Beruflich Dokumente
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1
in the Wake of Postmodernity
1
This paper was first published in Return to Postmodernism: TheoryTravel
WritingAutobiography; A Festschrift in Honour of Ihab Hassan. Eds. Klaus
Stierstorfer.Heidelberg: Universitstverlag Winter, 2005: 61-78.
2
Ihab Hassan, Beyond Postmodernism: Toward an Aesthetic of Trust in Klaus
Stierstorfer (ed.), Beyond Postmodernism: Reassessments in Literature, Theory,
and Culture (Berlin: Walter de Gruyter, 2003), 199-212; Ihab Hassan, Realism,
Truth, Trust in Postmodern Perspective, Third Text 17:1 (2003), 1-13.
3
Ihab Hassan, Beyond, 206.
4
Ihab Hassan, Beyond, 206; Ihab Hassan, Realism, 20.
5
Ihab Hassan, Realism, 12.
6
Ihab Hassan, Beyond, 208.
2
10
Ivor Armstrong Richards, Principles of Literary Criticism (London: Routledge,
2002), 249-53.
11
Tzvetan Todorov, Potique (Quest-ce que le structuralisme 2), Seuil Points 45
(Paris: Editions du Seuil, 1968), 36-37; Jean Ricardou, Le nouveau roman, Col-
lection Microcosmes: Ecrivains de toujours 52 (Paris: Editions du Seuil, 1978),
30.
12
Todorov, Potique, 37-38.
13
Ian Watt, The Rise of the Novel: Studies in Defoe, Richardson and Fielding (Har-
mondsworth: Penguin, 1983), 35.
14
Watt, Rise of the Novel, 35.
4
15
Hassan, Realism, 7.
16
Georg Lukcs, The Theory of the Novel: A Historico-Philosophical Essay on the
Forms of Great Epic Literature, trans. Anna Bostock (London: Merlin Press,
2003), 49. All subsequent quotations from this edition will be given in the text,
abbreviated as TN.
5
23
Karl Marx, Economic and Philosophic Manuscripts of 1844, trans. Martin
Milligan (New York: International Publishers, 1964), 121.
24
See Karl Marx and Friederich Engels, The German Ideology, trans. Clemens Dutt
, in Clemens Dutt (ed.), Collected Works, Vol. 5 (London: Lawrence and Wishart,
1975), 46-48; Georg Lukcs, History and Class Consciousness: Studies in Marx-
ist Dialectics, trans. Rodney Livingstone (London: Merlin Press, 1971), 83-110.
25
Marx and Engels, German Ideology, 48.
7
26
See Goldmann, Introduction, 184.
8
27
Lukcs, The Meaning of Contemporary Realism (London: Merlin Press, 1963),
78-79. All subsequent quotations from this edition will be given in the text, ab-
breviated as M.
28
Erich Auerbach, Mimesis: The Representation of Reality in Western Literature,
trans. Willard R. Trask (Princeton: Princeton University Press, 2003), iii. All
subsequent quotations from this edition will be given in the text, abbreviated as
Mim.
29
See also Lukcs, Narrate, 140.
9
3. Tentative Mimesis
The genuine difference separating Auerbach from Lukcs consists in
the fact that the latter never envisages the concrete possibility of a
perfected, absolute realism: No text will grasp a totality of meaning
immanent in phenomena. This is the import of the often-cited first
chapter of Mimesis (Odysseus Scar), in which Auerbach contrasts
Homers representation of the world with the depiction of Abrahams
sacrifice of Isaac in the Old Testament. These pages are inspiring to
11
30
Friedrich von Schiller, qtd. in Auerbach, Mimesis, 5.
12
31
See also Lukcs, Meaning, 123.
14
located: The two critics differ slightly yet crucially in their concept
of historical time. In an eloquent passage of The Meaning of Con-
temporary Realism, Lukcs argues that realist praxis must start out
from a hypothesis about the time sequence in which historical socie-
ties fit. The very meaning of social phenomena depends on the shape
of history: It requires a temporal perspective making it possible to
gauge the present with regard not only to the past but also to the
future (M 55). Auerbach does not disagree with this principle. His
discussion of Christian figuration shows indeed how certain forms of
realist praxis make the mundane, everyday world meaningful by
connecting it to a world historical narrative (Mim 158). Yet it is not
clear whether this figural realism determines the whole history of
mimesis. Overall, Auerbachs handling of time is far vaguer, less
thematized than Lukcss. Mimesis assumes the existence of a gradu-
al processa constant historical movement (Mim 518)leading
to the withering away of the unnatural class structure of society
(Mim 440). In this, Auerbachs argument resembles a non-theoretical
Marxism that acknowledges the existence of Hegelian sequences of
historical periods without committing itself about the mechanics of
the dialectic. At bottom, the central point of Mimesisthe celebra-
tion of everydaynessis determined by Auerbachs unwillingness to
shape his literary-historical narrative in hard-edged terms. Lukcs, by
comparison, distrusts the literary representation of a contingent life-
world peopled with what Auerbach approvingly calls random
characters. The Hungarian critic contends that this literary choice,
illustrated in Franz Kafka or Albert Camus, is typical of writers who
abdicate the critical duty to reveal the core logic of history (M 58).
