Literature after Postmodernism: Reconstructive Fantasies

Postmodernism, deconstruction and subversion have been the buzzwords of the last few decades. But not any longer. Ever since the end of the millennium an increasingly perceptible desire to turn towards other concerns can be noted. Only, what comes after postmodernism? Where are we going now? Irmtraud Huber suggests some answers to these questions, focusing on novels by Michael Chabon, Mark Z. Danielewski, Jonathan Safran Foer and David Mitchell and highlighting the ways in which they go beyond postmodernism and turn from deconstruction to reconstruction. Approaching the question from an unusual direction by exploring the novelists' particular use of the fantastic mode, this book offers both further insights into the present aesthetic shift and a new perspective on the literary fantastic.

Of missing fathers and Big Fish: reconstructive tendencies after postmodernism

Many things have been said about literature after postmodernism, but one point there seems to be some agreement on is that it does not turn its back radically on its postmodernist forerunner, but rather generally continues to heed and value their insights. There seems to be something strikingly non-oedipal about the recent aesthetic shift. It is a project of reconstruction that remains deeply rooted in postmodernist tenets. Such an essentially non-oedipal attitude, I would argue, is central to the nature of the reconstructive shift. This, however, also raises questions about the wider cultural context from which such an aesthetic stance arises. If postmodernism was nurtured by the revolutionary spirits of the late 1960s, reconstruction faces a different world with different strategies. Instead of the postmodernist urge to subvert, expose and undermine, reconstruction yearns towards tentative and fragile intersubjective understanding, towards responsibility and community. Instead of revolt and rebellion it explores reconciliation and compromise. One instance in which this becomes visible in reconstructive narratives is the recurring figure of the lost father. Missing father figures abound in recent novels by authors like Mark Z. Danielewski, Dave Eggers, Yann Mantel, David Mitchell etc. It almost seems like a younger generation is yearning for the fathers which postmodernism has struggled hard to do away with. My paper will focus on one particularly striking example to explore the implications of this development: Daniel Wallace’s novel Big Fish and Tim Burton’s well-known film adaptation of the same. In their negotiation of fact and fiction, of doubt and belief, of freedom and responsibility, all of which converge in a father-son relationship, they serve well to illustrate central characteristics and concerns of recent attempts to leave postmodernism behind.

Measuring Spatial Presence: Introducing and Validating the Pictorial Presence SAM

The aim of the present study was to develop a pictorial presence scale using selfassessment- manikins (SAM). The instrument assesses presence sub-dimensions (selflocation and possible actions) as well as presence determinants (attention allocation, spatial situation model, higher cognitive involvement, and suspension of disbelief). To qualitatively validate the scale, think-aloud protocols and interviews (n = 12) were conducted. The results reveal that the SAM items are quickly filled out as well as easily, intuitively, and unambiguously understood. Furthermore, the instrument’s validity and sensitivity was quantitatively examined in a two-factorial design (n = 317). Factors were medium (written story, audio book, video, and computer game) and distraction (non-distraction vs. distraction). Factor analyses reveal that the SAM presence dimensions and determinants closely correspond to those of the MEC Spatial Presence Questionnaire, which was used as a comparison measure. The findings of the qualitative and quantitative validation procedures show that the Pictorial Presence SAM successfully assesses spatial presence. In contrast to the verbal questionnaire data (MEC), the significant distraction effect suggests that the new scale is even more sensitive. This points out that the scale can be a useful alternative to existing verbal presence selfreport measures.