2307/1772965.

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3

Shaviro, Steven, and Jonathan Arac. "Postmodernism and Politics." SubStance 17, no. 1 (1988): 95. http://dx.doi.org/10.2307/3685222.

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4

Hagen, W. M., and Jonathan Arac. "Postmodernism and Politics." World Literature Today 61, no. 4 (1987): 682. http://dx.doi.org/10.2307/40143981.

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5

McH., B., Linda Hutcheon, and Alison Lee. "The Politics of Postmodernism." Poetics Today 12, no. 1 (1991): 192. http://dx.doi.org/10.2307/1772994.

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6

Gross, David S., and Henry S. Kariel. "The Desperate Politics of Postmodernism." World Literature Today 64, no. 1 (1990): 204. http://dx.doi.org/10.2307/40146102.

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7

Langlands, Rebecca. "Latin Literature." Greece and Rome 62, no. 1 (2015): 97–106. http://dx.doi.org/10.1017/s001738351400028x.

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This time last year my review concluded with the observation that the future for the study of Latin literature is fundamentally interdisciplinary, and that we should proceed in close dialogue with social historians and art historians. In the intervening period, two books from a new generation of scholars have been published which remind us of the existence of an alternative tide that is pushing back against such culturally embedded criticism, and urging us to turn anew towards the aesthetic. The very titles of these works, with their references to ‘The Sublime’ and ‘Poetic Autonomy’ are redolent of an earlier age in their grandeur and abstraction, and in their confident trans-historicism. Both monographs, in different ways, are seeking to find a new means of grounding literary criticism in reaction to the disempowerment and relativism which is perceived to be the legacy of postmodernism. In their introductions, both bring back to centre stage theoretical controversies that were a prominent feature of scholarship in the 1980s and 1990s (their dynamics acutely observed by Don Fowler in his own Greece & Rome subject reviews of the period) but which have largely faded into the background; the new generation of Latinists tend to have absorbed insights of New Historicism and postmodernism without feeling the need either to defend their importance or to reflect upon their limitations. Henry Day, in his study of the sublime in Lucan's Bellum civile, explicitly responds to the challenges issued by Charles Martindale, who has, of course, continued (in his own words) to wage ‘war against the determination of classicists to ground their discipline in “history”’. Day answers Martindale's call for the development of some new form of aesthetic criticism, where hermeneutics and the search for meaning are replaced with (or, better, complemented by) experiential analysis; his way forward is to modify Martindale's pure aesthetics, since he expresses doubt that beauty can be wholly free of ideology, or that aesthetics can be entirely liberated from history, context, and politics. Reassuringly (for the novices among us), Day begins by admitting that the question ‘What is the sublime?’ is a ‘perplexing’ one, and he starts with the definition of it as ‘a particular kind of subjective experience…in which we encounter an object that exceeds our everyday categories of comprehension’ (30). What do they have in common, then, the versions of the sublime, ancient and modern, outlined in Chapter 1: the revelatory knowledge afforded to Lucretius through his grasp of atomism, the transcendent power of great literature for Longinus, and the powerful emotion engendered in the Romantics by the sight of impressive natural phenomena such as a mountain range or a thunderstorm? One of the key ideas to emerge from this discussion – crucial to the rest of the book – is that the sublime is fundamentally about power, and especially the transference of power from the object of contemplation to its subject. The sublime is associated with violence, trauma, and subjugation, as it rips away from us the ground on which we thought we stood; yet it does not need to be complicit with the forces of oppression but can also work for resistance and retaliation. This dynamic of competing sublimes of subjugation and liberation will then help us, throughout the following chapters, to transcend the nihilism/engagement dichotomy that has polarized scholarship on Lucan in recent decades. In turn, Lucan's deployment of the sublime uses it to collapse the opposition between liberation and oppression, and thus the Bellum civile makes its own contribution to the history of the sublime. This is an impressive monograph, much more productively engaged with the details of Lucan's poem than this summary is able to convey; it brought me to a new appreciation of the concept of the sublime, and a new sense of excitement about Lucan's epic poem and its place in the Western tradition.

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8

Dubey, Madhu. "Contemporary African American Fiction and the Politics of Postmodernism." NOVEL: A Forum on Fiction 35, no. 2/3 (2002): 151. http://dx.doi.org/10.2307/1346181.

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9

Herrero, Dolores. "Postmodernism and politics in Meena Kandasamy’s The Gypsy Goddess." Journal of Commonwealth Literature 54, no. 1 (2017): 70–83. http://dx.doi.org/10.1177/0021989417719118.

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Meena Kandasamy’s debut novel The Gypsy Goddess tackles the plight of a community of Dalit agricultural labourers who live and work in inhuman conditions, coping with the unrelenting oppression and heartbreaking atrocities inflicted upon them by their ruthless upper-caste landlords in the southern Indian state of Tamil Nadu. In particular, this novel revolves around the historical massacre that took place in the village of Kilvenmani on Christmas Day, 1968. The aim of this article will be to analyse the different ways in which Kandasamy, so far known as a critically acclaimed poet, uses the novel as a literary genre, together with some well-known postmodern theories and strategies, in order to disclose the shortcomings of traditional linear plot-driven novels, criticize the exoticism so often displayed in contemporary Indian fiction, unearth the “other” side of official Indian history, dig up the traumatic story of an entire Dalit community’s fight for freedom, and give voice to those who were for so long relegated to silence, invisibility, and oblivion. As this analysis will make clear, the experimental nature of this novel allows Kandasamy to confront readers with an unpalatable reality beyond the capacity of the conventional realist novel.

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10

BENNETT, DAVID. "Parody, postmodernism, and the politics of reading." Critical Quarterly 27, no. 4 (1985): 27–43. http://dx.doi.org/10.1111/j.1467-8705.1985.tb00814.x.

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11

Gray, Paul H. "Performance, postmodernism, and politics." Text and Performance Quarterly 9, no. 4 (1989): 342–47. http://dx.doi.org/10.1080/10462938909365948.

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12

Pollack, Sarah. "After Bolaño: Rethinking the Politics of Latin American Literature in Translation." PMLA/Publications of the Modern Language Association of America 128, no. 3 (2013): 660–67. http://dx.doi.org/10.1632/pmla.2013.128.3.660.

