By Andreas Huyssen
"One of the main complete and clever postmodern critics of paintings and literature, Huyssen collects the following a chain of his essays on pomo... " —Village Voice Literary Supplement
"... his paintings continues to be alert to the complex courting acquiring among marxisms and poststructuralisms." —American Literary History
"... difficult 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 statement from the culture of the German Left has an critical function to play in modern criticism." —The German Quarterly
"... we are going to definitely have, after examining this e-book, a deeper figuring out of the forces that experience led as much as the current and of the chances 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 prior, because it is deeply indebted to that different pattern in the tradition of modernity—the historic avant-garde.
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Extra info for After the Great Divide: Modernism, Mass Culture, Postmodernism (Theories of Representation and Difference)
Right after World War Two, and I saw a milling machine for cutting the rotors on jet engines, gas turbines. This was a very expensive thing for a machinist to do, to cut what is essentially one of those Brancusi forms. So they had a computer-operated milling machine built to cut the blades, and I was fascinated by that. This was in 1949 and the guys who were working on it were foreseeing all sorts of machines being run by little boxes and punched cards. Player Piano was my response to the implications of having everything run by little boxes.
The most emblematic of these is Finnerty, a former manager and friend of Paul’s who has come to despise automation and the rhetoric of management that justifies it. In the symbolic economy of the text, Finnerty is conspicuous for his dirtiness. Early in the novel, Paul recalls: Finnerty had always been shockingly lax about his grooming, and some of his more fastidious supervisors in the old days had found it hard to believe that a man could be so staggeringly competent, and at the same time so unsanitary-looking.
Modeled on a long-standing camp run by GE called Association Island, the Meadows is represented as the epitome of monolithic corporate "NO GOOD TO ANYBODY" 41 programming. Fervently enforcing a narrowly defined code of behavior, the Meadows puts the young executives through a series of social events and games that are intended to congeal them into a single corporate identity. When Paul looks upon the other managers as they gather for a speech by Kroner, he reflects, “the crowd had miraculously become a sort of homogenized pudding.