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By Linda Hutcheon

Carrying on with the undertaking started within the Poetics of Postmodernism, Linda Hutcheon makes a speciality of the politics of illustration. taking a look at either mass media and excessive paintings types, she demanding situations the seeming transparency and obvious apolitical innocence of our visible photos and verbal tales, announcing that those build instead of mirror or exhibit our adventure of the area.

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Sample text

Both any (realist) documentary value and any formal (modernist) pleasure that such a practice may invoke are inscribed, even as they are undercut. So too is any notion of individuality or authenticity – for work or Postmodernist representation 45 artist – but that has always been problematic for photography as a mechanically reproductive medium. This technological aspect has other implications too. Commentators as diverse as Annette Kuhn, Susan Sontag, and Roland Barthes have remarked on photography’s ambivalences: it is in no way innocent of cultural formation (or innocent of forming culture) yet it is in a very real sense technically tied to the real, or at least, to the visual and the actual.

Nevertheless, in literary and art critical circles there is still a tendency to see postmodern theory and practice 32 The Politics of Postmodernism either as simply replacing representation with the idea of textuality or as denying our intricate involvement with representation, even though much postmodern thought has disputed this tendency: think of Derrida’s statements about the inescapability of the logic of representation, and Foucault’s problematization, though never repudiation, of our traditional modes of representation in our discourses of knowledge.

His self-consciousness about the act of representing in both writing and photography undoes the mimetic assumptions of transparency that underpin the realist project, while refusing as well the anti-representationalism of modernist and late modernist abstraction and textuality. Roland Barthes by Roland Barthes manages to de-naturalize both the ‘copying’ apparatus of photography and the realist reflecting mirror of narrative, while still acknowledging – and exploiting – their shared power of inscription and construction.

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