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On 25 november 2012, when the united states novelist jonathan franzen opened mexico's feria internacional del libro de guadalajara, he spoke of his experience of reading Latin American fiction. Asked about the region's representation through literature in English translation, Franzen stated that, magic realism having now “run its course,” Roberto Bolaño had become the “new face of Latin America.” Franzen's words echo what has almost become a commonplace in the United States over the last five years: naming Bolaño “the Gabriel García Márquez of our time” (Moore), after the publication by Farrar, Straus and Giroux of the translations of Los detectives salvajes (1998; The Savage Detectives [2007]) and his posthumous 2666 (2004; 2666 [2008]). Bolaño is also considered by many writers, critics, and readers in Latin America to be “reigning as the new paradigm” (Volpi, sec. 3). If in the United States market, through the synecdoche of literary commodification, García Márquez's revolutionary Cien años de soledad (1967; One Hundred Years of Solitude [1970]) and, specifically, the magic realism of his fictional Macondo came to stand in for the diverse literary projects of Latin American authors in the 1960s, one must ask if a similar operation is taking place with Bolaño. While the number of translated Latin American literary works continues to be limited and most “go virtually unnoticed” (“Translation Database”), the significance of Bolaño's place at the center of a new canon in translation is magnified and necessitates inquiring into how his critical success in the United States market may be shifting the politics of translation of other texts. As a critic announced in 2011, “a second Latin American literature Boom is happening … [that] probably owes its existence to the explosion of the late-Chilean author Roberto Bolaño, whose popularity re-opened the door to North American publishing houses for Latin American authors” (Rosenthal).

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13

Osucha, E. "Signs and Cities: Black Literary Postmodernism; Appropriating Blackness: Performance and the Politics of Authenticity." American Literature 78, no. 3 (2006): 643–45. http://dx.doi.org/10.1215/00029831-2006-040.

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14

Nicholson, Linda. "Feminism and the Politics of Postmodernism." boundary 2 19, no. 2 (1992): 53. http://dx.doi.org/10.2307/303533.

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15

Hansen, James T. "The Relevance of Postmodernism to Counselors and Counseling Practice." Journal of Mental Health Counseling 37, no. 4 (2015): 355–63. http://dx.doi.org/10.17744/mehc.37.4.06.

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Postmodernism is a broad intellectual movement that has been changing the way people approach art, music, literature, politics, and philosophy since the late 20th century. This article addresses the impact of postmodern thinking on the practice of counseling and its relevance to counselors' approach to understanding clients and their world.

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16

Hutcheon, Linda. "The Politics of Postmodernism: Parody and History." Cultural Critique, no. 5 (1986): 179. http://dx.doi.org/10.2307/1354361.

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17

Y, Lalitha. "Postmodernism in the Fiction Synchology Summary of Kumaraselvas Fiction." International Research Journal of Tamil 3, S-1 (2021): 132–37. http://dx.doi.org/10.34256/irjt21s121.

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The article Post Modernism, written by writer Kumaraselva, examines the emergence of postmodernism in the short stories Nagamalai, Karatam, Ukilu, Vidalu and Uyirmaranam, and then modernity does not see anything as universal and analyses everything separately. It is also expanding beyond the limits of art and literature to philosophy, politics, lifestyle, technology, architecture, drama, cinema. Postmodernism created myths with a mystery that distorts language, distorts stories and expresses the poetry of the language. It also attracts the attention of the readers and gives them a happy reading experience. It is noteworthy that postmodernism is not theory but also in life.

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18

Adams, David. "BOOK REVIEW: Satya P. Mohanty.LITERARY THEORY AND THE CLAIMS OF HISTORY: POSTMODERNISM, OBJECTIVITY, MULTICULTURAL POLITICS. Ithaca: Cornell UP, 1997." Research in African Literatures 31, no. 3 (2000): 172–73. http://dx.doi.org/10.2979/ral.2000.31.3.172.

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19

Bowman, Michael, and Della Pollock. "“This spectacular visible body”: Politics and postmodernism in Pina Bausch'sTanztheater." Text and Performance Quarterly 9, no. 2 (1989): 113–18. http://dx.doi.org/10.1080/10462938909365920.

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20

Causey, Matthew, and Philip Auslander. "Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance." Theatre Journal 47, no. 1 (1995): 155. http://dx.doi.org/10.2307/3208824.

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21

Kaye, Nick, and Philip Auslander. "Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance." TDR (1988-) 38, no. 2 (1994): 181. http://dx.doi.org/10.2307/1146340.

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22

Vidal, Hernan. "Postmodernism, Postleftism, Neo-Avant-Gardism: The Case of Chile's Revista de Critica Cultural." boundary 2 20, no. 3 (1993): 203. http://dx.doi.org/10.2307/303351.

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23

Mendible, Myra. "High Theory/Low Culture: Postmodernism and the Politics of Carnival." Journal of American Culture 22, no. 2 (1999): 71–76. http://dx.doi.org/10.1111/j.1542-734x.1999.2202_71.x.

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24

Bolongaro, Eugenio. "Tondelli and the 1980s: Four Keywords for a Reassessment." Quaderni d'italianistica 39, no. 1 (2019): 11–34. http://dx.doi.org/10.33137/q.i..v39i1.32630.

