By Andreas Huyssen
"One of the main entire and clever postmodern critics of paintings and literature, Huyssen collects the following a sequence of his essays on pomo... " —Village Voice Literary Supplement
"... his paintings is still alert to the difficult courting acquiring among marxisms and poststructuralisms." —American Literary History
"... tough and astute." —World Literature Today
"Huyssen's level-headed account of this arguable constellation of serious voices brings welcome rationalization to today's murky haze of cultural dialogue and proves definitively that remark from the culture of the German Left has an imperative function to play in modern criticism." —The German Quarterly
"... we are going to definitely have, after analyzing this publication, a deeper realizing of the forces that experience led as much as the current and of the probabilities 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 a thorough holiday with the earlier, because it is deeply indebted to that different pattern in the tradition of modernity—the old avant-garde.
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Extra info for After the Great Divide: Modernism, Mass Culture, Postmodernism (Theories of Representation and Difference)
With its claim to validity, communicative reason transcends the present, but this transcendence is never absolutely accomplished and permanently renews itself. The presence of truth is indefinitely deferred. Yet in spite of all these delays and postponements, we are not yet out of Hegelianism. Reason and truth remain the centering ground and deter- Modernism and Postmodernism in Contemporary Thought 29 mine social discourse structurally and historically. With this model of thought, Habermas reaffirms and continues the "project of modernity" while leaving the territory of postmodernity to Rorty and others, not without warning, however, that this is a dangerous philosophical zone of performative contradictions and self-referential traps.
6 Four witty and civilized interlocutors, while drifting down the river Thames in a barge, engage in a critical discussion which soon focuses on the difference between the 6. Essays of John Dryden, ed. W. P. Ker (New York: Russell and Russell, 1961). References to this text are designated DP. The Rise of Literary Modernism in the Romantic Age 45 ancients and the moderns in the field of drama and includes not only the French theater but also the development of English drama from Beaumont, Fletcher, and Jonson to Shakespeare.
The obvious philosophical principle for this assumption was the belief that philosophy and the sciences are as infinite as truth and nature, whereas poetry and the arts have a certain point of perfection, determined by man's invariable na- The Rise of Literary Modernism in the Romantic Age 39 ture, beyond which they cannot go. "3 Not until this principle was abandoned and the arts, like the sciences, were included in a process of infinite progression, can we speak of modernity in the full sense of the term and realize all the consequences and problems which this new situation involved.