By Andreas Huyssen
"One of the main entire and clever postmodern critics of artwork and literature, Huyssen collects right here a sequence of his essays on pomo... " —Village Voice Literary Supplement
"... his paintings continues to be alert to the troublesome courting acquiring among marxisms and poststructuralisms." —American Literary History
"... demanding and astute." —World Literature Today
"Huyssen's level-headed account of this debatable 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 critical position to play in modern criticism." —The German Quarterly
"... we'll definitely have, after examining this publication, a deeper realizing of the forces that experience led as much as the current and of the probabilities 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 an intensive holiday with the earlier, because it is deeply indebted to that different development in the tradition of modernity—the historic avant-garde.
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Additional resources for After the Great Divide: Modernism, Mass Culture, Postmodernism (Theories of Representation and Difference)
The ode’s first stanza conveys the poet’s sense of what has been lost: There was a time when meadow, grove, and stream, The earth, and every common sight, To me did seem Apparelled in celestial light, The glory and the freshness of a dream. (1–5) In the child’s “fresh,” dream-like perspective, natural entities are enveloped in “glory,” even phenomena that come to be seen as stripped-down “common sight[s]” in adulthood. It is important to note that spring is the poem’s seasonal setting. Spring is a time of beginnings, of vibrant new life which parallels the speaker’s own earliest experiences.
Nevertheless, as mentioned before, Marvelous Possessions also reveals ways wonder could promote European tolerance of cultural difference, enabling the New World explorer to experience a “surprising recognition of the other in himself, himself in the other” (25). Such a welcoming of otherness requires a suspension of prejudice, a willingness to risk open encounters with the unknown and unpredictable that is a feature of wonder. A survey of philosophical thought on wonder suggests that although dread can be a possible (secondary) outcome of our encounters with the marvelous, it is not primary to the experience of wonder.
Likewise, in “The Truth of the Barnacles: Rachel Carson and the Moral Significance of Wonder,” Moore argues that Carson’s writing seeks to cultivate a “propensity to respond with delight, awe, or yearning to what is beautiful and mysterious in the natural world when it unexpectedly reveals itself” (265), a propensity that she links with Carson’s impassioned environmental protectionism. Although I believe philosophers such as Hepburn and Moore overestimate wonder’s capacity to serve as a “ground” (Hepburn 152) for ethics—Moore going so far as to argue that “[a] sense of wonder impels us to act respectfully in the world” (271)—these thinkers nonetheless trace potentially important affinities between wonder and ecological protection.