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This article challenges the interpretation of the 1980s in Italy as a period in which a large section of the population and, especially, the younger generation, turned away from politics and a retreated into the private sphere after the revolutionary ebullience of the 1960s and 1970s. The discussion centres around the figure of Pier Vittorio Tondelli whose collection of short stories Altri libertini (1980) inaugurated a new understanding of the cultural role of literature, and a new relationship between authors and readers. While devoid of the ideological preoccupations that characterized the protest movement(s) of the previous decades, Tondelli’s work, it is argued, is anything but escapist and rather seeks to provide a sensitive and thoughtful account of the transformations taking place in Italian society and culture during a critical decade in which Italy, like other mature Western societies, was precipitously projected into the post-Fordist phase of contemporary capitalism. From this vantage point Tondelli’s opus demonstrate the constant and sustained engagement of its author with a disorienting new world in which the contradictions between personal and collective desires and aspirations are increasingly mobilized to fuel the “society of spectacle” Guy Debord had foreseen. It can hardly be questioned that Tondelli’s struggle raises ethical issues, but it is important to see that this ethical dimension is inherently connected with a political horizon, albeit a politics of desire that traditional Marxist approaches have some difficulty identifying as politics, let alone as revolutionary politics. In order to appreciate fully the significance of Tondelli’s cultural contribution and disentangle it from the debates that it originated, the author proposes a fresh approach. Mindful of Raymond Williams’s eminent example (Keywords: A Vocabulary of Culture and Society, 1976), the analysis focuses on four keywords that can help us traverse Tondelli’s work and identify its strengths as well as some of its weaknesses. Affect, Commitment, Postmodernism, and Theory are intersecting vectors in a reassessment that through Tondelli reopens the discussion on an entire decade, and its aftermath.

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Malkin, Jeanette R. "Pulling the Pants off History: Politics and Postmodernism in Thomas Bernhard's "Eve of Retirement"." Theatre Journal 47, no. 1 (1995): 105. http://dx.doi.org/10.2307/3208808.

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26

Chaitin, Gilbert D. "From the Third Republic to Postmodernism: Language, Freedom, and the Politics of the Contingent." MLN 114, no. 4 (1999): 780–815. http://dx.doi.org/10.1353/mln.1999.0048.

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Zlydneva, Nataliya V. "Fording the stream of changes: The concept of border-zone in the novel by Dubravka Ugresic." Slavic Almanac, no. 3-4 (2020): 364–82. http://dx.doi.org/10.31168/2073-5731.2020.3-4.4.04.

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The article aims to identify correspondences / parallels between the lit-erary text and the “text” of the historical time. The novel of the modern Croatian writer D. Ugresic “Fording the Stream of Consciousness” is taken as a basis: it is considered against the background of the events of the 1980s in Croatia. As the core of the poetic structure of the work, the concept of border-zone stands out. The latter can be traced at different levels of the text organization: in the composition, the plot, the characters, the narrative structure as a whole. The novel describes vari-ous boundaries (mental, existential, state, linguistic). Their function in the poetics of the novel is based on the principles of postmodernism: this is literature on literature. The social and cultural context in which the novel arose also demonstrates the concept of boundary by which the characteristics of the transitional era can be described. The 1980s in Croatia marked the state of transition in politics, economy as well as culture. The article discusses various types of art, cinema, literature and print media that set the main tone. It is shown that in literature, art, and cinema this was a boom period. Access to new frontiers is described by the concept of border-zone, which manifests itself in various ways of breaking the usual hierarchy in art: intertextuality, combining high and low genres (in fi lms and literature), enhancing the role of marginal (youth press), hybridization of media (pictorial turn). The sense of border-zone existence gave rise to “garbage poetics” as a contra-cultural phenomenon of the time. The novel of D. Ugresic contains all these signs of a transitional period. It also relies on the deeper layers of the liter-ary tradition, revealing correspondences with the Balkan model of the world. In this regard, the article touches upon the issue of the bridge in I. Andric’s prose, as well as the stairs in the story of A. Solan. Destruc-tion as the leading principle of postmodernism, the theme of the death of the novel, that manifested themselves in the piece of D. Ugresic, became a refl ection of the transitional time of Croatia, its culture, marked by the symbolic border of existence.

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Jenckes. "Intersections of Politics, Philosophy, Aesthetics, and Life in Contemporary Chilean Criticism and Art." CR: The New Centennial Review 20, no. 1 (2020): 23. http://dx.doi.org/10.14321/crnewcentrevi.20.1.0023.

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29

Clausen, Meredith L. "Michael Graves’s Portland Building." Journal of the Society of Architectural Historians 73, no. 2 (2014): 248–69. http://dx.doi.org/10.1525/jsah.2014.73.2.248.

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Singled out as a landmark in architectural history even before it was built, Michael Graves’s Portland Building, known only through drawings, was considered an icon of postmodernism and immediately became a fixture in architectural history texts. Since it exploded onto the scene in the early 1980s, it has been heralded as one of the most controversial, published buildings in architectural history. But little has been written about the building itself, how it came to be, how well it functions, and how it has stood the test of time over the past thirty years. In Michael Graves’s Portland Building: Power, Politics, and Postmodernism, Meredith L. Clausen argues that despite the voluminous critical literature of theorists and critics focusing on its meaning, symbolism, associations, and reinterpretation of classicism, a decidedly different picture of the building emerges when viewed through the lens of historical documents. The focus here is on the dynamics of the competition, the conflicting civic priorities, the powerful role of the media, and politics both local and in architecture.

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30

Nicholls, Peter. "Anti-Oedipus? Dada and Surrealist Theatre, 1916–35." New Theatre Quarterly 7, no. 28 (1991): 331–47. http://dx.doi.org/10.1017/s0266464x00006035.

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In a sequel to his essay ‘Sexuality and Structure in Expressionist Theatre’ in NTQ26, Peter Nicholls here explores a very different set of developments in the French avant-garde drama of the period. Arguing that Dada and Surrealist theatre have a strongly marked ‘anti-oedipal’ tendency, he suggests that their polemics against the family and paternal law contrast with the increasing prominence given to Freud's masterplot in Expressionism. Peter Nicholls teaches English and American Literature at the University of Sussex: his publications include Ezra Pound: Politics, Economics, and Writing, and articles on postmodernism, contemporary poetry, and French cubism. His Modernisms: a Literary Guide will be published by Macmillan in 1992.

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31

Ferraro, Agustín. "Friends in High Places: Congressional Influence on the Bureaucracy in Chile." Latin American Politics and Society 50, no. 02 (2008): 101–29. http://dx.doi.org/10.1111/j.1548-2456.2008.00014.x.

