P       RNCU   REPO   ODER       E            P O S T M O D E R N
P  TMOD RNCU  U EP S  ODER  ULTU E               C U L T U R E
P  TMODERNCU  UREPOS  ODER  ULTU E          an electronic journal
P  TMODERNCU  UREPOS  ODER       E           of interdisciplinary
Volume 4, Number 1 (september, 1993)              ISSN: 1053-1920
Editors:                              Eyal Amiran, Issue Editor
                                      John Unsworth
Review Editor:                        Jim English
List Manager:                         Chris Barrett
Editorial Assistant:                  Jonathan Beasley
Editorial Board:
      Kathy Acker                     Chimalum Nwankwo
      Sharon Bassett                  Patrick O'Donnell
      Michael Berube                  Elaine Orr
      Marc Chenetier                  Marjorie Perloff
      Greg Dawes                      David Porush
      R. Serge Denisoff               Mark Poster
      Robert Detweiler                Carl Raschke
      Henry Louis Gates, Jr.          Mike Reynolds
      Joe Gomez                       Avital Ronell
      Robert Hodge                    Andrew Ross
      bell hooks                      Jorge Ruffinelli
      E. Ann Kaplan                   Susan M. Schultz
      Barbara Kirshenblatt-Gimblett   William Spanos
      Arthur Kroker                   Tony Stewart
      Neil Larsen                     Gary Lee Stonum
      Jerome J. McGann                Chris Straayer
      Stuart Moulthrop                Paul Trembath
      Larysa Mykyta                   Greg Ulmer
      Phil Novak

AUTHOR & TITLE                                              FN FT
Masthead, Contents, and                              CONTENTS.993
     Instructions for retrieving files

Peter Hitchcock, "'It Dread Inna Inglan':            HITCHCOC.993
     Linton Kwesi Johnson, Dread, and Dub 

Stephanie Hammer, "On the Bull's Horn with             HAMMER.993
     Peter Handke: Debates, Failures, Essays, 
     and a Postmodern Livre de Moi"

Eugene W. Holland, "A Schizoanalytic Reading          HOLLAND.993
     of Baudelaire: The Modernist as 

Elizabeth Fay, "Mapplethorpe's Art: Playing               FAY.993
     with the Byronic Postmodern"

George Bradley, "Another Autumn Refrain" and          BRADLEY.993
     "Two Thirds of a Second at the Center of 
     the Universe"

Lynda Hart, "That was Then: This is Now:                 HART.993
     Ex-changing the Phallus"

Martin Rosenberg, "Dynamic and Thermodynamic         ROSENBER.993
     Tropes of the Subject in Freud and in 
     Deleuze and Guattari"

Steven Shaviro, "If I Only Had a Brain"              POP-CULT.993

Mark Fenster, "Authorizing Memory, Remembering             
     Authority."  A Review of Michael Schudson's
     _Watergate in American Memory: How We
     Remember, Forget, and Reconstruct the 
     Past_, and Barbie Zelizer's _Covering the 
     Body: The Kennedy Assassination, the Media, 
     and the Shaping of Collective Memory_.          REVIEW-1.993

Rita Barnard, "`Imagining the Unimaginable': 
     J.M. Coetzee, History, and Autobiography."
     A Review of David Attwell's _J.M. Coetzee: 
     South Africa and the Politics of Writing_, 
     and J.M. Coetzee, _Doubling the Point: 
     Essays and Interviews_, ed. David Attwell.      REVIEW-2.993

Heesok Chang, "Postmodern Communities: the
     Politics of Oscillation."  A Review of
     Gianni Vattimo's _The Transparent Society_
     and Giorgio Agamben, _The Coming 
     Community_.                                     REVIEW-3.993

J.L. Lemke, "Practice, Politique, Postmodernism."
     A review of Pierre Bourdieu and Lois J.D. 
     Wacquant's _An Invitation to Reflexive 
     Sociology_.                                     REVIEW-4.993
John McGowan, "Postmodernist Purity."  A review
     of Craig Owens's _Beyond Recognition: 
     Representation, Power, and Culture_.  
     Ed. Scott Bryson, Barbara Kruger, Lynne 
     Tillman, and Jane Weinstock.                    REVIEW-5.993

