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Whose (Meta)modernism?: Metamodernism, Race, and the Politics of Failure
Abstract
Contemporary American poetry by black women writers challenges a theory of metamodernism that would identify the acceptance of “failure” as a central attitude of metamodern art and literature. Metadmodernist poetry by Harryette Mullen and Evie Shockley explicitly engages the politics of form that characterizes avant-garde modernism; rather than figure political and aesthetic failure as inevitable or even desirable, these writers revitalize formal techniques of modernism (often modernism's avant-garde strands in particular) in order to offer critiques of state-sanctioned racism and heterosexism. These critiques do not redeem failure by aestheticizing it but rather lay bare the ways in which American society has failed people of color. The varying degrees of attention afforded to such contemporary political concerns by theories of metamodernism prompts the question “Whose metamodernism are we theorizing?”.
... Kontext und Polaritäten von Modernismus und Postmodernismus Bei Kilicoglu/Kilicoglu (2019) gibt es nach einer kurzen zusammenfassenden begrifflichen Aufarbeitung des Paradigmenwechsels (paradigm shift), die sich v.a. auf die "Notes on Metamodernism" von 2010 bezieht (weitere wichtige Referenzen sindYousef 2017, Turner 2011, Brunton 2018, 55 den Versuch einer stilisierten Anwendung der drei Paradigmen auf das Bildungsverständnis (idea of education) in den Nordischen Ländern. Diesem allgemeineren Zugang folgt eine Analyse der drei bildungspolitischen Dimensionen von Schulleitung (school leadership), Schulpolitik und -governance (schooling), und Bildungsforschung. ...
Abstract
Dieser Beitrag bringt drei Diskurse, die eng mit der gesellschaftlichen Form der Netzwerke verbunden sind, zusammen, und reflektiert Zusammenhänge; dabei ist das Papier in hohem Maße eine Studienlektüre geworden, die versucht, Material zugänglich zu machen.
In den 1980ern kamen in der Sozialwissenschaft die Netzwerke als neue Form der gesellschaftlichen Organisation auf (Markt, Organisation/Bürokratie, Gemeinschaft, Netzwerke), die teilweise sogar dominierende Form eingeschätzt wurden. Mit der Netzwerkgesellschaft von Manuel Castells hat sich diese Organisationsform zu einer neuen gesellschaftlichen Formation verdichtet. Es wird dargestellt, welche Hauptargumente hier angeführt wurden, welche politischen Schlussfolgerungen gezogen wurden, und was aus diesem Konzept/Diskurs geworden ist.
Im neueren Diskurs zum Metamodernismus wird versucht, aus der Spaltung und den Einseitigkeiten von Moderne und Postmoderne herauszukommen, wobei die Netzwerkorganisation als essentielles Element der gesellschaftlichen Organisation und Dynamik gesehen wird. Hier gibt es auch ansatzweise eine Literatur zu den möglichen Ableitungen aus diesen gesellschaftlichen Veränderungen für das Bildungswesen.
Es ist ein „neuer Bildungsdiskurs“ entstanden, der weit über „Unbildung“ und „Lifelong Learning“ hinausgeht, in dem auch Protagonist*nnen des Metamodernismus an Einfluss zu gewinnen versuchen. Die EAEA hat diese Aufgabe mit einem Projekt über Bildung aufgenommen, und auch eine direkte Verbindung zu einer Variante des Metamodernismus hergestellt. Das wird abschließend skizziert, und der Bogen zur Netzwerkorganisation aufgenommen.
... Without abrogating the values of modernism and postmodernism, metamodernism presents nostalgia for the reality and the authenticity in contemporary culture. Thus, metamodernism can be viewed as an attempt to establish a home in our present moment through a nostalgic looking back and reactivation of modernism (Brunton 2018). ...
Metamodernism, which is used synonymous with post-postmodernism or neo-modernism, has come forward in response to postmodernism and the emerged crises, instabilities, and uncertainties in all areas of this epoch. Metamodernism is a perspective situated epistemologically with (post)modernism, ontologically between (post)modernism and historically beyond (post)modernism. It seeks an oscillation between modernism and postmodernism with mediating between them and responding to existing cultural modes. Thus, metamodernism is a paradigm beyond modernism and postmodernism, trying to explain today’s cultural and intellectual developments which are not sufficiently criticized by modernism nor postmodernism. This paper questions and discusses the understanding of this paradigm and its reflections on education, school leadership, and schooling in the Nordic countries. By reviewing education-related reports, survey reports, books and articles about these countries, comprehending their philosophy of education throughout the years, and analyzing the ongoing educational developments, the main notion of metamodernism and its influences on schooling, leadership implications, classroom activities and research in education are focused on this paper.
