Bücher von 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.

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.

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.

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.

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.