This chapter offers an account of postmodernism. It begins by drawing a distinction between two broad approaches to the postmodern: one that outlines the contours of a new historical period (postmodernity), and another that places emphasis on finding new ways of understanding modern practices of knowledge and politics (postmodernism). The second part of the chapter examines how postmodern ideas entered international relations scholarship, and how ensuing contributions continue to reveal important insights up to the present day. Defining postmodernism is no easy task. Postmodern scholarship is characterised more by diversity than by a common set of beliefs. Add to this that the postmodern has become a very contentious label, which is used less by its advocates and more by polemical critics who fear that embracing postmodern values would throw us into a dangerous nihilist void. But while the contours of the postmodern will always remain elusive and contested, the substantial issues that the respective debates have brought to the fore are important enough to warrant attention.

This chapter introduces students to the range of theoretical issues that have animated the study of international relations through the years. First, it explains why theoretical reflection is indispensable to explaining and understanding international relations. Second, it addresses unavoidable ontological and epistemological issues in the quest for theoretical understanding. Third, it traces the growth of mainstream International Relations theory up to the present conflict in Ukraine. Finally, it touches on some of the diverse critical approaches to the study of international relations.

Kerouac considered Visions of Cody his masterpiece. A strange, highly complex work, it is both a radical reimagining and rewriting of some central motifs and characters found in On the Road, and a showcase for Kerouac’s varied theories of writing. If On the Road is “about” the relationship between two friends, a writer and a raconteur, Visions of Cody is about how to best represent this relationship, and so becomes in turn “about” the nature of the writer’s consciousness and his ability to represent or not “the real.” Given such preoccupations, Visions of Cody more closely resembles postmodern metafiction than it does On the Road. This chapter reads it in light of its metafictional experimentations and explorations. In Visions of Cody, Kerouac strives to get down what “actually happened” by turning to sketching, Spontaneous Prose, and even tape recording and transcribing lengthy conversations between him and Neal Cassady. Ultimately, this chapter shows, by reading Visions of Cody as metafiction, we can see how Kerouac created new possibilities and directions for postwar avant-garde writing.

This chapter surveys some of the ways in which the Copenhagen interpretation of quantum mechanics has led to a various views of the world with spiritual and moral implications; the perspective of this chapter is that most of these views are not demanded by the actual theory and experiments of quantum mechanics.

150 words: The books of Nahum, Habakkuk, and Zephaniah contain oracles that address problems in and around ancient Judah in ways that are as incisive and critical as they are optimistic and constructive. Daniel C. Timmer’s The Theology of Nahum, Habakkuk, and Zephaniah situates these books in their social and political contexts and examines the unique theology of each as it engages with imposing problems in Judah and beyond. In dialogue with recent scholarship, this study focuses on these books’ analysis and evaluation of the world as it is, focusing on both human beings and their actions and God’s commitment to purify, restore, and perfect the world. Timmer also surveys these books’ later theological use and cultural reception. Timmer also brings their theology into dialogue with concerns as varied as ecology, nationalism, and widespread injustice, highlighting the enduring significance of divine justice and grace for solid hope and effective service in our world.

50 words: This volume examines the powerful and poignant theology of the books of Nahum, Habakkuk, and Zephaniah. Daniel C. Timmer situates these books’ theology in their ancient Near Eastern contexts and traces its multifaceted contribution to Jewish and Christian theology and to broader cultural spheres, without neglecting its contemporary significance.

20 words: This volume draws out the theology of Nahum, Habakkuk, and Zephaniah, attending to their ancient contexts, past use and reception, and contemporary significance.

The work of avant-garde auteurs from the mid-twentieth century onward is a testament not only to Pirandello’s ongoing influence but to the ways artists continue to break open fresh paths, building on Pirandello’s aesthetic. Through the destabilization of day-to-day existence, especially in his theatre trilogy – Six Characters in Search of an Author (1921), Each in His Own Way (1924), and Tonight We Improvise (1930) – Pirandello shatters every kind of theatrical binary. Out of these eruptions, a sense of the postmodern emerges, evoked via the experience of a messy, chaotic collaborative process that culminates in an “anti-play” filled with seemingly random and often sinister playfulness. This essay closely examines the processes and performances of the Living Theatre’s (New York, 1959) and Robert Brustein’s American Repertory Theatre (Cambridge, Massachusetts, 1987) productions of Tonight We Improvise. John Jesurun and Takeshi Kawamura’s Distant Observer: Tokyo/New York Correspondence at La MaMa (New York, 2018) is the next focal point – only one of many current transmittals of Pirandello’s genius, moving forward.