This study explores human subjectivity and its manifestation from a metamodern perspective in the Canadian TV series Orphan Black and its graphic novel adaptation. To analyze the selected text, two metamodern concepts of Simultaneity and Paradox are used in this article. In addition to metamodernism, transmedia storytelling is used as a theoretical foundation to help understand the manifestation of subjectivity in the form of human cloning in the selected texts. The study is qualitative in nature and uses Catherine Belsey’s method of textual analysis to read the selected texts. The analysis sheds light on the manifestation of subjectivity in Orphan Black. The said subjectivity manifests in constant oscillation on the spectrum of self. The clones in the selected series simultaneously occupy multiple positions on the spectrum of self and in doing so, the notion of Paradox helps explain how the said positioning is self-contradictory. This eventually creates a trajectory for the subject to move beyond the either-or and neither-nor boundary of self.
The study analyses the manifestations of metamodernism in Czech poetry. The author places these manifestations in the broader historical framework of Czech culture in the post-communist era. He focuses on the overcoming of apoliticality, which was considered a preferable state of literature after the fall of communism in 1989. In textual analyses, the author focuses on the links between literary and political discourse. The texts analyzed come mainly from authors of the millennial generation, whose work is at the core of Czech poetic metamodernism. The link between the analyses of each author's poetics is the observation of the stylization of the lyrical subject, which allows one to name the fundamental aspects of metamodern poetic subjectivity.
Цель представленной статьи – интерпретация современного феномена визуальной поэзии в социальных сетях с точки зрения его художественной и социальной ценности, легитимности и роли в культурном контексте. В соответствии с этой целью дано обоснование следующим позициям. Установлены пути влияния платформ социальных медиа, приводящие к эффектам, которые удалось обнаружить на настоящий момент: интерактивность, восприятие стихотворения как контента, гибридная аудиовизуальная форма, трансформация критериев литературности под влиянием правил функционирования социальных сетей и стремления к популярности и коммерческому успеху, инструмент построения цифровой идентичности, перформативность. Все перечисленное влияет на трансформацию привычек потребления поэтического контента, а также его оценки. Определено, как поэты развивают свою виртуальную идентичность и как это влияет на создаваемый ими контент, который имеет характеристики подлинного и фальшивого одновременно. Их творчество, как и создаваемый ими образ, колеблется между двумя этими полюсами, что передает амбивалентное эмоциональное послание. Во главу ставятся субъективное переживание человека и опыт, получаемый в его процессе. Попытки поэтов балансировать между ролями инфлюенсера и традиционного поэта приводят к созданию мифологизированного образа с помощью способа ведения аккаунта, определенных лингвистических и визуальных маркеров внутри постов. Кроме того, стихи обладают терапевтическими свойствами, так как приходят в форме ежедневного эмоционально-визуального опыта. Они также не только имеют личную ценность для человека, но и транслируют важные социальные призывы, актуальные для западной массовой культуры в данный момент времени. С обозначенных позиций изучаемый поджанр медиатекстов продуктивно рассматривать через движение западной культуры за пределы постмодерна, в сторону развивающегося в настоящее время метамодернизма, для которого характерна попытка сбалансировать оппозицию «искренность vs ирония». Метамодернизм соединяет в себе только формирующиеся различные состояния культуры, пришедшие на смену постмодерну, поэтому термин не обладает стабильностью и точностью. Однако в рассматриваемой поэзии можно отметить характерное для нее использование модернистских техник в новом контексте и с иными целями. На первый план выходит сознательная попытка соединить несоединимое, а именно противоположные полюсы бинарных оппозиций, которые постмодерн пытался деконструировать. В результате представленного исследования обнаружены тенденции, ведущие к тому, что рекуперативные качества литературы и искусства становятся важными в современном обществе, выявлены новые характеристики современного состояния поэзии, которая переходит от элитарности к утилитарности и деиерархичности.
The aim of the article is to investigate the modern phenomenon of poetry in social networks in terms of its artistic and social value, legitimacy and role in the cultural context. First of all, its main features, which are influenced by the nature of the social media platform itself, are established. The following aspects are identified: interactivity, the perception of the poem as content, a hybrid audiovisual form, the transformation of the criteria of what is considered literature under the influence of the rules of social networks and the desire for popularity and commercial success, a tool for building digital identity, performativity. All of them influence the transformation of habits of consumption of poetic content, as well as its assessment. Secondly, poets attempt to balance the roles of an influencer and a traditional poet, which contributes to the creation of a mythologized image through the way they maintain their account, certain linguistic and visual markers within the posts. In addition, poems have therapeutic properties because they come in the form of daily emotional and visual experiences. They also not only have personal value for the individual, but also spread important social messages relevant to the Western mass culture currently. Thirdly, the article establishes how poets develop their virtual identity and how this affects the content they create, which has the characteristics of being authentic and fake at the same time. Poets’ work, like the image they create on social media, oscillates between these two poles, conveying an ambivalent emotional message. A person’s subjective experience is put at the center. The movement of Western culture beyond postmodernism towards the currently developing metamodernism is analyzed. Sincerity versus irony is the main opposition here, relevant for the media text subgenre in question. Metamodernism combines only emerging different states of culture that have replaced the postmodern ones, so the term does not have the necessary stability and accuracy for it to be widespread. Several interpretations of the term are analyzed in the article, and common elements are pointed out. For instance, in poetry we can note its characteristic use of modernist techniques in a new context and with different goals. Another example is that at the forefront is a conscious attempt to connect the unconnected, namely, the opposite poles of binary oppositions, which postmodernism tried to deconstruct. The identification of a tendency for the recuperative qualities of literature and art to become important in contemporary society and culture speaks to the scholarly significance of the paper, as does the overall interdisciplinary nature of the article. The article also reflects new aspects of the characterization of the contemporary state of poetry, which is moving from elitism to utilitarianism and dehierarchy.
