Bøger af Linda Hutcheon

These readings are organized into four sections. The first explores the wellsprings of the debates in the relationship between the postmodern and the enterprise it both continues and contravenes: modernism. Here philosophers, social and political commentators, as well as cultural and literary analysts present controversial background essays on the complex history of postmodernism. The readings in the second section debate the possibility-or desirability-of trying to define the postmodern, given its cultural agenda of decentering, challenging, even undermining the guiding "master" narratives of Western culture. The readings in the third section explore postmodernism's complicated complicity with these very narratives, while the fourth section moves from theory to practice in order to investigate, in a variety of fields, the common denominators of the postmodern condition in action.

Aging and creativity can have a particularly difficult relationship for artists, who often face age-related problems at a time when their audience's expectations of their talents are at a peak. The authors explore this issue through close looks at those who created some of the world's most beloved and influential operas.

This study has a double focus: in the first place, it seeks to chart the parallel re-evaluation of both formalism and psychology in twentieth-century literary theory by using the work and career of the French literary critic, Charles Mauron (1899-1966) as a scaffolding. Secondly, it addresses the broader issue of objectivity and subjectivity in literary criticism.

Working through the issue of representation, in art forms from fiction to photography, Linda Hutcheon sets out postmodernism's highly political challenge to the dominant ideologies of the western world.

A fascinating and compulsively readable study of the myriad forms and effects of the ironic. Linda Hutcheon sets out for the first time a clear and sustained analysis of the theory and political context of irony, from Madonnna to Wagner.

Linda Hutcheon, in this original study, examines the modes, forms and techniques of narcissistic fiction, that is, fiction which includes within itself some sort of commentary on its own narrative and/or linguistic nature. Her analysis is further extended to discuss the implications of such a development for both the theory of the novel and reading theory. Having placed this phenomenon in its historical context Linda Hutcheon uses the insights of various reader-response theories to explore the "e;paradox"e; created by metafiction: the reader is, at the same time, co-creator of the self-reflexive text and distanced from it because of its very self-reflexiveness. She illustrates her analysis through the works of novelists such as Fowles, Barth, Nabokov, Calvino, Borges, Carpentier, and Aquin. For the paperback edition of this important book a preface has been added which examines developments since first publication. Narcissistic Narrative was selected by Choice as one of the outstanding academic books for 19811982.

Our modern narratives of science and technology can only go so far in teaching us about the death that we must all finally face. In this title, a physician and a literary theorist bring together scientific and humanistic perspectives on the lessons on living and dying that this extravagant and seemingly artificial art imparts.

Looks at works of modern literature, visual art, music, film, theater, and architecture to arrive at an assessment of what parody is and what it does. This title identifies parody as one of the major forms of modern self-reflexivity, one that marks the intersection of invention. It discusses the remarkable range of intent in modern parody.

Neither a defense nor a denunciation of the postmodern, it continues Hutcheon's previous projects in studying formal self-consciousness in art, but adds to this both a historical and ideological dimension.