A Poetics of Postmodernism: History, Theory, Fiction

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Bronsink, Troy (2013), Drawn In: A Creative Process For Artists, Activists, and Jesus Followers, Paraclete, ISBN 1557258716 Cruz-Villalobos, Luis (2020). Poesía Teológica. Prólogo de John D. Caputo. 2da Ed. Santiago de Chile: Independently Poetry [6] Gregory, M. (2010). Redefining ethical criticism: the old vs. the new. Journal of Literary Theory, 4, 273–301. In October 2013, another American literary journal Narrative also published a special issue on “Postmodernist Fiction: East and West” with Wang Ning and Brian McHale, two postmodernist scholars with international fame, as its guest editors. The latest boom of publications of postmodernist scholarship containing eight articles by specialists in the study of postmodernist fictions, this special issue focuses on the narrative techniques of postmodern narrative in contemporary fiction “in an attempt to place postmodernist fiction in a historical and global context” (Wang 2013, p. 266). Although Wang Ning observes that “postmodern ideas and ways of thinking have permeated almost all the aspects of contemporary culture and are still influential in many humanities fields” (Wang 2013, p. 265), he admits, not unhesitatingly, that “it has receded into the historical past, albeit a past which is nevertheless still influential and significant to our literary and cultural studies” (Wang 2013, p. 265).

Kirby, A. (2009). Digimodernism: how new technologies dismantle the postmodern and re-configure our culture. New York: Continuum. McHale, B. (2007). What was postmodernism? Electronic Book Review. http://www.electronicbookreview.com/thread/fictionspresent/tense. Accessed 20 Jan 2014. van Alphen, E. (1989). The heterotopian space of the discussions on postmodernism. Poetics Today, 10, 819–839. Theopoetics makes significant use of "radical" and "ontological" metaphor to create a more fluid and less stringent referent for the divine. One of the functions of theopoetics is to recalibrate theological perspectives, suggesting that theology can be more akin to poetry than physics. It belies the logical assertion of the principle of bivalence and stands in contrast to some rigid Biblical hermeneutics that suggest that each passage of scripture has only one, usually teleological, interpretation. The dismissal of the aesthetic as a living part of language has turned the academic enterprise of biblical studies and theology into a language more at home with lawyers than poets. Theopoetics is the art of using words and thoughts that speak to the reader in an aesthetic and existential way to inspire spirituality in the reader.McHale, B. (2011). Break, period, interregnum. Twentieth-Century Literature, 57, Fall/Winter, 328–340. Keller, Catherine (2003), The Face of the Deep: A Theology of Becoming, Routledge, ISBN 0-415-25649-6 May, Melanie A (1995), A Body Knows: A Theopoetics of Death and Resurrection, Continuum International Publishing, ISBN 0-8264-0849-4

The other school of thought values the philosophical transcendentals as informed by classical theology. [2] It is led by individuals such as Anne M. Carpenter of St. Mary’s College, [3] California, and Richard Viladesau [4] of Fordham University, with contributions from Brian Nixon of Veritas International University. [5] This school of theo-poetics is influenced by the thought of Hans Urs von Balthasar as informed by a range of thinkers as divergent as Gregory of Nyssa, Thomas Aquinas, Maximus the Confessor, Dietrich Richard Alfred von Hildebrand, David Bentely Hart [6] and Pavel Florensky. [7] Description [ edit ] Hopper, Stanley Romaine; Keiser, R Melvin (1992), Stoneburner, Tony (ed.), The Way of Transfiguration: Religious Imagination As Theopoiesis, Westminster John Knox Press, ISBN 0-664-21936-5 .Postmodernism was not the invention of literary critics, but literature can certainly claim to be one of the most important laboratories of postmodernism. Perhaps because of the sheer weight of numbers in literary studies during the 1970s and 1980s, as compared with the numbers of scholars writing or students reading in architecture, film studies, or the embryonic disciplines of women's studies or cultural studies, ideas of postmodernism tended in these formative decades to be framed by reference to literary examples. In the second school of theopoetics, the aim is drawn “from von Balthasar’s affirmation of poetic expression: when God speaks to us in the Incarnation, all qualities of human language—even being itself—are employed as created ‘grammar’ by which God expresses himself to us…With God at the center of expression, poetry becomes capable of an authentic role in theological language.” [8] This form of theo-poetics “requires the interplay of three massive fields of knowledge: metaphysics, language, and Christology” [9]and is to be “sharply distinguished from the agnostic overtures of the ‘theo-poetics’ movement, whose lineage is not be found in the thought of Balthasar.” [8]

One school values process theology and postmodern philosophy. It is led by individuals such as L. Callid Keefe-Perry, Rubem Alves, Catherine Keller, John Caputo, Peter Rollins, Scott Holland, Melanie May, Matt Guynn, Roland Faber, and others. [1] School of Foreign Languages and Literature, Shandong University of Finance and Economics, 7366 Erhuan Dong Road, Jinan, 250014, Shandong, People’s Republic of China Csicsery-Ronay, I. (1993). An elaborate suggestion. Review of Constructing Postmodenism by Brian McHale. Science Fiction Studies, 20, 457–464. Docherty, T. (1989). Review of Postmodernist Fiction by Brian McHale and What Fiction Means by Bent Nordhiem. The Review of English Studies, 160, 597–598. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.McHale, B. (1992b). Postmodernism, or the anxiety of master narratives. Review of A poetics of postmodernism: history, theory, fiction by Linda Hutcheon and Postmodernism, or the cultural logic of late capitalism by Frederic Jameson. Diacritics, 22, 17–33.