Within the past ten years, the field of contemporary American literary studies has changed significantly. Following the turn of the twenty-first century and mounting doubts about the continued explanatory power of the category of “postmodernism,” new organizations have emerged, book series have been launched, journals have been created, and new methodologies, periodizations, and thematics have redefined the field. Postmodern/Postwar—and After aims to be a field-defining book—a sourcebook for the new and emerging critical terrain—that explores the postmodern/postwar period and what comes after. The first section of essays returns to the category of the “post-modern” and argues for the usefulness of key concepts and themes from postmodernism to the study of contemporary literature, or reevaluates postmodernism in light of recent developments in the field and historical and economic changes in the late twentieth and early twenty-first centuries. These essays take the contemporary abandonments of postmodernism as an occasion to assess the current states of postmodernity. After that, the essays move to address the critical shift away from postmodernism as a description of the present, and toward a new sense of postmodernism as just one category among many that scholars can use to describe the recent past. The final section looks forward and explores the question of what comes after the postwar/postmodern. Taken together, these essays from leading and emerging scholars on the state of twenty-first-century literary studies provide a number of frameworks for approaching contemporary literature as influenced by, yet distinct from, postmodernism. The result is an indispensable guide that seeks to represent and understand the major overhauling of postwar American literary studies that is currently underway.

The present collection of academic articles is an attempt to reflect on new openings and recent developments in literature, literary theory and culture which seem to point beyond postmodernism and register a return to traditional concepts, theoretical premises and authorial practices. Interestingly enough, forty years after the publication of John Barthâ (TM)s seminal essay â oeThe Literature of Exhaustionâ (1967), the book is trying to diagnose the exhaustion of postmodernism, which was predicted by David Lodge already two decades ago. It also attempts to trace the signs in contemporary literature indicating that postmodernism is past its heyday, that it is losing or has lost its shine, fascination and attraction and that writers have been turning to the â oeoldâ or pre-modern forms, practices and strategies. Herbert Grabesâ (TM) comprehensive and illuminating article â oeFrom the Postmodern to the Pre-Modern: More Recent Changes in Literature, Art, and Theoryâ which opens and sets the tone for this collection of essays is a major assessment of new developments in literary culture, focusing on the evolution of the postmodern to the premodern mode; it also highlights the role and current popularity of cultural studies and cultural history â " theoretical movements which have been prevailing for some time now after the end of deconstruction. The articles assembled in this collection are on diverse thematics and written from diverse theoretical perspectives; they differ in scope and methodology, and their focus ranges from the postmodern, intertextual aspect to the open questioning of it and to more recent developments in the literary culture. Focusing on literary icons like A.S. Byatt, John Banville, Margaret Atwood, Umberto Eco, Vladimir Nabokov (but also extending into a less-known regions â " geographically as well), they invite reconsideration and reconceptualization of such key notions as â oetruthâ , meaning production, textuality and literary interpretation. This book aims at opening fresh discussion, debate and reflection on the new age reaching beyond postmodernism, and the budding literary mode, whatever labels we might stick to it.

For more than a decade now a steadily growing chorus of voices has announced that the 'postmodern' literature, art, thought and culture of the late 20th century have come to an end. At the same time as this, the early years of the 21st century have seen a stream of critical formulations proclaiming a successor to postmodernism. Intriguing and exciting new terms such as 'remodernism', 'performatism', 'hypermodernism', 'automodernism”, 'renewalism', 'altermodernism', 'digimodernism' and 'metamodernism' have been coined, proposed and debated as terms for what comes after the postmodern. Supplanting the Postmodern is the first anthology to collect the key writings in these debates in one place. The book is divided into two parts: the first, 'The Sense of an Ending', presents a range of positions in the debate around the demise of the postmodern; the second, 'Coming to Terms with the New', presents representative writings from the new '–isms' mentioned above. Each of the entries is prefaced by a brief introduction by the editors, in which they outline its central ideas, point out the similarities and/or differences from other positions found in the anthology, and suggest possible strengths and limitations to the insights presented in each piece.

In a series of interviews this book explores the formative experiences of a generation of critical theorists whose work originated in the midst of what has been called 'the postmodern turn,' including discussions of their views on the evolution of critical theory over the past 30 years and their assessment of contemporary politics.

Containing more than fifty essays by major literary scholars, International Postmodernism divides into four main sections. The volume starts off with a section of eight introductory studies dealing with the subject from different points of view followed by a section that deals with postmodernism in other arts than literature, while a third section discusses renovations of narrative genres and other strategies and devices in postmodernist writing. The final and fourth section deals with the reception and processing of postmodernism in different parts of the world. Three important aspects add to the special character of International Postmodernism: The consistent distinction between postmodernity and postmodernism; equal attention to the making and diffusion of postmodernism and the workings of literature in general; and the focus on the text and the reader (i.e., the reader's knowledge, experience, interests, and competence) as crucial factors in text interpretation. This comprehensive study does not expressly focus on American postmodernism, although American interpretations of postmodernism are a major point of reference. The recognition that varying literary and cultural conditions in this world are bound to produce endless varieties of postmodernism made the editors, Hans Bertens and Douwe Fokkema, opt for the title International Postmodernism.