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AbstractChile presents a paradox for legislative studies. In most comparative research on the political power of presidents and assemblies in Latin America, the Chilean presidency is considered one of the most powerful in the region. The country's congress is seen, accordingly, as weak and lacking influence over public policy. Such evaluations, however, tend to be based on constitutional and legal faculties (that is, formal powers), and they overlook the substantial influence exerted by the Chilean Congress through informal political channels. This article analyzes literature on informal politics that shows the substantial influence of Chile's Congress on public policy; and, for comparison, presents an empirical study that adds several details to current accounts of congressional influence on the bureaucracy in Chile and describes two mechanisms of congressional influence not contemplated by recent research.

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Medovoi, Leerom. "Mapping the Rebel Image: Postmodernism and the Masculinist Politics of Rock in the U. S. A." Cultural Critique, no. 20 (1991): 153. http://dx.doi.org/10.2307/1354226.

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Panez, Alexander, Ilka Roose, and Rodrigo Faúndez. "Agribusiness Facing Its Limits: The Re-Design of Neoliberalization Strategies in the Exporting Agriculture Sector in Chile." Land 9, no. 3 (2020): 66. http://dx.doi.org/10.3390/land9030066.

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The core neoliberal strategy of Chilean agrarian politics has lasted now for more than 30 years. Despite minor reforms, its fundamental pillars remain in place. While members of the agribusiness sector consider this strategy to be a role-model for food production leading to explosive economic growth, the last decade exposed its socio-ecological limits, such as declining water availability and increased conflicts over land. Taking critical literature on neoliberalization as a theoretical approach, we used law and literature reviews as well as qualitative interviews with actors from the public and private sectors to reveal the details of the strategies in the exporting agriculture sector in Chile. From the understanding of neoliberalization as a multi-layered process, we analyzed the data, focusing on three dimensions of agribusiness in Chile: (a) regulation, (b) spatial fix, and (c) ideological paradigms. In doing so, we uncovered how far the coping strategies chosen by the state and private sector have re-designed and strengthened the process of agriculture neoliberalization in order to push its own socio-ecological limits.

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Smith, Tyron Tyson, and Ajit Duara. "Postmodernism: The American T.V. Show, 'Family Guy, As a Politically Incorrect Document." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 4868–84. http://dx.doi.org/10.47059/revistageintec.v11i4.2510.

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Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. "After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement's momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music." Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art. Postmodern television and the central part of this study applied to the popular animated American TV show, 'family guy' is a postmodern show in its truest form, while attempting to use certain aspects of postmodernism tropes to help emphasize that visual art can be considered a historical document while doing an in-depth analysis of the visual text of 'family guy by itself, several other research papers were used to help further put in stone that 'family guy' is a true representation of postmodern television. It is divided into two phases of data collection: context analysis, which involves a qualitative study. The second being in-depth interviews (also qualitative) which in itself helps give a subjective view of participants between the ages of 20 and 28. These comprise students who are familiar with the show and the concepts of the show. All of them, both frequent viewers of the show and those also politically informed of world politics, helped further emphasize the concept of the paper, which was the idea of how a television show in all its absurd narrative and pastiche functions as a historical document. The purpose of this study, along with the results for this research, is to help bring about the comprehension of how postmodern shows are influenced by other past events, figures of history, etc.; this understanding can explain how a television show like 'family guy could be considered a historical document – by its narrative, by the cultural references connected to these said events, and also with the help of paintings, which the makers of the show use to design the episode of the show, and which reflect and refer to the actual historical figures. Historiography is being proven to be biased in more ways than one, which leads us to an understanding of a different narrative depending on one’s own opinions of history and historical documents as we know it.

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Taffet, Jeffrey F. ""My Guitar is Not for the Rich": The New Chilean Song Movement and the Politics of Culture." Journal of American Culture 20, no. 2 (1997): 91–103. http://dx.doi.org/10.1111/j.1542-734x.1997.2002_91.x.

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36

Ismail, Yusuf. "Postmodernisme dan Perkembangan Pemikiran Islam Kontemporer." Jurnal Online Studi Al-Qur an 15, no. 2 (2019): 235–48. http://dx.doi.org/10.21009/jsq.015.2.06.

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Modernism and postmodernism were born from mainland Europe and America. This philosophical thought penetrated religious issues. Postmodernism was born as an attempt to understand social conditions and phenomena, the term postmodernism appeared for the first time in literature in 1939. In the context of religion, Postmodernism in its aim so that religious understanding does not fall into the system of totalitarian interpretation in a religious context and the context of social systems, economics, culture, and politics. The topic of Postmodernism in this paper is presented based on its actuality and to stimulate our thinking which is generally still oriented to modern or even traditional concepts. By studying this relatively new concept we will be confronted with the basic question of which philosophical thinking results have correlation values and relevance to the development and demands of contemporary society, not which ones are theoretically correct. The statement confirms the relativity of reason. The realm of absolute truth is not in humans, absolute truth is from and belongs to God.  Keywords: Postmodernism, Contemporary Islam, Moderism  Abstrak Modernisme dan postmodernisme lahir dari daratan Eropa dan Amerika Pemikiran filosofis ini merambah ke persoalan keagamaan. Postmodernime lahir sebagai usaha memahami kondisi dan fenomena sosial, istilah postmodernisme muncul untuk pertama kalinya dalam sastra pada tahun 1939. Dalam konteks keagamaan, Postmodernisme dalam bertujuannya agar faham keagamaan tidak jatuh pada sistem tafsir totaliter tunggal dalam konteks keagamaan dan dalam konteks sistem sosial, ekonomi, budaya dan politik. Topik Postmodernisme dalam tulisan ini disajikan berdasarkan pada aktualitasnya dan guna merangsang pemikiran kita yang pada umumnya masih berorientasi pada konsep-konsep modern atau bahkan tradisional. Dengan mempelajari konsep yang relatif baru ini kita akan dihadapkan pada pertanyaan dasar tentang hasil pemkiran filsafat yang manakah yang mempunyai nilai korelasi dan relevansi dengan perkembangan dan tuntutan masyarakat kontemporer, bukan yang manakah yang benar secara teoritis an sich. Pernyataan tersebut menegaskan relativitas kebenaran nalar. Wilayah kebenaran mutlak bukan ada pada manusia, Kebenaran mutlak adalah dari dan milik Tuhan. Kata kunci: Postmodernisme, Modernisme, Pemikiran Islam

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Boynukalın, Azize Reva. "VALERY HEGARTY ENSTALASYONLARINDA KÜLTÜREL BELLEĞİN YAPISÖKÜMÜ." e-Journal of New World Sciences Academy 15, no. 4 (2020): 278–92. http://dx.doi.org/10.12739/nwsa.2020.15.4.d0266.