Andrew Herman, "Fear of Music."  A review of
     Andrew Goodwin's _Dancing in the 
     Distraction Factory: Music Televison and 
     Popular Culture_.                               REVIEW-6.993
Marc Perlman, "Idioculture: De-Massifying the 
     Popular Music Audience."  A review of
     Susan D. Crafts, Daniel Cavicchi, Charles 
     Keil and the Music in Daily Life Project's
     _My Music_.  Foreword by George Lipsitz.        REVIEW-7.993
Timothy D. Taylor, "The Sound of the 
     Avant-Garde."  A review of Douglas Kahn 
     and Gregory Whitehead, eds., _The Wireless 
     Imagination: Sound, Radio, and the 
     Avant-Garde_.                                   REVIEW-8.993

Paul Miers, on Kip Canfield                           LETTERS.993


Announcements and Advertisements               [WWW Version only]


Peter Hitchcock, "'It Dread Inna Inglan': Linton Kwesi Johnson,
     Dread, and Dub Identity"

          ABSTRACT: This essay examines the production of
     cultural voice in the work of Linton Kwesi Johnson (LKJ),
     the African/Caribbean/European dub poet.  It suggests that
     the double-displacement of an African-Caribbean Black living
     in England, diaspora upon diaspora, comes with a double-
     indemnity--making and history.  But what cultural logic
     obtains in the contruction/reconstruction of subjectivity as
     subaltern, the articulation of the margin, the trace, the
     veve, that still allows a trenchant sense of history, of the
     need to make history?  Can we still conceive of subjects
     that make history, have a history to make, remake at a
     cocophanous rendezvous of victory?  To understand why this
     notion is not a mystery (the History, for instance, of
     imperialist certitude) but a problematic, one must
     understand what makes this history: one must come to terms
     with the history of the voice, what Kamus Braithwaite calls
     the "invitation and challenge" or what Edouard Glissant
     defines as "literature" and "oraliture" (the fragmented and
     therefore shared histories and voices of peoples).  One can
     read this history as an introduction in LKJ's sonorous beat,
     and one can see this history in a dissidence of voice, in
     all its synesthesia and dislocation.  --PH

Stephanie Hammer, "On the Bull's Horn with Peter Handke: Debates,
     Failures, Essays, and a Postmodern Livre de Moi"

          ABSTRACT: This essay discusses Handke's critical
     reception as it pertains to the postmdodern and "reads"
     Handke's recent essay series (the VERSUCHE) against a
     variety of concerns:  desire, castration, subjectivity, and
     the resonance of father-essayist Michel de Montaigne. 
     Handke's essays whittle away at the authority of traditional
     male subjectivity in graphic ways, as though performing a
     process of aesthetic self-castration in payment fo a new,
     legitimitzed subjectivity.  To paraphrase Michel Leiris,
     Handke's autobiographical doubles not only expose themselves
     to the bull's horn, they allow themselves to be gored; this
     reverse matadorian spectacle is at once the performance to
     which we are constantly invited and the radical cure which
     we might also enact upon ourselves.  --SH

Eugene W. Holland, "A Schizoanalytic Reading of Baudelaire: The
     Modernist as Postmodernist"

          ABSTRACT: This schizoanalytic reading of Baudelaire
     draws on psychoanalytic, rhetorical, and
     historical-materialist interpretations in order to show that
     the historical momentum that carried Baudelaire out of
     romanticism into modernism also propelled him "beyond"
     modernism into a stance we recognize today as postmodern. 
     Connecting Deleuze and Guattari's notion of "decoding" with
     the prevalence of metonymy over metaphor (in linguistic,
     rhetorical, and psychoanalytic terms [Jakobson, Barbara
     Johnson, and Lacan, respectively]) enables us to read the
     sonnet "Beauty" as a subversion of the metaphoric poetics of
     "Correspondences"--a subversion that continues into the
     "Parisian Tableaus" section of _The Flowers of Evil_, and
     culminates in the split stance of the narrator in the prose
     poem collection.  This trajectory is fueled by Baudelaire's
     shock and dismay at the founding of a Second Empire on the
     ruins of the Second Republic.  While his modernism emerges
     in the ability to distance himself serenely from former
     romantic-idealistic selves, his postmodernism lies in the
     recognition that the victims of Second Empire society he
     contemplates and depicts from afar are actually split-off
     versions of former selves, with which he cannot help but
     identify.  --EWH

