Download PDF by Nicholas Zurbrugg, Warren Burt: Critical Vices: The Myths of Postmodern Theory (Critical

By Nicholas Zurbrugg, Warren Burt

ISBN-10: 0203985338

ISBN-13: 9780203985335

ISBN-10: 9057010623

ISBN-13: 9789057010620

Imprint. In those essays, Nicholas Zurbrugg charts the advancements in overdue 20th-century multimedia paintings. He demanding situations bills of postmodern techno-culture, and interweaves literary and cultural conception and visible stories to illustrate the neutering of mass-media tradition and the exceptions to it. Warren Burt is Melbourne-based.

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Additional resources for Critical Vices: The Myths of Postmodern Theory (Critical Voices in Art, Theory and Culture)

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This aspiration first challenges Barthes’s theory of textual production, which maintains that a text is a mixture of “words only explainable through other words” (146), and thus makes no provision for texts predicated upon artistic conventions or painterly techniques that are neither reducible to the conventions of prior literary discourse, nor explainable in terms of other words. Secondly, and reciprocally, Gysin’s poetics challenges Barthes’s theory of textual explication, since his work is best explained not so much in terms of a merely verbal or literary mode of intertextuality, as in the extra-verbal, extra-literary context of artworks which employ collage and montage techniques.

Barthes’s suggestion that the twentieth century is an era of unbroken textual “repetition” is doubly disadvantageous. It not only distracts attention from the peculiarly contemporary problem of explicating the innovations of radical discourse, but (what is worse) encourages the conservative intertextual practitioner’s tendency to privilege the very banalities of prior discourse that least resemble radical discourse. Laurent Jenny offers an interesting exception to the rule of conservative intertextual practice, in so far as his reflections upon literary variants of collage in “Sémiotique du collage intertextuel” advocate the comparison of literary and pictorial practices (176).

Briefly, Barthes’s meditations upon the extra-literary genres of the song and of instrumental music lead him to a position from which he is virtually obliged to reassess his previous assumptions about the literary text. Having identified the body of the singer and the instrumental performer, Barthes is but one step away from discovering the musical “author” in performances by composers of songs and instrumental music, and but two steps away from the resurrection of the literary author in the authorial performance of the text.

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Critical Vices: The Myths of Postmodern Theory (Critical Voices in Art, Theory and Culture) by Nicholas Zurbrugg, Warren Burt


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