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Valerie Hegarty, who is an American artist, scrutinizes the fundamental notions of history and the heritage of American art. She aims to reverse the relationships among the sign, signifier and signified in the space arrangements that she deals with the politics of America, revisionism, nationalism and regional deformation. With deconstruction that is the critical discourse of postmodernism, Hegarty both questions the colonialism that is the development policy of American legend and she improves reading alternatives against the suppression of cultural memory. Her exhibitions entitled as "Alternative Histories" and "American Berserk" was evaluated by literature review using qualitative research method. These exhibitions present a new perspective to audience by focussing on U.S.A. and internal dynamics of the current political climate with an icon breaking approach. In this article, within the scope of Hegarty’s installations it is dealt with the devaluation of cultural memory signs, and relationship between “visible” and “reality”.

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Brown, Bill. "The Dark Wood of Postmodernity (Space, Faith, Allegory)." PMLA/Publications of the Modern Language Association of America 120, no. 3 (2005): 734–50. http://dx.doi.org/10.1632/003081205x63831.

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As a way of restaging certain questions about postmodernity (is it marked by rupture or repetition, or is it all illusory?), this essay imagines Fredric Jameson's iconic disorientation at the Bonaventure Hotel as a reenactment of Dante's crisis in the selva oscura. That imaginative act allows one to see how a nonmodern measure makes postmodernism visible (the concept of “cognitive mapping,” for instance, derives from Kevin Lynch's appreciation of the urban fabric of Florence). And it allows one to perceive how Jameson's response to our contemporary condition assumes a Dantean cast, becoming an incorporative act of totalizing, manifest stylistically and conceptually, that deploys allegory to trans-code phenomena into the terms of the dominant system. To what degree does the internalization of such a hermeneutic enterprise (a medieval Christian legacy) render religion as such imperceptible, compelling us to perceive acts committed in the name of Islam as merely a displacement of (proper) politics?

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Occhi, Debra J. "Magda Stroinska (ed.), Relative points of view: Linguistic representations of culture. New York: Berghahn Books, 2001. Pp.xii, 228. Hb $69.95, Pb $25.00." Language in Society 32, no. 1 (2002): 112–14. http://dx.doi.org/10.1017/s0047404503231055.

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At first glance, the title of this book seems to index major themes of linguistic anthropology; however, it is published as volume 6 in a cultural studies series. Its contributors' interests range from linguistics through the expanse of humanities, illustrating how eclectic and interdisciplinary contemporary research in area of language and culture has become. The editor, Magda Stroinska, begins this volume with a brief overview of several themes recurring throughout: linguistic relativity, the search for universals, cross-cultural identity, globalization, and translatability. The research presented here analyzes interactions among language, behavior, and context as they emerge in several areas of current concern. These include metaphors and their use in speech, as well as discourses on topics such as gender and marriage, science versus postmodernism, internationalized business, politics, nationalism, study abroad experiences, emotion, and religion. The authors examine data from various sources, including original speech data, data first discussed elsewhere, literature, and media. Five thematic sections of two chapters each comprise this edited volume.

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Liou, Liang-Ya. "Taiwanese Postcolonial Fiction." PMLA/Publications of the Modern Language Association of America 126, no. 3 (2011): 678–84. http://dx.doi.org/10.1632/pmla.2011.126.3.678.

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When the Japanese Nobel Laureate in literature KenzaburŌ Ōe visited Taiwan for a symposium held in his honor in December 2009, he hardly anticipated the political controversies into which he was thrown. Even before the conference, politicians accused the Academia Sinica, the organizing institution, of kowtowing to China by reducing a trilateral symposium involving Japan, Taiwan, and China to a “cross-strait event” and by replacing the Taiwanese novelist who was to act as Ōe's interlocutor with one more acceptable to China. Aside from the China factor, the underhanded politics tapped into ethnic tensions in Taiwan and the problematic national identity of Taiwan. While the original interlocutor, Li Ang, and her substitute, Zhu Tienwen, are critically acclaimed women novelists just a few years apart in age, Li is of Minnan ancestry and Zhu a second-generation Chinese mainlander whose father fled with the Chinese Nationalist or Kuomintang (KMT) government to Taiwan in 1949 after losing China to the communists. More important, Li is a postcolonial writer, whereas Zhu deploys postmodernism to resist decolonization.

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Hallin, Daniel C., and Claudia Mellado. "Serving Consumers, Citizens, or Elites: Democratic Roles of Journalism in Chilean Newspapers and Television News." International Journal of Press/Politics 23, no. 1 (2017): 24–43. http://dx.doi.org/10.1177/1940161217736888.

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Print journalism has long been seen as a key institution of democratic politics, serving to enhance transparency, provide a forum for debate, and facilitate public participation. Instead, television journalism, particularly in its commercial form, has often been seen more negatively, as a form of infotainment that contributes little to the functions of journalism as an institution of democratic citizenship. Some scholars have questioned the dichotomy between infotainment and democratic roles, however, and the existing research comparing journalistic roles in print and television has produced mixed results. Focusing on the case of Chile and making use of a standardized news content-based index of journalistic roles, this study compares the prevalence of three professional roles by medium—newspapers and television—and also by audience orientation—popular and elite media across both print and television news. Our results show that commercial television in Chile is higher than print media in the performance of the watchdog and civic roles, and the infotainment role is positively, not negatively, correlated with these. We discuss the implication of these findings in light of the literature on infotainment and citizenship, as well as the emerging body of research on journalistic role performance.

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Portela Lopa, Antonio. "El mito underground: Fernando Márquez y la novela de la Movida." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 23 (December 13, 2014): 387. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201523863.