Elizabeth Fay, "Mapplethorpe's Art: Playing With the Byronic

          ABSTRACT: There exist trenchant connections between
     Byron's romantic creation of himself as a literary figure,
     and Mapplethorpe's reinterpretation of the Byronic mode
     towards a postmodern creation of possible selves.  The
     verbal and photographic "languages" employed by both artists
     focus on issues that allow for a comparative analysis of
     "staging," and what is termed here "the byronic postmodern."

     Within this focus, the artistic meaning of "staging" applies
     to the artistic "self" in ways that seduce the viewer into a
     consuming appreciator of the artist's seemingly unlabored
     work.  It also entails a particular form of the visual
     contract normatively understood to exist between artist and
     viewer.  Byronic artists are equipped to understand the
     seductively teasing nature of this contract because they
     base their art on the bodily interplay made permissible
     between hetero-and homosexual worlds by costuming and role
     playing.  --EF

Lynda Hart, "That Was Then: This Is Now: Ex-changing the Phallus"

          ABSTRACT: Masochism, Freud claimed, was "truly
     feminine."  In the 1970s, masochism was considered to be one
     of the problems that feminists had to conquer.  In the
     1990s, masochism has been heralded as an emancipatory sexual
     position for men.  This essay considers some of the problems
     raised by recent theorizing of male masochism, which
     presumes that masochism, for or between "women," is a
     reproduction of patriarchal womanhood.  I argue that the
     unarticulated ground for male masochism is the impossibility
     of masochistic sexuality between women.  The essay
     contextualizes these questions within lesbian-produced
     representations of dildoes as "the real thing(s)," butch-
     femme roles, and sadomasochistic erotica.  --LH

Martin Rosenberg, "Dynamic and Thermodynamic Tropes of the
     Subject in Freud and in Deleuze and Guattari"

          ABSTRACT: The descriptions of human consciousness in
     Freud and in Deleuze and Guattari are problematic precisely
     in their inverse, mirrored opposition, and we may discover
     the "ground" for that opposition by examining the role
     played by tropes from the discipline of physics in these
     theorists' representations of subjectivity.  We will need to
     notice the historical differences in the ideological use of
     these tropes.  Yet, even contemporary theories of tropes
     have had recourse to the discipline of physics in order to
     model how tropes work.  Drawing on Ilya Prigogine's
     confrontation with the rhetoricity governing a "clash of
     doctrines" between time-reversible (dynamic) and
     time-irreversible (thermodynamic) assumptions underlying
     investigations in the physical sciences, we will examine
     first the role of oppositional tropes from physics in
     theories of tropes.  Second, we will observe the role that
     these tropes play in representing the subject: in Freud's
     "The Dreamwork," in Laplanche and Pontalis' account of
     Freud's subject-systems, and in Stallybrass and White's
     account of the unconscious as the site of the carnivalesque.

     We will then show how Deleuze and Guattari's representations
     of the subject in terms of the nomad and the rhizome, simply
     invert Freud's valorizing of the dynamic laws controlling
     thermodynamic processes, arguing instead for the celebration
     of the contingent and the indeterminate.  In a telling
     passage on chess and Go as game theories of war in which
     chess becomes the discourse of %physis%, while Go becomes
     the discourse of %nomos%, Deleuze and Guattari seek to hide
     their own claims for a time-irreversible model of cultural
     resistance "grounded" in natural laws of a different sort
     than those justifying the rules of domination governing
     subjectivity and society since the Industrial 
     Revolution.  --MER

COPYRIGHT: Unless otherwise noted, copyrights for the texts which
comprise this issue of Postmodern Culture are held by their
authors.  The compilation as a whole is Copyright (c) 1993 by
Postmodern Culture and Oxford University Press, all rights
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