ABSTRACT

It is often argued that postmodernism has been succeeded by a new dominant cultural logic. We conceive of this new logic as metamodernism. Whilst some twenty-first century texts still engage with and utilise postmodernist practices, they put these practices to new use. In this article, we investigate the metamodern usage of the typically postmodernist devices of metatextuality and ontological slippage in two genres: autofiction and true crime documentary. Specifically, we analyse Ruth Ozeki’s A Tale for the Time Being and the Netflix mini-series The Keepers, demonstrating that forms of fictionalisation, metafictionality and ontological blurring between fiction and reality have been repurposed. We argue that, rather than expand the scope of fiction, overriding reality, the metamodernist repurposing of postmodernist textual strategies generates a kind of ‘reality-effect’.

摘要

人们通常认为，后现代主义已被一种新的主​​流文化逻辑所取代。我们将这种新逻辑视为元现代主义。尽管一些二十一世纪的文本仍然参与并利用了后现代主义的实践，但他们还是将这些实践用于新的用途。在本文中，我们研究两种类型的典型的后现代主义设备的元现代性：元文本性和本体论滑移：自小说和真实犯罪纪录片。具体来说，我们分析露丝·奥泽基（Ruth Ozeki）的《一个故事》以及Netflix迷你电视连续剧《守护者》（The Keepers），证明小说和现实之间虚构化，元虚构和本体论模糊的形式已被重新利用。我们认为，超越现代主义而不是扩大小说的范围，而不是超越现实，对后现代主义文本策略的元现代主义者的重新思考产生了一种“现实效应”。