What Lies Between

Void Aesthetics and Postwar Post-Politics

Fiction & Literature, Literary Theory & Criticism, American, Theory, Nonfiction, Religion & Spirituality, Philosophy
Cover of the book What Lies Between by Matt Tierney, Rowman & Littlefield International
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Author: Matt Tierney ISBN: 9781783480609
Publisher: Rowman & Littlefield International Publication: December 12, 2014
Imprint: Rowman & Littlefield International Language: English
Author: Matt Tierney
ISBN: 9781783480609
Publisher: Rowman & Littlefield International
Publication: December 12, 2014
Imprint: Rowman & Littlefield International
Language: English

By what aesthetic practice might post-politics be disrupted? Now is a moment that many believe has become post-racial, post- national, post-queer, and post-feminist. This belief is reaffirmed by recent events in the politics of diminished expectations, especially in the United States.

What Lies Between illustrates how today’s discourse repeats the post-politics of an earlier time. In the aftermath of World War II, both Communism and Fascism were no longer considered acceptable, political extremes appeared exhausted, and consensus appeared dominant. Then, unlike today, this consensus met a formal challenge, a disruption in the shape of a generative and negativist aesthetic figure—the void.

What Lies Between explores fiction, film, and theory from this period that disrupted consensual and technocratic rhetorics with formal experimentation. It seeks to develop an aesthetic rebellion that is still relevant, and indeed vital, in the positivist present.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

By what aesthetic practice might post-politics be disrupted? Now is a moment that many believe has become post-racial, post- national, post-queer, and post-feminist. This belief is reaffirmed by recent events in the politics of diminished expectations, especially in the United States.

What Lies Between illustrates how today’s discourse repeats the post-politics of an earlier time. In the aftermath of World War II, both Communism and Fascism were no longer considered acceptable, political extremes appeared exhausted, and consensus appeared dominant. Then, unlike today, this consensus met a formal challenge, a disruption in the shape of a generative and negativist aesthetic figure—the void.

What Lies Between explores fiction, film, and theory from this period that disrupted consensual and technocratic rhetorics with formal experimentation. It seeks to develop an aesthetic rebellion that is still relevant, and indeed vital, in the positivist present.

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