Post-Postmodernism begins with a simple premise: we no longer live in the world of "postmodernism," famously dubbed "the cultural logic of late capitalism" by Fredric Jameson in 1984. Far from charting any simple move "beyond" postmodernism since the 1980s, though, this book argues that we've experienced an intensification of postmodern capitalism over the past decades, an increasing saturation of the economic sphere into formerly independent segments of everyday cultural life. If "fragmentation" was the preferred watchword of postmodern America, "intensification" is the dominant cultural logic of our contemporary era. Post-Postmodernism surveys a wide variety of cultural texts in pursuing its analyses—everything from the classic rock of Black Sabbath to the post-Marxism of Antonio Negri, from considerations of the corporate university to the fare at the cineplex, from reading experimental literature to gambling in Las Vegas, from Badiou to the undergraduate classroom. Insofar as cultural realms of all kinds have increasingly been overcoded by the languages and practices of economics, Nealon aims to construct a genealogy of the American present, and to build a vocabulary for understanding the relations between economic production and cultural production today—when American-style capitalism, despite its recent battering, seems nowhere near the point of obsolescence. Post-postmodern capitalism is seldom late but always just in time. As such, it requires an updated conceptual vocabulary for diagnosing and responding to our changed situation.

Nursing Theory, Postmodernism, Post-structuralism, and Foucault critiques mainstream American nursing theory and its use of post-structural theory, comparing and contrasting how postmodern and post-structural ideas have been used fruitfully in nursing research and theorizing elsewhere. In the late 1980s, references to post-structuralism and Michel Foucault started to appear in nursing journals. Since then, hundreds of nursing publications have cited postmodernism and key post-structural ideas such as power/knowledge, discourse, and de-centring the human subject. In Nursing Theory, Postmodernism, Post-structuralism, and Foucault, Olga Petrovskaya argues that the application of these ideas is markedly different in American nursing theory scholarship compared to nursing theoretical scholarship generated outside the canon of "unique" nursing theory. Analysing relevant literature from the late 1980s through 2010s, she demonstrates this difference, arguing that American nursing theory calcified into a matrix of dogmas built on logical positivism, wary of "borrowed" theory, and loyal to a "unique nursing science." Post-structural ideas that fit the matrix, such as criticism of medicine, are sanctioned, whereas ideas sceptical of humanistic agendas including those that challenge American nursing theory are rendered meaningless. In contrast, other nurse scholars from Britain, Australia, Canada, and what the author calls the American enclave group engaged with postmodern and post-structural perspectives to enrich their research and invite readers to rethink nursing practice. The book showcases examples of their intelligent, creative theorizing. Arguing that American nursing theory enervated nursing theorizing, Petrovskaya calls for opening this matrix to theoretical and methodological creativity, less rigid categories of scholarship, and healthy self-examination. Making the case that post-structural ideas are vital for nurses’ ability to critically reflect on their discipline and profession, this is a necessary read for all those interested in nursing theory, philosophy, and praxis. Chapter 1 of this book is available for free in PDF format as Open Access from the individual product page at www.routledge.com. It has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

POSTMODERNISM, POSTCOLONIALISM and PEDAGOGY offers a trenchant and sophisticated criticism of forms of educational discourse that subordinate advocacy to analysis, depoliticise the margins, and reject the struggle for social justice as a legitimate aspect of social scientific and educational practice. Pushing the limits of current educational thinking, this volume defines the Issues that will be at the forefront of educational debate in the coming decade. A timely, and controversial collection, POSTMODERNISM, POSTCOLONIALISM and PEDAGOGY is at the cutting edge of critical educational theory.

The Cambridge Companion to Postmodernism offers a comprehensive introduction to postmodernism. The Companion examines the different aspects of postmodernist thought and culture that have had a significant impact on contemporary cultural production and thinking. Topics discussed by experts in the field include postmodernism's relation to modernity, and its significance and relevance to literature, film, law, philosophy, architecture, religion and modern cultural studies. The volume also includes a useful guide to further reading and a chronology. This is an essential aid for students and teachers from a range of disciplines interested in postmodernism in all its incarnations. Accessible and comprehensive, this Companion addresses the many issues surrounding this elusive, enigmatic and often controversial topic.

Scholars have argued that postmodernism is dead and that we are entering into a new era that some have labelled altermodernism, digimodernism, performatism, and post-postmodernism. This book expands on the nascent scholarship of post-postmodernism to highlight how dress, fashion, and appearance are reflections of this new age. The volume starts with a discussion of fashion, subjectivity, and time and an analysis of temporality, technology, and fashion in post-postmodern times. Later chapters analyse the work of design houses and mass producers such as Vetements, Gucci, and Uniqlo whose products align with post-postmodern aesthetics, hyperconsumption, and hypermodern branding. The book looks at diverse geographic and identity markers by discussing post-postmodernism and the religio-politico-cultural questions in South Asian Muslim fashion, image and identity presentation in queer social networking apps, and by exploring fashion designer Tom Ford's output as a movie director. Two chapters discuss the post-postmodern fashion exhibition with analyses of recent exhibitions and an in-depth look at the work of exhibition maker Judith Clark. The final chapter is written by members of The Rational Dress Society, a counter-fashion collective that makes JUMPSUIT, an experimental garment to replace all clothes. Fashion, Dress, and Post-postmodernism is a companion to research on relationships between post-postmodernism, fashion, and dress, and the go-to resource for researchers and students interested in these areas.