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Angela Carter‘s Exposure of Flesh-Inscribed Stereotypes
Mariaconcetta Costantini

The human body is a crucial site for the inscription of cultural paradigms: how people are perceived controls the way they are treated. Postmodernist writers have shown sexual roles, racial inequalities and other forms of discrimination to be parts of a process of reductio ad absurdum, consisting of the identification of the individual‘s social functions with their anatomical features as well as with the habitual marking of their bodies. This article examines Angela Carter‘s The Infernal Desire Machines of Doctor Hoffman where Carter‘s refusal of established body politics is most clearly dramatised. This novel exposes the dreary consequences of power/weakness relations, together with its contradictory exploitation of Gothic devices, making it an esssential testimony to Carter‘s postmodernist reconfiguration of worldviews and narrative modes.

Gothic Studies
Barker’s challenge to postmodernism
Elisabeth Angel-Perez

the grand narratives he summons. Much more than other postmodern writers, Barker very often summons the narratives or stories that are instrumental in the constitution of the grand or meta- or master-narratives. Like other postmodern writers (Heiner Müller, for instance, with Medea Material or Hamletmachine), Barker deconstructs these stories (for example, in Seven Lears). Even when he does stick to the structure of the hypotext, he undermines its logic: hence Barker writes Scenes from an Execution in the margins of a humanist story, Claw as a political anti

in Howard Barker’s Art of Theatre
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James Peacock

which human beings form mini-utopias or subcultural groupings based on a misplaced sense of ‘authenticity’ and, at their most amnesiac, refuse to entertain the possibility of difference, of contiguous or overlapping groupings. What would be at stake, then, were a literary scholar to venture by way of conclusion that Lethem might be regarded as a post-postmodern writer, rather

in Jonathan Lethem
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Jpod and Coupland in the future
Andrew Tate

, a condition that Jameson once somewhat optimistically named ‘late capitalism’, is an anxiety represented throughout his fiction.4 However, Conclusion 163 for a writer and artist so fascinated by the possibilities of the new, postmodernism is a problematic label. Is it even accurate to locate Coupland within the tradition of avantgarde, intellectualism associated with post-1960s American fiction? Mark Forshaw insists that he ‘has never been a post-modern writer in the sense that we think of Paul Auster . . . or Donald Barthelme, as being postmodern writers’. It

in Douglas Coupland
Heidi Hansson

could have been logical, since the story concerns twins. Instead of showing the primacy of heredity, Enright argues, like so many postmodern writers, that identity is in constant process. Such a view is at odds with a vision of nationality founded on ethnic origin, and as a consequence both the 9780719075636_4_012.qxd 16/2/09 9:28 AM Page 219 Postnationalism in the Irish novel 219 characters’ personal search for selfhood and Enright’s deconstruction of common Irish myths can be linked to a postnationalist position. Hence, the novel What Are You Like? can be

in Irish literature since 1990
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Susana Onega

‘hedgehog’ conception of art was continued by transition-to-postmodernism writers like Lawrence Durrell, Malcolm Lowry, John Fowles, Doris Lessing and Maureen Duffy, who in their turn have handed it down to postmodernist writers like Peter Ackroyd, Iain Sinclair, Marina Warner and Jeanette Winterson.26 It is in the light of this transcendentalist tradition that we should interpret Winterson’s contention that ‘Realism is not a Movement or a Revolution, in its original incarnation it was a response to a movement, and as a response it was essentially anti-art’ (AO 30–1), as

in Jeanette Winterson
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Genre collisions and mutations
James Peacock

indulging in a postmodern ‘appropriation of popular genres’ by more ‘literary’ forms, he treats genres as serious literature in themselves (Hoborek, 2007 : 238). In truth, Lethem’s engagement with genre is much more serious than some other contemporary ‘postmodernwriters, notably Paul Auster, who are also known for subverting genres. Auster is similarly self-conscious about his employment of genre

in Jonathan Lethem
Anshuman A. Mondal

different contexts: again, a central preoccupation of postmodern writers. The notions that ‘fiction’ is untrue, or that identity inheres in a fixed and sovereign individual consciousness, are part of the system of knowledge initiated by the intellectual revolutions of early modern Europe, which crystallised in what has come to be known the ‘Enlightenment’ of the eighteenth century. Enlightenment conceptions of rationality, knowledge and truth (and, by implication, their opposites) intensified in the course of the nineteenth century and became the index of ‘modern

in Amitav Ghosh
Russell J. A. Kilbourn

affiliation or familial legacy (even though that traumatic inheritance may be one of silence and the failure of witnessing), memories so affective they feel as they have originated in the postmemorial generation’ (Crownshaw 2009: 20). 21 See Anderson (2003: 104–5). 22 See also Denham (2006); Fuchs and Long (2007); etc. 23 On Sebald as modernist and not postmodernist, see also Zilcosky (2004: 102–3). On Sebald as ‘postmodernwriter see e.g. Williams, A. (1998 and 2001). See also Kilbourn (2006: 35; 2007: 139). 24 Cf. Wolff (2009: 318). 25 Long concludes his ‘Roundup’ circa

in A literature of restitution
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Angela Carter and European Gothic
Rebecca Munford

totalising effect of grand narratives. However, Carter’s positioning as a postmodern writer is less than straightforward. Her fiction is very much concerned with deconstructing the ways in which patriarchal structures of knowledge and power work to marginalise and alienate women, but it also insists upon the historical meanings attached to cultural images and, as Carter puts it in ‘Notes from the Front Line

in Decadent Daughters and Monstrous Mothers