Performatyzm albo koniec postmodernizmu (American Beauty)

The presented text is a translation of the first chapter of Eshelman’s book Performatism, or the End of Postmodernism (2008). Its main thesis is based on the assumption that along with the exhaustion of postmodernism a new aesthetic paradigm emerges, namely – performatism. Deriving his project from a new notion of sign (grounded on the anthropological theory of ostensivity by Eric Gans) and the description of a crucial aesthetic device called ‘double framing’, Eshelman tracks down symptoms of the epochal change in literary and visual works as well as in movies and architecture. The text also lays foundation for new monist concepts of subjectivity, time and history.The presented text is a translation of the first chapter of Eshelman’s book Performatism, or the End of Postmodernism (2008). Its main thesis is based on the assumption that along with the exhaustion of postmodernism a new aesthetic paradigm emerges, namely – performatism. Deriving his project from a new notion of sign (grounded on the anthropological theory of ostensivity by Eric Gans) and the description of a crucial aesthetic device called ‘double framing’, Eshelman tracks down symptoms of the epochal change in literary and visual works as well as in movies and architecture. The text also lays foundation for new monist concepts of subjectivity, time and history

Reality beckons: metamodernist depthiness beyond panfictionality

It is often argued that postmodernism has been succeeded by a new dominant cultural logic. We conceive of this new logic as metamodernism. Whilst some twenty-first century texts still engage with and utilise postmodernist practices, they put these practices to new use. In this article, we investigate the metamodern usage of the typically postmodernist devices of metatextuality and ontological slippage in two genres: autofiction and true crime documentary. Specifically, we analyse Ruth Ozeki’s A Tale for the Time Being and the Netflix mini-series The Keepers, demonstrating that forms of fictionalisation, metafictionality and ontological blurring between fiction and reality have been repurposed. We argue that, rather than expand the scope of fiction, overriding reality, the metamodernist repurposing of postmodernist textual strategies generates a kind of ‘reality-effect’

Jean-Luc Marion’s Postmetaphysical Phenomenology and Film. An Analysis of <i>4 Months, 3 Weeks, 2 Days</i> and <i>Ida</i>

Jean-Luc Marion is well known as a theologian and philosopher, but as yet his innovative postmetaphysical thought, which arose in part as a reaction to Derrida’s deconstructive critiques of traditional phenomenology, has not yet been widely applied to film. The article makes a systematic attempt to show how Marion’s phenomenology of givenness could be made fruitful for film analysis, and it demonstrates how his philosophical approach can be applied to two films, Cristian Mungiu’s 4 Months, 3 Weeks and 2 Days and Pawel Pawlikowski’s Ida

O nutnosti psaní literárních dějin i po konci dějin

The article advocates a return to an explicitly epochal (binary) approach to literary history, in place of the dominant poststructuralist approach which focuses on the way a plurality of discourses interact in and around literature. In particular, the article attempts to provide specific criteria for delineating the epoch after post-postmodernism, which the author calls “performatism”. The distinguishing features of this new epoch are: 1) double framing (narrative closure); 2) semiotic monism (ostensivity); 3) a separate, dense subject, 4) a set towards transcendence; and 5) the stylization of authorial dominance over the text. The paper defines in detail how these criteria differ from postmodernism and then applies them to the short story Seno by Jan Balabán.9410

O nutnosti psaní literárních dějin i po konci dějin // On the Necessity of Writing Literary History after the End of History

The article advocates a return to an explicitly epochal (binary) approach to literary history, in place of the dominant poststructuralist approach which focuses on the way a plurality of discourses interact in and around literature. In particular, the article attempts to provide specific criteria for delineating the epoch after post-postmodernism, which the author calls “performatism”. The distinguishing features of this new epoch are: 1) double framing (narrative closure); 2) semiotic monism (ostensivity); 3) a separate, dense subject, 4) a set towards transcendence; and 5) the stylization of authorial dominance over the text. The paper defines in detail how these criteria differ from postmodernism and then applies them to the short story Seno by Jan Balabán