Acknowledgements / 1. Periodising the 2000s, or, the emergence of metamodernism, Robin van den Akker and Timotheus Vermeulen / Section I: Historicity / 2. Metamodern Historicity, Robin van den Akker / 3. The metamodern, the quirky, and the challenge of categorization, James MacDowell / 4. Toni Morrison’s Beloved and the Rise of Historioplastic Metafiction, Josh Toth / 5. Super-hybridity: Non-simultaneity, political power, and multipolar conflict, Jorg Heiser / 6. The Cosmic Artisan: Mannerist Virtuosity and Contemporary Crafts, Sjoerd van Tuinen / Section II: Affect / 7. Metamodern Affect, Alison Gibbons / 8. Four Faces of Post-Irony, Lee Konstantinou / 9. Radical Defenselessness: A new sense of self in the work of David Foster Wallace, Nicoline Timmer / 10. Contemporary Autofiction and Affect, Alison Gibbons / 11. The Joke that Wasn’t funny anymore: Empathy in Contemporary Sitcoms, Gry Rustad and Kai Schwind / Section III: Depth / 12. Metamodern Depth or ‘Depthiness’, Timotheus Vermeulen / 13. Reconstructing Depth: Authentic Fiction and Responsibility, Irmtraud Huber and Wolfgang Funk / 14. Between truth, sincerity and satire: Post-truth politics and the rhetoric of authenticity, Sam Browse / 15. Notes on Performatist Photography: Experiencing beauty and transcendence after postmodernism, Raoul Eshelman / Epilogue / 16. Thoughts on writing about art after postmodernism, James Elkins / References / Index / Contributor Information
Robin van den Akker is Lecturer in Continental Philosophy and
Cultural Studies at Erasmus University College Rotterdam.
Alison Gibbons is Reader in Contemporary Stylistics at Sheffield
Hallam University.
Timotheus Vermeulen is Associate Professor in Media, Culture and
Society at the University of Oslo.
If you’re in the market for a slick, shiny new aesthetic of the
post-post or the meta-, you won’t find it here – but you won’t find
it anywhere else, either, because it doesn’t exist. If, however,
you genuinely want to understand the “sticky mess” (in Jörg
Heiser’s phrase) that the new cultural practices are in the very
process of emerging from, then you owe it to yourself to give this
volume your fullest attention.
*Brian McHale, Distinguished Arts and Humanities Professor at The
Ohio State University, Author of "Postmodernist Fiction" (1987) and
"The Cambridge Introduction to Postmodernism" (2015)*
Metamodernism is the best collection of essays on our time’s most
notable cultural development: the turning of postmodernism into
something else. The project’s heart is van den Akker and
Vermeulen’s 2008 milestone essay “Notes on Metamodernism,” which
beats across a volume bringing together Alison Gibbons, Lee
Konstantinou, Josh Toth, James MacDowell, Raoul Eshelman, and other
distinguished critics of the contemporary.
*Christian Moraru, Distinguished Professor in the Humanities and
Professor of English at University of North Carolina*
In 2002, Linda Hutcheon famously announced the end of
postmodernism. What has been happening in the areas of arts,
culture, aesthetics, and politics ever since? Metamodernism:
Historicity, Affect, and Depth after Postmodernism provides an
answer to this question. The book is truly impressive in terms of
both its theoretical scope and the discussion of representative
examples of metamodernism.
*Jan Alber, President of the International Society for the Study of
Narrative*
I hope this book becomes required reading for scholars and think
tanks, or any students studying postmodernism and beyond, so we
could at least adopt a common ‘language’ (as they describe it) to
reduce the excessive redundancy and conict in academia and
contemporary social thought. This is what the ‘principle of
abstraction’ from computer science does, and is much needed in our
cultural programming.
*The Abs-Tract Organization*
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