On the contrary, Auerbachs intimation that mimesis remains a
tentative practice, inscribed in a sketchily defined historical logic,
leads to his positive appraisal of works where the contingency of
everydayness is allowed to reveal itself.
4. Mimesis Today
Auerbachs concept of a tentative mimesis of contingent everyday-
ness seems to meet the demands of postmodern realism better than
Lukcss Marxist-Hegelian literary historical metaphysics. Still, I
believe that Lukcss and Auerbachs approaches remain comple-
mentary. Lukcss essays are inspiring by their urge to ask over-
whelming questions about meaning and historical development. I
indicate above that these grand issuesthe status of truth, notably
15
32
Fredric Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism
(Durham: Duke University Press, 1991), 38.
33
Jameson, Postmodernism, 49; Joseph Tabbi, The Postmodern Sublime: Technol-
ogy and American Writing from Mailer to Cyberpunk (Ithaca: Cornell University
Press, 1995), 1.
34
Brian McHale, Postmodernist Fiction (London: Routledge, 1987), 9.
35
McHale, Postmodernist Fiction, 18.
17
36
Jean Baudrillard, America, trans. Chris Turner (London: Verso, 1988), 5.
37
Baudrillard, America, 3-4.
38
Scott Bukatman, Terminal Identity: The Virtual Subject in Post-Modern Science
Fiction (Durham: Duke University Press, 1993), 8-9.
18
39
See Jose David Saldivar, Postmodern Realism in Emory Elliott, Cathy Da-
vison, et al. (eds.), The Columbia History of the American Novel (New York:
Columbia University Press, 1991), 524; Linda Hutcheon, A Poetics of Postmod-
ernism: History, Theory, Fiction (New York: Routledge, 1988), 60-73.
40
Smoke, script by Paul Auster, dir. Wayne Wang, perf. Harvey Keitel, William
Hurt, and Forest Whitaker (Miramax-Nippon, 1995).
41
Edmund Husserl, Phenomenology as Transcendental Philosophy: 5. The Basic
Approach of Phenomenology in Donn Welton (ed.), The Essential Husserl:
Basic Writings in Transcendental Phenomenology (Bloomington and Indianapo-
lis: Indiana University Press, 1999), 61.
19
42
Husserl, Phenomenology, 61.
43
Hassan, Realism, 13.
44
See Jacques Derrida, Speech and Phenomena and Other Essays on Husserls
Theory of Signs, trans. David B. Allison (Evanston: Northwestern University
Press, 1973).
45
William Gibson, Burning Chrome (London: Grafton Books, 1988); William
Gibson, Neuromancer (New York: Ace Books, 1984).
46
William Gibson, Virtual Light (London: Penguin, 1993); William Gibson,
Pattern Recognition (London: Penguin, 2003).
20
51
Jameson, Postmodernism, 38.
52
Donna Haraway, Modest _Witness@ Second _Millenium. FemaleMan
_Meets_OncoMouse: Feminism and Technoscience (New York: Routledge,
1997), 4.
53
Paula Moya, Learning from Experience: Minority Identities, Multicultural
Struggles (Berkeley: University of California Press, 2002), 9-11.
54
Moya, Learning, 12.
55
Do the Right Thing, dir. Spike Lee, perf. Dany Aiello, Spike Lee, Ruby Dee, and
Ossie Davis (40 Acres and a Mule - Universal, 1989); Clockers, dir. Spike Lee,
perf. Harvey Keitel, Mekhi Phifer, John Turturro, and Isaihah Washington (40
Acres and a Mule - Universal, 1995).
22
56
City of Hope, dir. John Sayles, perf. Vincent Spano, Joe Morton, and Tony Lo
Bianco (Samuel Goldwyn, 1991); Passion Fish, dir. John Sayles, perf. Mary
McDonnell, Alfre Woodard, and David Straithairn (Samuel Goldwyn, 1992);
Lone Star, dir. John Sayles, perf. Chris Cooper, Elizabeth Pena, Joe Morton, Clif-
ton James, and Kris Kristofferson (Columbia Pictures, 1996).