The Routledge Companion to Postmodernism (Routledge Companions)
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This fully revised third edition of The Routledge Companion to Postmodernism provides the ideal introduction to postmodernist thought. Featuring contributions from a cast of international scholars, the Companion contains 19 detailed essays on major themes and topics along with an A-Z of key terms and concepts. As well as revised essays on philosophy, politics, literature, and more, the first section now contains brand new essays on critical theory, business, gender and the performing arts. The concepts section, too, has been enhanced with new topics ranging from hypermedia to global warming. Students interested in any aspect of postmodernism will continue to find this an indispensable resource.
Norris published two books criticizing it, What's Wrong with Postmodemism? (1990) and The Truth about Postmodemism (1993), Alex Callinicos and Terry Eagleton one each. In an essay in What's Wrong with Postmodemism entitled 'Lost in the Funhouse', Norris chooses to take on Baudrillard because he has pushed his kind of writing as far as it will go, deliberately manipulating rhetoric as a weapon against opponents ofthe postmodern creed. Norris first of all attacks Baudrillard for retreating from
complexes of class, race and culture' (H. Crowley and S. Himmelweit, eds., Knowing Women (1992», as some theorists propose - if, in other words, we remove gender (or sexual difference) as a central organizing principle - how can a feminist political practice any longer be possible? If sexual difference becomes only one term of difference, and one that is not fundamentally constitutive of our identity, then how can it be privileged? Surely to privilege it becomes, in Christine Di Stefano's words,
the frustration he felt by then towards official Marxism. Libidinal Economy claimed that Marxism was unable to encompass the various libidinal drives that all individuals experienced, since these unpredictable drives lay beyond any theory's control (the argument is similar to the one expressed in Anti-Oedipus). What was precisely wrong with Marxism was that it tried to suppress these energies, and in so doing revealed its latent authoritarianism. Behind the book's vicious attack on Marxism lay a
with its capacity to translate narrative into the transfiguring intensity of his materials. In such a scenario painting becomes a form of incantation and enchantment: it will raise the darkness of Teutonic mythology in order to face its primitivism and irrationality. This turning away from the 'universalism' of high-modernism is characteristic of the other main figures associated with this mode of postmodernism. The belief that the return to painting involves the return to the mythologies of
the other, it is a research programme attracting funds from military and corporate sponsors that seeks, for the first time, to place a new, created or manufactured species of intelligent life on the earth. If this still sounds somewhat intoxicated, we need only remember AI guru Marvin Minsky discussing the possibility of real artificial intelligences: 'Of course they're possible; that's not the problem. The real problem is that the first hundred or so are going to be clinically insane.' As