To illuminate the notion of ‘totality’ in Wagner’s conception of the ‘total art work’ or Gesamtkunstwerk, this chapter invokes Schopenhauer’s claim that ordinary life is like a phantasmagoria or dream – a claim that epitomises his interpretation of Kant’s theory of knowledge. The chapter associates the notion of a phantasmagoria with that of a dream, and the latter with the nineteenth-century conception of the unconscious, in particular as presented in Freud’s characterisation of dreams as multidimensional semantic expressions. Wagner’s operas are accordingly considered to be phantasmagorias in this dream-associated sense. Wagner is often appreciated as a forefather of modernism, but by recognising the phantasmagoric, semantically-multidimensional quality of his operas he can be seen further as a forefather of postmodernism.

This chapter deals with the issue of epistemology or the oftentimes implicit theories of knowledge that guide research and methodological choices. The chapter starts with a brief discussion of what it means to live in a society in which the factual basis of truth can be easily questioned – the post-truth climate. It then outlines several popular conceptions and misconceptions about epistemology and maps out some of the main epistemological positions that inspired if not research then certainly philosophical debate. The second part of the chapter argues for pragmatism as an epistemology that can help us deal with the complexities of doing empirical research in a post-truth context by transcending the old realist–relativist divide and fostering methodological pluralism.

This chapter examines the rise of trauma theory as a prevalent cultural and critical concept in the late twentieth and early twenty-first century. Key critiques of the concept – both in terms of its clinical and cultural dominance – are considered, particularly of its Western biases, and of the self-reinforcing bodies of trauma literature and criticism. The second half of the chapter considers a range of American trauma texts, with a particular focus on the work of Toni Morrison. These novels are examined for their complicated relationship to dominant theories of trauma representation, and for the way trauma texts increasingly respond to broader contemporary cultural and social concerns, including global warming.

This chapter focuses on the canonical essays that theorized in real time the new stylistic and thematic tendencies in American postmodern fiction. Since the late 1960s, prominent practitioners of postmodernist fiction have been at the forefront of critical debates over contemporary American narrative. From the 1960s to the 1990s, brilliant authors such as Raymond Federman, John Barth, Ronald Sukenick, and David Foster Wallace engaged in essayistic reflections on the problem of innovation in American fiction, including Barth’s “The Literature of Exhaustion” and Wallace’s “E Unibus Pluram: Television and U.S. Fiction.” Despite differences and generational distance, in some of their best essayistic writing these writers often focused on the (old) problem of “the new” in art, reframed as a discourse on the making or unmaking of the postmodernist aesthetic in response to a supposed exhaustion of literary language. They did so from a liminal position, namely from the ambivalent stance of the writer-critic, and ended up producing some of the most penetrating essays on contemporary American literature during this period, indelibly marking an era in the history of the American essay.

Narratives function at different levels. We have personal narratives, interpersonal narratives, sub-cultural narratives and, at the top level, master narratives. These are the narratives that govern how a society or culture thinks, the general rules by which everyone, or nearly everyone abides. They help demonstrate that we are fundamentally in agreement with most of the rules and mores by which a society works, and help social psychologists and others understand subcultures and the nature of multiculturalism. Master narratives are difficult to define and very difficult to study. Often, in terms of sciences, it is more important to be aware of the role master narratives play in dictating how individuals behave. Where there is a clash of master narratives, there are potential problems for a society or culture, suggesting that multiculturalism, where there are two or more dominant master narratives, may be problematic. Master narratives play an important part in understanding individual identity and politics, demonstrating the constraints on the individual.

The chapter looks backwards to Sterne's Tristram Shandy and forwards to Joyce's Ulysses to locate Byron's avant-garde forms of allusion. Byron's deployment of local little narratives against big inhuman systems in Mazeppa, Childe Harold's Pilgrimage, and Don Juan is examined as a mode of political resistance and personal poetic integrity.

This chapter examines the politics of postmodern metafiction. Starting from the widespread view that 1970s postmodernism was “politically abortive” and interested primarily in language games, the chapter sets out to rethink this position. Turning back to the coining of the term “metafiction” by William Gass and considering some major examples of the form (including work by Kurt Vonnegut, among others), the opening half of the chapter introduces the idea that there is a lurking sense of identity politics beneath much canonical metafiction. Tracing lines of continuity with the work of white male modernist authors, the model of metafictional “author gods” is critically examined. The chapter goes on to establish a counter-tradition, making use of the work of bell hooks and Henry Louis Gates, Jr. to explore texts that use metafictional devices while resisting any illusion of supra-textual mastery. Samuel R. Delany’s metafictional science fiction epic Dhalgren is posited as the exemplar of this counter-tradition. The chapter makes the case that Delany’s text, overlooked by many scholars of the form, should sit at the center of any discussion of 1970s metafiction. The conclusion includes a brief survey of the implicit politics detectable in some recent examples of metafictional writing.

