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Representation

From Posthegemony to Pierre Menard

Charles Hatfield

Likewise, if meaning is made by the reader, then the difference between the two texts could never be the kind that Borges’s narrator identifies which essentially derive from the difference between two authors and their intentions and not the difference between two contexts of reading, or two experiences of reading. Specifically, like in Cortázar text above, the differences would have to include everything that is part of the reader’s experience of them, including, for example, the typographical differences between Cervantes’s Don Quixote and Menard’s.

Forget Postcolonialism, There’s a Class War Ahead

Jan Sowa

The ideas and convictions expressed by the Polish conservative adherents to postcolonial theory that Bill so eloquently analyzes are just a new articulation of an attitude long established in Polish culture: the one of an alternative and indigenous modernity sharply contrasting with the content of Western modernism, to use above-mentioned Jameson’s notion. What the Polish adherents of the postcolonial studies advocate is not a simple rejection of modernity tout court, an attitude that can nowadays be found in such places as Bhutan, but rather a perverse deviation from modernity: modernization without modernism.

Django Unchained, or, The Help: How “Cultural Politics” Is Worse Than No Politics at All, and Why

Adolph Reed, Jr.

So why is a tale about a manumitted slave/homicidal black gunslinger more palatable to a contemporary leftoid sensibility than either a similarly cartoonish one about black maids and their white employers or one that thematizes Lincoln’s effort to push the Thirteenth Amendment through the House of Representatives? The answer is, to quote the saccharine 1970s ballad, “Feelings, nothing more than feelings.”

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