Pluralism in Postmodern Perspective

Hassan, Ihab

doi:10.1086/448348

Cited by 85 publications

(13 citation statements)

References 4 publications

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“…Post-modernism takes up those achievements of earlier epochs which were not fully destroyed by modernism and attempts to combine them with the ruins of the Modern Age (cf . Jencks 1984;Klotz 1984;Hassan 1987b). With the failure of a permanently modern age comes the discrediting of the idea that the chain of epochs has come to an end.…”

Section: Modernism and Post-modernismmentioning

confidence: 99%

Post-modernism, post-structuralism, post-semiotics? Sign theory at the fin de siècle

Posner¹

2011

Semiotica

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Dieser Beitrag ist mit Zustimmung des Rechteinhabers aufgrund einer (DFG geförderten) Allianz- bzw. Nationallizenz frei zugänglich.This publication is with permission of the rights owner freely accessible due to an Alliance licence and a national licence (funded by the DFG, German Research Foundation) respectively.The contribution describes the differences between modernism and postmodernism as historical periods of the twentieth century and establishes comparable differences between structuralism and post-structuralism as semiotic approaches. Like modernism, structuralism rejects traditional modes of thought, attempts to reconstruct academic disciplines on the basis of a few fundamental principles and strives to work with reconstructed terminologies and axioms. Like post-modernism, post-structuralism is characterized by the necessity of finding ways to continue research based on the fragmentary results left by structuralist projects. In the beginning of the twentieth century, structuralism itself had responded to materialism, atomism, historicism, and naturalism by introducing its own methodology built around the dichotomies of signified and signifier, paradigm and syntagm, synchrony and diachrony, langue and parole. Rather than rejecting this apparatus, post-structuralism explicated the paradoxes behind these dichotomies and tried to overcome them by under-mining the first concept of each pair. This change of perspective foregrounded the material, processual, and intertextual character of signs as well as the sense-producing function of interpretation. Rejecting rigidly fixed methods as well as general theories, and waiving the distinction between object-signs and meta-signs in favor of their joint reflection, post-structuralist semiotics became an alternative to conventional practices of academic sign analysis and now approaches the status of an art

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Section: Modernism and Post-modernismmentioning

confidence: 99%

Post-modernism, post-structuralism, post-semiotics? Sign theory at the fin de siècle

Posner¹

2011

Semiotica

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“…We need only look, of course, at the fluctuations in the critical fortunes of Donne, Spenser, and Hemingway to see how quickly (and decisively) the canon alters itself. Furthermore, despite the trend in post-structuralist thinking towards the decanonization of literature, a trend that Ihab Hassan (1986) has recently noted, for pedagogical and ideological reasons a literary canon still exerts authority. Whether snobbishly or philosophically, we still place King Lear above the Compuserve User's Manual on the hierarchy of works of literary value.…”

Section: Canonization and Literarinessmentioning

confidence: 99%

Determining literariness in interactive fiction

Randall

1988

Comput Hum

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The authors of interactive fiction are beginning to demonstrate a concern for the literariness of their product. Literariness, as defined by Shklovskij and the Russian Formalists, is the quality of "making strange" that which is linguistically familiar, a quality Shklovskij termed ostranenie. By applying the principle of ostranenie, as well as other wellknown literary principles, to the most serious interactive fictions, we can determine if this new genre exhibits the features of literariness. A study of Mindwheel, Brimstone, Breakers, A Mind Forever Voyaging, Portal, and Trinity suggest that the literariness of interactive fiction comes out of its concern both for "making strange" what is familiar and for "making familiar" what is strange.

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“…The fear of Abrams, Hirsch, and others who have attempted by various means to save this position, is that to abandon the premise of textual authority is to open texts to a total indeterminacy in which any Interpretation is acceptable (this, of course, is just one of the implications of the postmodern condition noted in Hassan's (1986) useful listing).…”

Section: The Boundavies Of Indetevminacymentioning

confidence: 99%

THE INDETERMINACY OF LlTERARY TEXTS: THE VIEW FROM THE READER

Miall¹

1988

Jlse

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Pluralism in Postmodern Perspective

Cited by 85 publications

References 4 publications

Post-modernism, post-structuralism, post-semiotics? Sign theory at the fin de siècle

Post-modernism, post-structuralism, post-semiotics? Sign theory at the fin de siècle

Determining literariness in interactive fiction

THE INDETERMINACY OF LlTERARY TEXTS: THE VIEW FROM THE READER

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