In 1966, Peter Handke disturbed the world of German letters with the publication of his first novel and with his attacks on the complacency of German-language writers and their audiences. Since then, Handke--an Austrian whose works include drama, poetry, and critical theory as well as fiction--has become a leading European figure in the internationally established postmodern movement. Klinkowitz and Knowlton survey Handke's progress as a writer, concentrating on his novels, to determine whether his creativity has been exhausted by his persistent assault on the systems that underlie conventional fiction, drama, and poetry. By placing Handke's work in the tradition of Gabriel García Márquez's magic realism and Donald Barthelme's innovative fictions, the authors demonstrate that postmodern writers can create works of art in which content is effaced and the process of composition assumes increasing importance. Indeed, in so doing, Handke has made that process as humanly interesting and as fictionally dramatic as any stories of The Great Tradition: he has learned to address the human condition within the limits of a rebellious aesthetic. The lesson of the postmodern transformation, Klinkowitz and Knowlton argue, is that the abstraction of content is not a loss; instead, it leads directly to the most essential human concerns.

The great diversity of contexts in which the term Postmodernism is currently encountered reflects the remarkable success of a coinage that has been in circulation for only about forty years. It has been used by philosophers, sociologists, art critics and literary historians to become, finally, a household word in the language of advertising and politics. Before letting it fade to a derelict cliché, an attempt is made in this volume of essays to use its potential as a cultural concept for the analysis and understanding of contemporary literature and thought.

Preliminary Material -- Acknowledgements -- Authors' Note -- Introduction -- Politics, Poetics, Film: The Beginnings of a Collaboration -- Parallel Texts: Language into Image in The Goalkeeper's Fear of the Penalty -- Accompanied by Text: From Short Letter, Long Farewell to Alice in the Cities -- Mute Stories and Blind Alleys: Text, Image and Allusion in Wrong Move -- Leafing through Wings of Desire -- Conclusion -- Filmographies -- Bibliography -- Index.

This is the first bibliography of Postmodernism to take account of work published in all subject areas and in all languages. Deborah Madsen has identified a new first occurrence of the term in 1926, preceding by more than twenty years the first occurence documented by the Oxford English Dictionary. In a chronological listing, books, articles, notes, letters and working papers on Postmodernism are described with full bibliographical details. Reviews of major books are documented and full contents listings are given for special issues of journals devoted to Postmodernism. An appendix includes books on Postmodernism announced for publication in 1995. This bibliography brings together in one place all secondary material published on Postmodernism. All disciplines are included, from anthropology to zoology: architecture, cultural studies, dance, drama, feminism, fiction, geography, history, legal studies, literary theory, mathematics, medicine, music, pedagogical theory, philosophy, photography and film, poetry, politics, religion, sociology, the visual and plastic arts, and others. The bibliography also documents items in a range of languages other than English: Chinese, French, German, Italian, Japanese, Russian, Slovanian, Spanish, and the Scandinavian languages. Access to the information contained in the bibliography is made easy with a comprehensive index providing guidance according to author, subject, language, and key words. Postmodernism: A Bibliography, 1926-1994 is an essential reference text for anyone working in the area of contemporary culture studies.

Containing more than fifty essays by major literary scholars, International Postmodernism divides into four main sections. The volume starts off with a section of eight introductory studies dealing with the subject from different points of view followed by a section that deals with postmodernism in other arts than literature, while a third section discusses renovations of narrative genres and other strategies and devices in postmodernist writing. The final and fourth section deals with the reception and processing of postmodernism in different parts of the world. Three important aspects add to the special character of International Postmodernism: The consistent distinction between postmodernity and postmodernism; equal attention to the making and diffusion of postmodernism and the workings of literature in general; and the focus on the text and the reader (i.e., the reader's knowledge, experience, interests, and competence) as crucial factors in text interpretation. This comprehensive study does not expressly focus on American postmodernism, although American interpretations of postmodernism are a major point of reference. The recognition that varying literary and cultural conditions in this world are bound to produce endless varieties of postmodernism made the editors, Hans Bertens and Douwe Fokkema, opt for the title International Postmodernism.

Most of the essays collected in this volume deal with theoretical issues that dominate the international debate on Postmodernism, issues such as the shifting nature of the concept, the problem of periodization and the problem of historicity. Other essays offer readings of Postmodernist texts and relate practical criticism to a theoretical framework. Hans Bertens (Utrecht) sketches the historical development of the concept Postmodernism in American criticism, distinguishing between the various definitions that have been proposed over the last twenty-five years, in an attempt to bring some order to the field and to facilitate future discussion. Brian McHale (Tel Aviv) and Douwe Fokkema (Utrecht) offer models for the description of Postmodernist texts. Richard Todd (Amsterdam) argues convincingly that Postmodernism is much more of a presence in contemporary British fiction than has so far been assumed, and Herta Schmid (Munich) presents a similar argument with respect to Russian avant-garde theater. Elrud Ibsch (Amsterdam) presents a contrastive analysis of Thomas Bernhard and Robert Musil; Ulla Musarra (Nijmegen) writes on Italo Calvino. The relation between Existentialism and Postmodernism is examined by Gerhard Hoffman (Würzburg); Theo D'haen (Utrecht) finds important parallels between Postmodernism in literature and in the visual arts; Matei Calinescu (Bloomington, Ind.) relates literary Postmodernism to a far more general cultural shift, rejecting, however, Foucault's notion of an epistemic break and arguing for both continuity and discontinuity. Finally, Helmut Lethen (Utrecht) and Susan Suleiman (Harvard) sharply question the concept of Postmodernism. Suleiman argues that the supposed Postmodernist reaction against Modernism may well be a critical myth or, if it isn't, a reaction limited to the American literary situation.