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La novela Mary Ann (1985), de Fernando Márquez, es un caso representativo de literatura nacida en el seno del movimiento cultural de La Movida, que encuentra acomodo en el marco general de la Postmodernidad. Se plantea como una creación híbrida en lo genérico y ecléctica en los referentes culturales (literatura, cine, cómic, política). Escrita con una clara voluntad transgresora y provocativa, es heredera de las actitudes punk musicales, al mismo tiempo que reserva un espacio para el mito como ámbito de lo sagrado. Es el caso de Greta Garbo, figura que recorre la totalidad del libro y que inspira una particular reflexión en torno al concepto social de la belleza. El presente artículo desgrana las múltiples referencias musicales y culturales que vertebran esta obra, y se adentra en el singular significado que Márquez imprime al mito. Fernando Márquez's novel Mary Ann (1985) is a representative case of the literature born within the cultural movement of La Movida, which is accommodated within the overall framework of Postmodernism. It is proposed as a generic hybrid creation and eclectic in the cultural references (literature, cinema, comics, politics). Written with a clear transgressive and provocative will, it inherits the musical punk attitudes, while reserves a space for myth as sacred field. This is the case of Greta Garbo, figure that goes over the entire book and inspires a particular reflection on the social concept of beauty. This article spells out the many musical and cultural references that underpin this work, and explores the singular meaning that Marquez impress to myth.

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Nicholls, Peter. "Sexuality and Structure: Tensions in Early Expressionist Drama." New Theatre Quarterly 7, no. 26 (1991): 160–70. http://dx.doi.org/10.1017/s0266464x00005431.

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In the first of two essays, Peter Nicholls explores connections between ideas of an ‘absolute’ or non-representational theatre and the forms of narrative and discursivity which have traditionally invested dramatic forms. In one of the earliest Expressionist plays – Oskar Kokoschka's Murder, Hope of Women – the tension between these ideas is powerfully in evidence. Nicholls shows how Kokoschka's formal experimentalism is grounded in contemporary polemics about gender and sexuality, tracing the ways in which theatrical innovation seeks to evade the Oedipal constraints of plot and narrative. That tension, he believes, informs subsequent Expressionist drama, where an almost obsessive preoccupation with the working-through of family histories is contested by forms of theatrical ‘affect’ which undermine structure from within. Peter Nicholls's second essay will pursue the ‘anti-Oedipal’ implications of Dada and Surrealist theatre. The author teaches English and American literature at the University of Sussex, and his publications include Ezra Pound: Politics, Economics, and Writing, and articles on postmodernism, contemporary poetry, and French Cubism. His Modernisms: a Literary Guide will be published by Macmillan later this year.

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Iacobelli Delpiano, Pedro. "La “neutralidad” chilena en la Segunda Guerra Mundial (1939-1943): Un análisis historiográfico con énfasis en la literatura sobre las relaciones Chile-Japón." Revista de Historia y Geografía, no. 34 (September 13, 2016): 95. http://dx.doi.org/10.29344/07194145.34.356.

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ResumenLa literatura sobre la historia internacional de Chile durante la Segunda Guerra Mundial ha centrado el debate en torno al juego de presiones ejercidas por los Estados Unidos hacia los gobiernos radicales de Jerónimo Méndez Arancibia y Juan Antonio Ríos Morales para conseguir que Chile se sumara a la política continental contra las fuerzas del Eje. La neutralidad chilena fue interpretada como una actitud traicionera por los estadounidenses y en un triunfo por los países del Eje durante 1941 a 1943. Este artículo introduce el debate y busca presentar las posibilidades historiográficas al incluir a Japón, tanto como actor relevante en la política chilena como receptor de la “neutralidad” chilena en el periodo.Palabras clave: Chile, Japón, Segunda Guerra Mundial, Estados Unidos, historiografíaThe Chilean “Neutrality” in World War II (1939-1943): A historiographical analysis focused on the literature of the diplomatic relations between Chile and JapanAbstractThe literature about Chile´s international history during World War II has heavily laid on the power dynamics between the US and the Chilean radical governments of vice-president (interim) Jerónimo Méndez Arancibia and president Juan Antonio Rios Morales. Since the Roosevelt administration sought to secure the rupture of diplomatic relations between Chile and the Axis powers, Santiago´s refusal to break relations was understood as treason by the US and as a diplomatic success by the Axis powers during 1941-1943.This paper delves into the historiographical possibilities in including Japan, either as a relevant actor in the Chilean politics and as receptor of the newsabout Chile´s neutrality.Keywords: Chile, Japan, Second World War, United States, historiographyA “neutralidade” chilena na segunda guerra mundial(1939-1943): uma análise historiográfica, com ênfase naliteratura sobre as relações Chile-JapãoResumoA literatura sobre a história internacional do Chile durante a Segunda Guerra Mundial tem-se centrado no debate em torno ao jogo de pressões exercidas pelos Estados Unidos aos governos radicais de Jerónimo Méndez Arancibia e Juan Antonio Rios Morales, para conseguir que o Chile pudesse se somar a política continental contra as forças do Eixo. A neutralidade chilena foi interpretada como uma atitude traiçoeira pelos norte-americanos e uma vitória para os países do Eixo durante 1941 a 1943. Este artigo introduz o debate e procura a presentar as possibilidades historiográficas ao incluir ao Japão, tanto como um ator relevante na política chilena como o destinatário da “neutralidade” chilena no período.Palavras-chave: Chile, Japão, Segunda Guerra Mundial, Estados Unidos, historiografia

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Bettinson, Gary. "9Film Theory." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 160–80. http://dx.doi.org/10.1093/ywcct/mbz009.

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AbstractIn this chapter I review six contributions to the field of film theory published in 2018: Carl Plantinga’s Screen Stories: Emotion and the Ethics of Engagement (Oxford University Press); Miklós Kiss and Steven Willemsen’s Impossible Puzzle Films: A Cognitive Approach to Contemporary Complex Cinema (Edinburgh University Press); Nicholas Godfrey’s The Limits of Auteurism: Case Studies in the Critically Constructed New Hollywood (Rutgers University Press); Peter Krämer and Yannis Tzioumakis’s The Hollywood Renaissance: Revisiting American Cinema’s Most Celebrated Era (Bloomsbury Academic); Dorothy Wai Sim Lau’s Chinese Stardom in Participatory Cyberculture (Edinburgh University Press); and Gina Marchetti’s Citing China: Politics, Postmodernism, and World Cinema (University of Hawaii Press). The chapter has three sections: 1. Cognition, Emotion, and Ethics; 2. The New Hollywood; 3. Contemporary Chinese Cinema.