Southern modernism, including later incarnations precipitously labeled postmodern, has been broadly characterized by two often contradictory streams: the pastoral, beginning with the plantation fiction of Joel Chandler Harris and Thomas Nelson Page, and the racial surreal, beginning with Charles Chesnutt’s sly ripostes in his conjure tales. Both respond to the region’s long history of racialized labor exploitation, running from the plantation through Walmart and FedEx, from Parchman through the nation’s current carceral system. As labor sociologists, the new historians of capitalism, and literary scholars such as Michael North have shown, these literary traditions and the history to which they respond do not constitute some quaint exception within ongoing American modernism and modernity but remain central to it, from the plantation house to the Westin Bonaventure and from Pound, Eliot, Faulkner, Du Bois, Hurston, and Welty to William Styron, Toni Morrison, Jesmyn Ward, Natasha Trethewey, and Jericho Brown.

This chapter discusses the ways in which Rushdie and his work can be understood in the context of the aesthetics and ideologies of postmodernism. Rushdie’s novels deploy postmodern fictional devices, such as intertextuality and metafictional interruptions, to explore questions of politics, epistemology, and ontology. In his early work, Rushdie provides an instance of both the potential for postmodern techniques to craft original political perspectives commensurate with the aims of postcolonialism, and the limitations of a western theoretical perspective sceptical of those grand narratives of history and subjectivity over which postcolonial subjects were only now gaining purchase. His status as literary spokesperson for immigrant communities in Britain was revised after the Satanic Verses affair, and subsequent novels are sometimes found to lack the radical critique offered by the early work. This chapter argues that the development of Rushdie’s writing – particularly in recent volumes – shows evidence of a move away from the deconstructive application of postmodern strategies in particular postcolonial contexts to challenge political master-narratives, and towards a more general exploration of classical humanist themes such as love, good and evil, life and death. This chapter ends with illustrative readings of two recent Rushdie novels, The Golden House and Quichotte.

The Introduction begins with an attempt to understand the concept of nihilism itself. Six different aspects of the concept are identified and briefly explored. While nihilism is usually associated with twentieth-century schools, it is argued that in fact the true origins of modern nihilism can be found in the rapid development of the sciences in the Enlightenment. The scientific perspective revealed the seemingly insignificant role of humans in the universe and led to a struggle with nihilism, which became an important topic for many thinkers in the nineteenth century. Five theses are outlined: (1) the problem of modern nihilism arose in the wake of the scientific development of the Enlightenment; (2) nihilism was not a local issue confined only to a specific place or country, but instead was something central to the general Zeitgeist of the entire nineteenth century in Europe and the West; (3) nihilism was not a problem confined to philosophy, but it received detailed treatment in works of poetry, drama, and other forms of literature; (4) the problem of nihilism is more widespread than has been acknowledged; and (5) the discussions of nihilism in the nineteenth century anticipate the key topics of the existentialist movement.

If the domestic near future operates with residual and dominant cultural forms, in Raymond Williams’s terms, it also provides glimpses of potential emergent formations. This chapter reads two novels that give a particularly vivid sense of the incipient genre of near-future revolution struggling within inherited genres that can register but not properly embody it. While the eponymous company in The Circle by Dave Eggers (2013) provides a more legible delineation of the Anthropocene than the environmental disasters that often populate the domestic near future, its victory relies on a similar investment in individual embodiment, that has as its correlate a latent antipathy to collective agency – such as might coalesce in the prospective revolution glimpsed at the novel’s close. Odds Against Tomorrow by Nathaniel Rich (2013) progresses from a devastating satire of apocalyptic capitalism into an oscillation between shattered human communities and a dangerous journeying: between capitalist realism in the shadow of dystopia and the adventure romance. However, almost despite itself, the novel dowses at its end towards another kind of collective that would also be another form of novel.

While scholarship and cultural commentary following Wallace’s death was laudatory, straying at times into the hagiographic, at a distance of over ten years, different currents in his legacy are emerging. As might be expected with the developing field of research into any author of such high profile, a second wave of more critical work followed that first wave of scholarship, grappling with problems and failures in the Wallace oeuvre once the work of establishing the field was complete. This exciting period in the growth of Wallace Studies focused particularly around Wallace’s treatment of gender and positions of racial and gender privilege occupied by his writing. This turn, which has enriched and enlivened the scholarly dialogue, anticipated by some years the resurgence of a conversation regarding Wallace’s personal behavior in relationships with women, but Wallace’s public reputation has also been deeply affected by this conversation. Picking up some of the themes identified in earlier chapters relating specifically to the writing, this chapter traces the development of Wallace’s critical and cultural legacy with reference to this confluence of conversations, discussing the emerging public imagination of Wallace as well as the evolving critical dialogue around the strengths and weaknesses of his work.