Download e-book for iPad: Explaining Postmodernism: Skepticism and Socialism from by Stephen R. C. Hicks

By Stephen R. C. Hicks

ISBN-10: 1592476422

ISBN-13: 9781592476428

Publish yr note: First released April 1st 2004 through Scholargy Publishing

Tracing postmodernism from its roots in Jean-Jacques Rousseau and Immanuel Kant to their improvement in thinkers resembling Michel Foucault and Richard Rorty, thinker Stephen Hicks offers a provocative account of why postmodernism has been the main full of life highbrow flow of the overdue twentieth century.

Why do skeptical and relativistic arguments have such strength within the modern highbrow global? Why have they got that strength within the humanities yet now not within the sciences?

Why has a good portion of the political Left - a similar Left that routinely promoted cause, technological know-how, equality for all, and optimism - now switched to topics of anti-reason, anti-science, double criteria, and cynicism?

Explaining Postmodernism is highbrow heritage with a polemical twist, offering clean insights into the debates underlying the furor over political correctness, multiculturalism, and the way forward for liberal democracy.

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Extra resources for Explaining Postmodernism: Skepticism and Socialism from Rousseau to Foucault

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Subsequent discussions sparked by this exchange and others expanded across multiple fanzines as feminist writers gained more publicity and stronger public voices; debates about Russ’s work, feminism in general, and the perceived militancy of the women’s movement were spread across the pages of fan publications such as Notes from the Chemistry Department, The Alien Critic, and Algol/Starship (Merrick 62–68). Larbalestier marks this decade as a tipping point, one in which the discourse of “battle-of-the-sexes” fiction became the domain of women writers instead of men, specifically as situated in feminist utopian stories (149); the 1970s brought the publications of the overtly feminist fanzines The Witch and the Chameleon and Janus, the advent of feminist science fiction convention WisCon, and Hugo Award-winning work from Ursula K.

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But it is not merely the protagonist’s gender that distinguishes Cadigan’s work from other stories in the text; it is also how that character is otherwise portrayed. Gina is distinct from the other female characters in Mirrorshades because she is not presented as a sex symbol, nor does she assume an overtly sexual role within the text. Although her “rape”— by the band making her synthesize — is metaphoric, it never becomes literal. Moreover, although we discover in Synners that Gina is black, with dreadlocks, in “Rock On” she doesn’t describe herself except as forty-something, with hair that doesn’t grow long enough to cover the metal plugs in her skull — a sharp contrast to the other, mostly young punk-rocker girls within Mirrorshades, the ways in which they are described, and the sexualized roles they play.

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Explaining Postmodernism: Skepticism and Socialism from Rousseau to Foucault by Stephen R. C. Hicks

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