By Andreas Huyssen
"One of the main finished and clever postmodern critics of paintings and literature, Huyssen collects the following a sequence of his essays on pomo... " —Village Voice Literary Supplement
"... his paintings is still alert to the complicated dating acquiring among marxisms and poststructuralisms." —American Literary History
"... hard and astute." —World Literature Today
"Huyssen's level-headed account of this arguable constellation of serious 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 vital position to play in modern criticism." —The German Quarterly
"... we are going to definitely have, after examining this ebook, a deeper figuring out 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 previous, because it is deeply indebted to that different pattern in the tradition of modernity—the historic avant-garde.
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Extra info for After the Great Divide: Modernism, Mass Culture, Postmodernism (Theories of Representation and Difference)
There is no distinctive moment at which someonesomeone presentmight actually decide what to do or not to do, whether or not to push the button to activate the latest generation of nuclear weapons. There are no discrete acts: to prepare to strike is but part of the process of striking. The end is implicit in the beginning. There may be those two proverbial missile-activating buttons and two leaders to give orders to push them. But within a seamless process they are pushed by dispassionate "individuals" who themselves are pushed by the rationality that inheres in their knowledge that the species is finally saved only in a process that terminates it.
No ordeals, no pain. We come to an endand yet it is an end which some nagging, secret part of us still wants to leave. Like Page 11 Dostoyevsky's underground man, we seem to want no peaceno retreat that would at last satisfy our needs. Even when the flawless calculator of pleasure designed by Jeremy Bentham and B. F. Skinner assures us that things are going well we feel the impulse to complicate our existence. We anxiously scan the landscape and dream of escaping the merchants of nostalgia, the unrelenting utilitarianism of the age.
Nor did they anticipate that governmental institutions and the mass media would simply reinforce the process of industrialization and modernization. Permeating every sector of life, private interests were to become public except in name. By the 1980s the popularity of Reagan administration made clear that little more than an antitechnological nostalgia remained within the liberal state to check the impulse to expand, to use knowledge for the endless enhancement of man's power. The nihilistic drive of the enterprises of modernity is accompanied by a massive forgetfulness.
After the Great Divide: Modernism, Mass Culture, Postmodernism (Theories of Representation and Difference) by Andreas Huyssen