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Postmodernism : A Very Short Introduction
 
 

Postmodernism : A Very Short Introduction [Kindle Edition]

Christopher Butler
2.6 out of 5 stars  See all reviews (8 customer reviews)

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"A pre-eminently sane, lucid, and concise statement about the central issues, the key examples, and the notorious derilections of postmodernism. I feel a fresh wind blowing away the miasma coiling around the topic."--Ihab Hassan, University of Wisconsin, Milwaukee


"The most intellectually incisive, coherent and comprehensive meditation upon the history and significance of postmodernism that I have yet encountered."--Patricia Waugh, University of Durham


"Easily the best introduction to postmodernism currently available."--Hans Bertens, Utrecht University


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Postmodernism has been a buzzword in contemporary society for the last decade. But how can it be defined? In this Very Short Introduction Christopher Butler challenges and explores the key ideas of postmodernists, and their engagement with theory, literature, the visual arts, film, architecture, and music. He treats artists, intellectuals, critics, and social scientists 'as if they were all members of a loosely constituted and quarrelsome political party' - a party which includes
such members as Cindy Sherman, Salman Rushdie, Jacques Derrida, Walter Abish, and Richard Rorty - creating a vastly entertaining framework in which to unravel the mysteries of the 'postmodern condition', from the politicizing of museum culture to the cult of the politically correct.

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15 of 16 people found the following review helpful
Format:Paperback
It seems strange that OUP should have asked Chris Butler to write a book on a subject matter that he appears to have such little time for. Though the authoritative tone indicates that he has clearly spent a good deal of time wrestling with its key debates over the course of his academic career, the majority of what Butler sweepingly terms 'postmodernism' does not come across in a particularly positive light.

There are of course plus points to such an approach. Refreshingly (and necessarily), it recognises that these ideas are no longer as contemporary and vital as they were 30 years ago or more and that they need to be evaluated with the benefit of hindsight and academic distance; there are no sacred cows. Consequently, the writing legitimates a disinterested analysis, encouraging the reader to take an objective and critical stance in engaging with these ideas.
However, while Butler is correct to argue beyond some concepts, he is frequently dismissive towards others (such as intertextuality) in a manner which it is difficult to see the advantage of (this being a pedagogic overview). Other subjects are barely mentioned: psychoanalaysis receives particularly short shrift, with not a single reference to Lacan other than a typically flippant aside about the absurdity of the post-Freudian phallic symbol.

Despite the title, it is also disappointing to note the absence of consideration towards a distinction between 'postmodernism' and 'postmodernity' (Butler concentrates exclusively on the former). As such, the focus is on the postmodern as a movement, rather than a phenomenon; ideas and works under discussion are almost entirely from a 'high art' context, specifically those which deliberately play with some of the ideas from academia; and little attention is paid to the ways in which mass culture has unconsciously participated in the dissemination of ideas. His argument then, that the postmodern 'period' (i.e. late 60s-80s) produced few works of any consequence, seems to miss the point in a rather small-minded way - surely the emphasis at this time was on producing works which reassed the ways in which we consider and consume culture (the impact of which is still being felt today), rather than simply the formation of a new canon?

It is a shame that Butler's personal biases muddy this otherwise well-written and perceptive account. To publish a book assessing postmodern cultural and theoretical legacies on their own terms (deconstructing the deconstructors, if you will) and presenting it accessibly for newcomers to the subject was a noble aim and could have been a valuable addition to the otherwise excellent Very Short Introduction series. Perhaps it can still be written by an author more sympathetic to (and aware of) the subject matter.
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21 of 23 people found the following review helpful
Format:Paperback
Though this is accessible, it is much more useful as an introductory account of Butler's own views (incidentally, highly critical of "postmodernism") than of so-called postmodern thought itself. It might be more advisable, then, to read a more sympathetic introduction (say Catherine Belsey's excellent "Poststructuralism" in the same series) before moving on to the more hostile views of Butler, Eagleton, et al.
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10 of 11 people found the following review helpful
Format:Paperback
Postmodernism belongs to that select section of terminology that leaves many critics feeling rather sick. And often with just cause. The definition of postmodernism changes noticeably depending on what area one uses it in. i.e either literature, sociology, architecture etc.
I do pity anyone who takes on the task of writing a book on the subject. I do believe however that one should refrain from such a negative outlook when writing a review as this book claims to be. It did leave me wondering whether a group of pro-postmodernist critics had commited some horrible molestation of Mr Butler or perhaps his mother.
The book therefore became more about Mr Butler's opinions rather than about the subject. Rein it in a bit please, else no one will learn anything.
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The central argument for deconstruction depends on relativism, by which I mean the view that truth itself is always relative to the differing standpoints and predisposing intellectual frameworks of the judging subject. &quote;
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For the deconstructor, the relationship of language to reality is not given, or even reliable, since all language systems are inherently unreliable cultural constructs. &quote;
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It is this central use of deconstruction to subvert our confidence in logical, ethical, and political commonplaces that has proved most revolutionary  and typical of postmodernism. &quote;
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