By Andreas Huyssen
"One of the main accomplished and clever postmodern critics of paintings and literature, Huyssen collects the following a chain of his essays on pomo... " —Village Voice Literary Supplement
"... his paintings continues to be alert to the difficult dating acquiring among marxisms and poststructuralisms." —American Literary History
"... hard and astute." —World Literature Today
"Huyssen's level-headed account of this debatable constellation of severe voices brings welcome rationalization to today's murky haze of cultural dialogue and proves definitively that remark from the culture of the German Left has an imperative function to play in modern criticism." —The German Quarterly
"... we'll definitely have, after examining this e-book, a deeper realizing of the forces that experience led as much as the current and of the chances nonetheless open to us." —Critical Texts
"... a wealthy, multifaceted study." —The Year's paintings in English Studies
Huyssen argues that postmodernism can't be considered as a thorough holiday with the prior, because it is deeply indebted to that different pattern in the tradition of modernity—the old avant-garde.
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Additional info for After the Great Divide: Modernism, Mass Culture, Postmodernism (Theories of Representation and Difference)
It is no accident that the idea of utopia has emerged in the work of Donna Haraway, Fredric Jameson, and many others as the high concept of postmodernism. For postmod- ernism, like all utopian thinking, is concerned with what lies beyond the present moment, perhaps beyond any present moment. My purpose here will be to discuss what postmodernism wants relative to three areas: cold-war politics, politics proper-by which I mean the romance of community-and aesthetics. In a sense, I will be trying to trace the historical and conceptual conditions unique to the postmodern desire for utopia, although obviously a full analysis lies beyond my powers here.
These are some of the imperatives of the new sexual politics. The attempt to transfer the scene of ethics from the city or indi- vidual self-reflection to the romantic couple seems, at first glance, to be only a sexualization of the idea of friendship, which has been since Greek times the major trope used to consider the political dimension of ethics (consider, for example, Aristotle's allos auto). '2 Yet the shift to the sexual couple has changed the landscape of politics. First, feminism recognizes that ethical conflict requires political solu- tions, and its emphasis on the ethics of the couple has illuminated the interpersonal-the political-dimension of moral reflection.
4. See also Lyotard 1984. 32 ï»¿What Does Postmodernism Want? ernization, too, belongs to modernity in its drive toward efficiency and completeness. It wants to polish the world to a bright gleam as if it were an apple. Of course, one can find many countertrends in modernism: prim- itivism, assemblage, and so forth. My point is only that postmod- ernists see a political danger associated with the modern and that it is of a certain kind, one best described as having to do with the global nature of politics conceived during the years of the world wars and cold war.
After the Great Divide: Modernism, Mass Culture, Postmodernism (Theories of Representation and Difference) by Andreas Huyssen