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 3
  • Monumental Art or Submonumental Art? 4
  • Notes 5
  • Eagleton and the Apocalyptic Fallacy 5
  • Notes 6
  • Introducing the B-Effect 7
  • Notes 8
  • Introducing the C-Eftect 9
  • Notes 10
  • Deploring/Exploring Hyperspace: Jameson and Cage 11
  • Notes 12
  • Stupefaction or Enlivenment? 13
  • Notes 14
  • Benjamin and the Loss of Aura 15
  • Notes 16
  • Barthes, Belsey, and the Death Of> the Author 16
  • Notes 17
  • Bürger and the Death of the Avant-Garde 19
  • Notes 20
  • Bonito-Oliva, Baudrillard, and the Collapse of the New 20
  • Notes 21
  • Beckett, Brecht, and the Attractions of Antinarrative 22
  • Notes 23
  • Beckett's Poetics of Failure/Brecht's Poetics of Interrogation 24
  • Notes 26
  • Beckett, Brecht, and the Groan of the Text 26
  • Warhol and the Grin of the Text 27
  • Notes 28
  • Eagleton, Jameson, and Dehistoricized Culture 29
  • Notes 30
  • Cage, Kostelanetz, and Value Judgments 31
  • Notes 32
  • Jameson, Rauschenberg, and Premature Exasperation 33
  • Note 34
  • Cage, Rauschenberg, and Ryman 34
  • Notes 35
  • Cage and Consumption 36
  • Notes 37
  • Collective Narrative and the Struggle with Simulacra 37
  • Notes 38
  • Depersonalized Culture or Repersonalized Culture? 40
  • Notes 41
  • Cage and the Antilogic of the Text 42
  • Notes 44
  • Beckett, Cage, and Nothing 44
  • Notes 45
  • Beckett, Cage, and Programmatic Composition 46
  • Notes 47
  • Purposeful Purposelessness or Nothing to Be Done? 48
  • Notes 49
  • Jameson, Bourdieu, and the Destruction of Art and Taste 49
  • Notes 50
  • Chion, Cage, and New Aesthetic Rationales 50
  • Notes 51
  • Postmodernism's Purist Aesthetic 52
  • Notes 53
  • Postmodernism's Hybrid Aesthetic 54
  • Notes 55
  • Feldman, Crazy Contradiction, and the Conceptual, Artistic Life 55
  • Notes 56
  • Pure "H" -- Habermas and Communicative Rationality 57
  • Notes 60
  • Beuys, Adorno, and the Silence of Marcel Duchamp 61
  • Notes 64
  • Beuys, Cage, Buchloh, and the B-B Effect 65
  • Notes 68
  • Jappe, Jameson, and the Concept of Utopia 69
  • Notes 70
  • Bense, Concrete Poetry, and the Dwindling of the Poetic Element 71
  • Notes 72
  • Chopin, Human Vitality, and Technological Civilization 74
  • Notes 75
  • Conz and the New Saints of the Avant-Garde 75
  • Note 76
  • A Problem in Design: Lax and Mann 77
  • Notes 80
  • Postmodernism at Two Speeds: Hassan, Janco, and Seuphor 82
  • Notes 85
  • Rainer, Robbe-Grillet, Reich, and the Turn to Interobjectivity 86
  • Notes 88
  • Robbe-Grillet and the Re-Turn to the Subjective Type of Writing 88
  • Notes 89
  • Rainer and the Re-Turn to Identity 91
  • Notes 92
  • Reich and the Re-Turn to Historical Realities 92
  • Notes 93
  • Multimedia Art in the Age of Mechanical Reproduction: Gaburo and Ashley 94
  • Notes 97
  • Monk and the Re-Turn to Recurrence 98
  • Umberto Eco and the Re-Turn to the Middle Ages 100
  • Notes 103
  • Grass and the Destruction of Mankind 104
  • Notes 106
  • Grass, Mann, and the Re-Turn to Forbidden Literature 107
  • Notes 109
  • Ernst, Carrington, and the Re-Turn of Surrealism 110
  • Notes 111
  • Carrington, Cage, Beuys, and the Poetics of Resistance 113
  • Notes 114
  • Cage, Carrington, Barthes, Burroughs, Bense: From Artha to Moksha 114
  • Notes 115
  • Cage, Wolf, and the Re-Turn to the Third Alternative 116
  • Wolf, Mann, and the Authority of Literary Genres 119
  • Müller, Beuys, and the Elevation of the Berlin Wall 121
  • Notes 122
  • Müller, Brecht, and the Petrification of Hope 123
  • Notes 125
  • Müller, Wilson, and the Re-Turn to the Classics 126
  • Notes 129
  • Huyssen and the Endgame of the Avant-Garde 130
  • Note 131
  • Huyssen, Popper, and the Electrification of the Avant-Garde 133
  • Notes 136
  • BuñUel, Breton, Benjamin, Baudrillard, and the Myths of Mechanical Depersonalization 138
  • Notes 139
  • Delillo, Müller, Lyotard, Kroker, and the Panic Sensibility 140
  • Notes 142
  • Ballard, the Kindness of Women, and Catharsis 143
  • Notes 144
  • Beyond the Disappearance of Value: Anderson and Acker 145
  • Notes 147
  • Toward Effective Communication: Kruger and Holzer 148
  • Note 149
  • Appropriation, Neutralization, and Reconciliation: Tillers and Johnson 150
  • Notes 152
  • Independent Internationalism: Finlay and Lax 153
  • Notes 154
  • Anderson and American Active Freedom 156
  • Notes 157
  • Glass and Wilson: Alienation Effect or Empathy Effect? 158
  • Notes 159
  • Burroughs, Walker, and the Pattern of Chaos 159
  • Notes 160
  • Beckett, Warrilow, and the Clarity of Spirit 160
  • Note 161
  • Considered in Diagrammatic Summary: The Phases of Postmodernism 162
  • The Modes of Modernism and Postmodernism 164
  • Baudrillard or Cage? Degeneration or Affirmation? 166
  • Notes 167
  • Burt, Wendt, and the Positive Parameters of Postmodernism I 168
  • Notes 170
  • Index 171
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