Ichikawa Haruko’s manga Hōseki no Kuni is set in the far distant
future of the Earth, when humans have disappeared but humanoid crystalline
lifeforms live on the planet. The Crystals are led by a Buddhist monk, who is a
religious android made by the extinct humans. He leads them in battles
against “moon people”, actually the remnants of human souls trying to get the
android monk to pray for them. This chapter argues that Hōseki no Kuni
speaks to anxieties about what might be lost as more and more affective,
communicative and even religious labor is performed by artificial
intelligences, a pressing topic in aging Japan. However, it does not follow the
techno-horror genre and other narratives that present technology itself as a
threat. The android himself is depicted as a deeply compassionate, gentle and
ideal monk. The text rather argues that by outsourcing spiritual affective labor
humans risk losing sight of their humanity.
Though both writers migrated from the Caribbean and lived at the same time in England in the 1930s, Jean Rhys (1890–1979) and Una Marson (1905–1965) did not run in the same circles – or know of each other. Marson's poetry and plays emerge from her anticolonial, feminist political commitments while Rhys has often been read as an isolated figure in modernist and Caribbean literary histories. They each had a complicated relationship to both European modernism and to mid-twentieth-century Anglophone Caribbean literature. Rhys and Marson have been put in implicit conversation in the wake of the new modernist studies because they are uneasily positioned within familiar canons of twentieth-century literature. Importantly, as this article argues, both writers also focus on failure – personal, aesthetic, and political – in their key works exploring migration in the 1930s – Rhys's novel Voyage in the Dark (1934) and Marson's poetry collection The Moth and the Star (1937). Failure in these texts is double sided, recasting personal and aesthetic failure as the failure of dominant narratives to recognize their characters. Reading these texts together, this article argues that late colonial women writers at once registered and challenged dominant conceptions of failure in their reconstruction of inherited forms.
David Foster Wallace’s writing has come to be synonymous with post-postmodernism. Strategies that are often singled out in this respect include the return to epic forms of storytelling; a post-ironic attitude towards its subject matter; a concern with empathy and affective generosity; and an ambiguous but reinvigorated relationship of language to ‘reality’. In this essay I consider some of these in the context of visual art. The aim is less to map one onto another, detailing how much they have in common, than it is to tease out some of the differences between them so as to pinpoint Wallace’s position on post-postmodernism’s cognitive map across the disciplines.
The study examines Ali Smith's Winter (2017) in light of the discourse of ‗relationality' as it is formulated in ‗metamodernist' theoretical speculations. Smith's text utilizes the aesthetics of ‗metamodernism' and its salient features to re-envision alternative forms of binary distinctions namely; death and rebirth, vision and truth, past and present, transience and permanence, superficiality and depth, as well as the dialectic and dialogic thinking. Such disparate polarities are no longer regarded as oppositional extremes that exist in vacuity, but they negotiate as interrelated, mutually inclusive and simultaneously operative contentions. Textual analysis reveals the complex process Winter undertakes to reclaim the fractured state of the individual subject, construct spaces of dialogic communication, reimagine utopian desire of tolerant and collaborative world.
In the past twenty years, the continued relevance of the term postmodernism for literary studies has increasingly been called into question. In the wake of this re-evaluation of literary terminology, many new terms have been coined, frequently associated still with a “-modern” suffix. This paper suggests that while the new modernisms hold relevance for specific concerns of contemporary literature, they have yet to provide an alternative framing for dominant trends. This is the case even when, as for metamodernism, a term has begun to move into general usage. The new modernisms, we suggest, are caught in a reductive association to the past which minimises their applicability to the dynamic newness of contemporary writing, particularly as it responds to ethico-political concerns. As an alternative to these terminologies we suggest “transglossic”, capturing the movement across forms and identities that uniquely defines contemporary literature.
The study of literary modernism is in the ascendant in the academy. From alternate modernisms, to neomodernisms, to metamodernism and global modernisms, modernism scholarship has evolved through a configuration of modernism into a cross-cultural and inter-generational aesthetic practice. This article critically examines the periodizing logic implicit in this new modernism scholarship, specifically as it pertains to the study of what is loosely called ‘neomodernism’, which we suggest presents a notable development in literary history for accounts of contemporary fiction and postmodern culture. We are principally interested in a recent trend we observe in modernism literary criticism concerning the futurization of the object (literary modernism), and of critical work thereupon. This work, which specifically addresses developments in contemporary Western Anglophone literature, seeks to extend the project of modernism (sometimes called its ‘promise’) into the present, understanding it as the principal agency in literary distinction and merit. We examine this criticism through a series of case studies, and discern three interconnecting strands in neomodernist criticism – three ways of futurizing modernism, and of self-futurizing modernism criticism.
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