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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.
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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