Transcending Postmodernism: Performatism 2.0 is an ambitious attempt to expand and deepen the theory of performatism. Its main thesis is that, beginning in the mid-1990s, the strategies and norms of postmodernism have been displaced by ones that force readers or viewers to experience effects of aesthetically mediated transcendence.
Transcending Postmodernism: Performatism 2.0 is an ambitious attempt to expand and deepen the theory of performatism. Its main thesis is that, beginning in the mid-1990s, the strategies and norms of postmodernism have been displaced by ones that force readers or viewers to experience effects of aesthetically mediated transcendence.
Raoul Eshelman is a Slavist who received his M.A. and Ph.D. from the University of Constance and who worked primarily at the Ludwig Maximilian University in Munich until his retirement in 2022.
Inhaltsangabe
Contents Foreword Introduction: Theories of Post-postmodernism Chapter One: The Prison-house of Posthistoricism Chapter Two: A Time for Transcendence Chapter Three: Performatism and the Ethics of Perpetration Chapter Four: From Fool to Genius: Separated Subjectivity in Performatism Chapter Five: Aesthetics, Sexuality and Transcendence Chapter Six: Performatism and Global Narratives Chapter Seven: The End of Performatism? Bibliography Index
Contents Foreword Introduction: Theories of Post-postmodernism Chapter One: The Prison-house of Posthistoricism Chapter Two: A Time for Transcendence Chapter Three: Performatism and the Ethics of Perpetration Chapter Four: From Fool to Genius: Separated Subjectivity in Performatism Chapter Five: Aesthetics, Sexuality and Transcendence Chapter Six: Performatism and Global Narratives Chapter Seven: The End of Performatism? Bibliography Index
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