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Szukała, Wiosna. "Estética y política en la obra de Sebastián Lelio." Studia Romanica Posnaniensia 47, no. 1 (2020): 107–19. http://dx.doi.org/10.14746/strop.2020.471.009.

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Art that addresses socio-political issues is exposed to various hazards. Its creators can easily fall into a moralizing or propagandistic tone, being accused of impoverishing ideologization, on the one hand, or opportunistic populism, on the other. In the case of this type of work, the discussions on the importance of the social problem addressed relegate aesthetic issues to the background, turning them, according to the opinion of some, into second-rate works, which serve a greater cause but lack real artistic value. These dilemmas, as he himself affirmed on many occasions, lie at the heart of Sebastián Lelio’s cinematographic creation. In his films, the Chilean director seeks to overcome the difficulties that come with the desire to tell a socially relevant story in a non-biased way that is both unique and universal. The director’s last three works touch on “urgent” subjects. Gloria (2013), Una mujer fantástica (2017), Disobedience (2018) portray figures excluded or placed on the margins of hegemonic society. Lelio confronts the non-normativity of his characters with a whole series of mechanisms of social discipline. The aim of the article will be the analysis of the director's artistic project – the characterization of its aesthetic qualities and its political consequences. In this task we will rely on the conceptual apparatus constructed on the basis of ideas taken from Jacques Rancière’s theory, the essential reference for any approach to the relationship between aesthetics and politics.

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Sinha, Chandranshu. "Discovering critical-subaltern voices: an interpretive approach for transforming OD." Journal of Organizational Change Management 31, no. 6 (2018): 1295–314. http://dx.doi.org/10.1108/jocm-11-2017-0444.

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Purpose The dialogic nature of new organization development practices brought a dramatic shift in relation to the way OD has had been practiced in the past. However, contemporary literature indicates that OD still has to go a long way if it has to play a central role. The purpose of this paper is to speculate for the concerns being raised about OD practices and propose an interpretive approach to fill in the gaps. Design/methodology/approach This paper traces OD’s glorious journey, which began with egalitarian values. This section builds on the dynamics of power and politics which was integral to the OD movement and further reviews and critiques the contributions of new OD approaches that has its foundations in postmodernism and social constructionism. In the second part, the paper discusses the critical perspective and introduces the concept of subaltern to fill in the gaps in new OD approaches. Further, the paper finds a ground to integrate and redefine the boundaries of critical and subaltern studies. Findings The paper proposes an interpretive approach for designing and carrying out OD interventions and introduces the concept of critical-subaltern OD. This approach recognizes the importance to engage with the dialectics or contradictions present between (and within) OD interventions. Through this interpretive approach, the author positions critical-subaltern voices as an integral part of OD interventions and change management. Practical implications The interpretive approach gives an insight into the unacknowledged and unheard socially constructed realities of change and OD practices for sensemaking. The approach would also be instrumental in enhancing the levels of engagement and productivity in unacknowledged and non-dominant employees. Originality/value This paper is a departure from the modern literature of critical management studies and builds on the critical theory on OD. The paper proposes by roping in the benefits of subaltern studies into OD practices. The paper builds ways to include voices of those, who never gain a voice. In brief, toward the end of the paper, the author proposes an interpretive approach and moves toward critical-subaltern OD. Through this interpretive approach, the author positions critical-subaltern voices as an integral part of OD interventions and change management.

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Tomlinson, George. "12Modern European Philosophy." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 220–41. http://dx.doi.org/10.1093/ywcct/mbz012.

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Abstract This chapter reviews four books published in 2018 which are not readily categorized as works in ‘modern European philosophy’: Gurminder K. Bhambra, Kerem Nişancloğlu, and Dalia Gebrial’s edited volume Decolonising the University, Chantal Mouffe’s For a Left Populism, Cinzia Arruzza, Tithi Bhattacharya, and Nancy Fraser’s Feminism for the 99%, and Andreas Malm’s The Progress of this Storm. Yet their uneasy relationship to this philosophy is precisely the reason they constitute a significant contribution to it. The philosophical originality and critical purchase of these books proceed from the fact that each is a singular case of philosophy’s dependence on ‘non-philosophy’; each exposes the impossibility of viewing philosophy as a self-sufficient discipline. In particular, they are a timely reminder that the best political philosophy is produced through actually existing social movements to change (which ecologically now means simply saving) the world. The chapter is divided into six sections: 1. Introduction; 2. Decolonizing Philosophy: Decolonising the University; 3. Anti-Post-Politics: For a Left Populism; 4. Anti-Post-Marxism: Feminism for the 99%; 5. Anti-Postmodernism: The Progress of This Storm; 6. Conclusion.

