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Index
Cover Page
Title Page
Copyright Page
Preface
Notes
Acknowledgments
Anti-Art or Ante-Art?
Notes
Monumental Art or Submonumental Art?
Notes
Eagleton and the Apocalyptic Fallacy
Notes
Introducing the B-Effect
Notes
Introducing the C-Effect
Notes
Deploring/Exploring Hyperspace: Jameson and Cage
Notes
Stupefaction or Enlivenment?
Notes
Benjamin and the Loss of Aura
Notes
Barthes, Belsey, and the Death of the Author
Notes
Burger and the Death of the Avant-Garde
Notes
Bonito-Oliva, Baudrillard, and the Collapse of the New
Notes
Beckett, Brecht, and the Attractions of Antinarrative
Notes
Beckett’s Poetics of Failure/Brecht’s Poetics of Interrogation
Notes
Beckett, Brecht, and the Groan of the Text
Notes
Warhol and the Grin of the Text
Notes
Eagleton, Jameson, and Dehistoricized Culture
Notes
Cage, Kostelanetz, and Value Judgments
Notes
Jameson, Rauschenberg, and Premature Exasperation
Note
Cage, Rauschenberg, and Ryman
Notes
Cage and Consumption
Notes
Collective Narrative and the Struggle with Simulacra
Notes
Depersonalized Culture or Repersonalized Culture?
Notes
Cage and the Antilogic of the Text
Notes
Beckett, Cage, and Nothing
Notes
Beckett, Cage, and Programmatic Composition
Notes
Purposeful Purposelessness or Nothing to Be Done?
Notes
Jameson, Bourdieu, and the Destruction of Art and Taste
Notes
Chion, Cage, and New Aesthetic Rationales
Notes
Postmodernism’s Purist Aesthetic
Notes
Postmodernism’s Hybrid Aesthetic
Notes
Feldman, Crazy Contradiction, and the Conceptual, Artistic Life
Notes
Pure “H”—Habermas and Communicative Rationality
Notes
Beuys, Adorno, and the Silence of Marcel Duchamp
Notes
Beuys, Cage, Buchloh, and the B-B Effect
Notes
Jappe, Jameson, and the Concept of Utopia
Notes
Bense, Concrete Poetry, and the Dwindling of the Poetic Element
Notes
Chopin, Human Vitality, and Technological Civilization
Notes
Conz and the New Saints of the Avant-Garde
Note
A Problem in Design: Lax and Mann
Notes
Postmodernism at Two Speeds: Hassan, Janco, and Seuphor
Notes
Rainer, Robbe-Grillet, Reich, and the Turn to Interobjectivity
Notes
Robbe-Grillet and the Re-turn to the Subjective Type of Writing
Notes
Rainer and the Re-turn to Identity
Notes
Reich and the Re-turn to Historical Realities
Notes
Multimedia Art in the Age of Mechanical Reproduction: Gaburo and Ashley
Notes
Monk and the Re-turn to Recurrence
Note
Umberto Eco and the Re-turn to the Middle Ages
Notes
Grass and the Destruction of Mankind
Notes
Grass, Mann, and the Re-turn to Forbidden Literature
Notes
Ernst, Carrington, and the Re-turn of Surrealism
Notes
Carrington, Cage, Beuys, and the Poetics of Resistance
Notes
Cage, Carrington, Barthes, Burroughs, Bense: From Artha to Moksha
Notes
Cage, Wolf, and the Re-turn to the Third Alternative
Wolf, Mann, and the Authority of Literary Genres
Müller, Beuys, and the Elevation of the Berlin Wall
Notes
Müller, Brecht, and the Petrification of Hope
Notes
Müller, Wilson, and the Re-turn to the Classics
Notes
Huyssen and the Endgame of the Avant-Garde
Note
Huyssen, Popper, and the Electrification of the Avant-Garde
Notes
Buñuel, Breton, Benjamin, Baudrillard, and the Myths of Mechanical Depersonalization
Notes
DeLillo, Müller, Lyotard, Kroker, and the Panic Sensibility
Notes
Ballard, The Kindness of Women, and Catharsis
Notes
Beyond the Disappearance of Value: Anderson and Acker
Notes
Toward Effective Communication: Kruger and Holzer
Note
Appropriation, Neutralization, and Reconciliation: Tillers and Johnson
Notes
Independent Internationalism: Finlay and Lax
Notes
Anderson and American Active Freedom
Notes
Glass and Wilson: Alienation Effect or Empathy Effect?
Notes
Burroughs, Walker, and the Pattern of Chaos
Notes
Beckett, Warrilow, and the Clarity of Spirit
Note
Considered in Diagrammatic Summary: The Phases of Postmodernism
The Modes of Modernism and Postmodernism
Baudrillard or Cage? Degeneration or Affirmation?
Notes
Burt, Wendt, and the Positive Parameters of Postmodernism
Notes
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