The Parameters of Postmodernism

By Nicholas Zurbrugg | Go to book overview
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The Parameters of Postmodernism
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • Preface xi
  • Notes xiii
  • Acknowledgments xv
  • Anti-Art or Ante-Art? 1
  • Notes 5
  • Introducing the B-Effect 7
  • Notes 8
  • Notes 10
  • Benjamin and the Loss of Aura 15
  • Notes 16
  • Notes 20
  • Notes 23
  • Notes 26
  • Beckett, Brecht, and the Groan of the Text 27
  • Note 34
  • Notes 37
  • Notes 44
  • Notes 45
  • Notes 49
  • Notes 50
  • Postmodernism’s Purist Aesthetic 52
  • Notes 55
  • Pure “h”—Habermas and Communicative Rationality 57
  • Notes 60
  • Notes 64
  • Notes 68
  • Notes 70
  • A Problem in Design: Lax and Mann 77
  • Notes 85
  • Notes 88
  • Notes 92
  • Multimedia Art in the Age of Mechanical Reproduction: Gaburo and Ashley 94
  • Notes 97
  • Umberto Eco and the Re-Turn to the Middle Ages 100
  • Notes 106
  • Notes 109
  • Notes 114
  • Cage, Wolf, and the Re-Turn to the Third Alternative 116
  • Wolf, Mann, and the Authority of Literary Genres 118
  • Müller, Brecht, and the Petrification of Hope 123
  • Notes 125
  • Huyssen, Popper, and the Electrification of the Avant-Garde 132
  • Delillo, Müller, Lyotard, Kroker, and the Panic Sensibility 140
  • Toward Effective Communication: Kruger and Holzer 148
  • Appropriation, Neutralization, and Reconciliation: Tillers and Johnson 150
  • Notes 157
  • Notes 159
  • Considered in Diagrammatic Summary: the Phases of Postmodernism 162
  • The Modes of Modernism and Postmodernism 164
  • Baudrillard or Cage? Degeneration or Affirmation? 165
  • Notes 167
  • Burt, Wendt, and the Positive Parameters of Postmodernism 168
  • Notes 170
  • Index 171
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