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Edwards, Karen L., William Zunder, William Zunder, et al. "Reviews: Courtly Letters in the Age of Henry VIII: Literary Culture and the Arts of Deceit, Religion and Culture in Renaissance England, Shakespeare's Troy: Drama, Politics, and the Translation of Empire, Shakespeare and Ireland: History, Politics, Culture, History and the English Novel: Matters of Fact from Bacon to Defoe, Inventing a Republic: The Political Culture of the English Commonwealth, Jane Austen: A Life, Print Politics: The Press and Radical Opposition in Early Nineteenth-Century England, the Romantic Reformation: Religious Politics in English Literature, 1789–1824, Nationalism and Desire in Early Historical Fiction, Remaking Queen Victoria, Disease, Desire and the Body in Victorian Women's Popular Novels, Writing Cultural History in Colonial and Postcolonial India, the Usable Past: The Imagination of History in Recent Fiction of the Americas, the Kennedy Obsession: The American Myth of JFK, the Historical Imagination: Postmodernism and the Treatment of the Past in Contemporary British FictionLererSeth, Courtly Letters in the Age of Henry VIII: Literary Culture and the Arts of Deceit , Cambridge University Press, 1997, pp. xiv + 252, £35.00.McEachernClaire and ShugerDebora (eds), Religion and Culture in Renaissance England , Cambridge University Press, 1997, pp. xii + 292, £35.00.JamesHeather, Shakespeare's Troy: Drama, Politics, and the Translation of Empire , Cambridge University Press, 1997, pp. xii + 271.BurnettMark Thornton and WrayRamona (eds), Shakespeare and Ireland: History, Politics, Culture , Macmillan, 1997, pp. xii + 264, £45.MayerRobert, History and the English Novel: Matters of Fact from Bacon to Defoe , Cambridge University Press, 1997, pp. 260, £37.50.KelseySean, Inventing a Republic: The Political Culture of the English Commonwealth , Manchester University Press, 1997, pp. 254, £29.95.TomalinClaire, Jane Austen: A Life , Penguin Books, pp. 384, £20.00.GilmartinKevin, Print Politics: The Press and Radical Opposition in Early Nineteenth-Century England , Cambridge University Press, 1996, pp. xiv + 274, £35.00.RyanRobert M., The Romantic Reformation: Religious Politics in English Literature, 1789–1824 , Cambridge University Press, 1997, pp. ix + 292, £35.DennisIan, Nationalism and Desire in Early Historical Fiction , Macmillan, 1997, pp. viii + 203, £35.HomansMargaret and MunichAdrienne (eds), Remaking Queen Victoria , Cambridge University Press, 1997, pp. xvii + 279, £40; pb. £14.95.GilbertPamela K., Disease, Desire and the Body in Victorian Women's Popular Novels , Cambridge University Press, 1997, pp. 205, £35.SchwarzHenry, Writing Cultural History in Colonial and Postcolonial India , University of Pennsylvania Press, 1997, pp. x + 199, $32.50.ZamoraLois Parkinson, The Usable Past: The Imagination of History in Recent Fiction of the Americas , Cambridge University Press, 1997, pp. xiii + 257, £37.50.HellmannJohn, The Kennedy Obsession: The American Myth of JFK , Columbia University Press, 1997, pp. xvi + 205, $34.HolmesFrederick M., The Historical Imagination: Postmodernism and the Treatment of the Past in Contemporary British Fiction , University of Victoria (E.L.S. Monograph Series), 1997, pp. 93, pb. $9.50." Literature & History 8, no. 2 (1999): 68–86. http://dx.doi.org/10.7227/lh.8.2.6.

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Parker, Christopher, David Watson, Alan Armstrong, et al. "Reviews: The Logic of History: Putting Postmodernism in Perspective, on the Future of History: The Postmodernist Challenge and its Aftermath, Modernism and the Ideology of History: Literature, Politics, and the Past, Postmodernism in History: Fear or Freedom?, Quoting Shakespeare: Form and Culture in Early Modern Drama, Early Modern Civil Discourses, ‘A moving Rhetoricke’: Gender and Silence in Early Modern England, Society and Culture in Early Modern England, the English Radical Imagination: Culture, Religion and Revolution, 1630–1660, An Age of Wonders: Prodigies, Politics and Providence in England, 1657–1727, Luxury in the Eighteenth Century: Debates, Desires, and Delectable Goods, Antiquaries: The Discovery of the Past in Eighteenth-Century Britain, the French Revolution and the London Stage, 1789–1805, Nationalism, Imperialism and Identity in Late Victorian Culture, Modernism, Male Friendship and the First World War, Bloody Good: Chivalry, Sacrifice, and the Great War, Manliness and the Boy's Story Paper in Britain: A Cultural History, 1855–1940McCullaghC. Behan, The Logic of History: Putting Postmodernism in Perspective , Routledge, 2004, pp. viii + 212, £18.99 pbBreisachE., On the Future of History: The Postmodernist Challenge and its Aftermath , University of Chicago Press, 2003, pp. vii + 236, $16.00 pb.WilliamsL. Blakeney, Modernism and the Ideology of History: Literature, Politics, and the Past , Cambridge University Press, 2002, pp. 265, £40.SouthgateBeverley, Postmodernism in History: Fear or Freedom? Routledge, 2003, pp. xi + 211, £55, £16.99 pb.BrusterDouglas, Quoting Shakespeare: Form and Culture in Early Modern Drama , University of Nebraska Press, 2001, pp. 288, £35.50.RichardsJennifer (ed.), Early Modern Civil Discourses , Palgrave Macmillan, 2003, pp. 206, $65.00.LuckyjChristina, ‘A moving Rhetoricke‘: Gender and Silence in Early Modern England , Manchester University Press, 2002, pp. viii + 198, £40.CressyDavid, Society and Culture in Early Modern England , Variorum Collected Studies Series, Ashgate, 2003, pp. xii + 344, £57.50.McDowellNicholas, The English Radical Imagination: Culture, Religion and Revolution, 1630–1660 , Clarendon Press, 2003, pp. x + 219, £45.BurnsWilliam E., An Age of Wonders: Prodigies, Politics and Providence in England, 1657–1727 , Manchester University Press, 2002, pp. 218, £45.BergMaxine and EgerElizabeth (eds), Luxury in the Eighteenth Century: Debates, Desires, and Delectable Goods , Palgrave Macmillan, 2003, pp. xii + 259, 41 plates, £55.SweetRosemary, Antiquaries: The Discovery of the Past in Eighteenth-Century Britain , Hambledon & London, 2004, pp. xxi + 473, £25.TaylorGeorge, The French Revolution and the London Stage, 1789–1805 , Cambridge University Press, 2002, pp. x + 263, £45.AttridgeSteve, Nationalism, Imperialism and Identity in Late Victorian Culture , Palgrave Macmillan, 2003, pp. 229, £45.ColeSarah, Modernism, Male Friendship and the First World War , Cambridge University Press, 2003, pp. 297, £40FrantzenAllen J., Bloody Good: Chivalry, Sacrifice, and the Great War , University of Chicago Press, 2004, pp. 335, £24.50.BoydKelly, Manliness and the Boy's Story Paper in Britain: A Cultural History, 1855–1940 , Palgrave Macmillan, 2003, pp. x + 273, £60." Literature & History 14, no. 1 (2005): 81–100. http://dx.doi.org/10.7227/lh.14.1.6.

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