Quotes & Sayings


We, and creation itself, actualize the possibilities of the God who sustains the world, towards becoming in the world in a fuller, more deeper way. - R.E. Slater

There is urgency in coming to see the world as a web of interrelated processes of which we are integral parts, so that all of our choices and actions have [consequential effects upon] the world around us. - Process Metaphysician Alfred North Whitehead

Kurt Gödel's Incompleteness Theorem says (i) all closed systems are unprovable within themselves and, that (ii) all open systems are rightly understood as incomplete. - R.E. Slater

The most true thing about you is what God has said to you in Christ, "You are My Beloved." - Tripp Fuller

The God among us is the God who refuses to be God without us, so great is God's Love. - Tripp Fuller

According to some Christian outlooks we were made for another world. Perhaps, rather, we were made for this world to recreate, reclaim, redeem, and renew unto God's future aspiration by the power of His Spirit. - R.E. Slater

Our eschatological ethos is to love. To stand with those who are oppressed. To stand against those who are oppressing. It is that simple. Love is our only calling and Christian Hope. - R.E. Slater

Secularization theory has been massively falsified. We don't live in an age of secularity. We live in an age of explosive, pervasive religiosity... an age of religious pluralism. - Peter L. Berger

Exploring the edge of life and faith in a post-everything world. - Todd Littleton

I don't need another reason to believe, your love is all around for me to see. – Anon

Thou art our need; and in giving us more of thyself thou givest us all. - Khalil Gibran, Prayer XXIII

Be careful what you pretend to be. You become what you pretend to be. - Kurt Vonnegut

Religious beliefs, far from being primary, are often shaped and adjusted by our social goals. - Jim Forest

We become who we are by what we believe and can justify. - R.E. Slater

People, even more than things, need to be restored, renewed, revived, reclaimed, and redeemed; never throw out anyone. – Anon

Certainly, God's love has made fools of us all. - R.E. Slater

An apocalyptic Christian faith doesn't wait for Jesus to come, but for Jesus to become in our midst. - R.E. Slater

Christian belief in God begins with the cross and resurrection of Jesus, not with rational apologetics. - Eberhard Jüngel, Jürgen Moltmann

Our knowledge of God is through the 'I-Thou' encounter, not in finding God at the end of a syllogism or argument. There is a grave danger in any Christian treatment of God as an object. The God of Jesus Christ and Scripture is irreducibly subject and never made as an object, a force, a power, or a principle that can be manipulated. - Emil Brunner

“Ehyeh Asher Ehyeh” means "I will be that who I have yet to become." - God (Ex 3.14) or, conversely, “I AM who I AM Becoming.”

Our job is to love others without stopping to inquire whether or not they are worthy. - Thomas Merton

The church is God's world-changing social experiment of bringing unlikes and differents to the Eucharist/Communion table to share life with one another as a new kind of family. When this happens, we show to the world what love, justice, peace, reconciliation, and life together is designed by God to be. The church is God's show-and-tell for the world to see how God wants us to live as a blended, global, polypluralistic family united with one will, by one Lord, and baptized by one Spirit. – Anon

The cross that is planted at the heart of the history of the world cannot be uprooted. - Jacques Ellul

The Unity in whose loving presence the universe unfolds is inside each person as a call to welcome the stranger, protect animals and the earth, respect the dignity of each person, think new thoughts, and help bring about ecological civilizations. - John Cobb & Farhan A. Shah

If you board the wrong train it is of no use running along the corridors of the train in the other direction. - Dietrich Bonhoeffer

God's justice is restorative rather than punitive; His discipline is merciful rather than punishing; His power is made perfect in weakness; and His grace is sufficient for all. – Anon

Our little [biblical] systems have their day; they have their day and cease to be. They are but broken lights of Thee, and Thou, O God art more than they. - Alfred Lord Tennyson

We can’t control God; God is uncontrollable. God can’t control us; God’s love is uncontrolling! - Thomas Jay Oord

Life in perspective but always in process... as we are relational beings in process to one another, so life events are in process in relation to each event... as God is to Self, is to world, is to us... like Father, like sons and daughters, like events... life in process yet always in perspective. - R.E. Slater

To promote societal transition to sustainable ways of living and a global society founded on a shared ethical framework which includes respect and care for the community of life, ecological integrity, universal human rights, respect for diversity, economic justice, democracy, and a culture of peace. - The Earth Charter Mission Statement

Christian humanism is the belief that human freedom, individual conscience, and unencumbered rational inquiry are compatible with the practice of Christianity or even intrinsic in its doctrine. It represents a philosophical union of Christian faith and classical humanist principles. - Scott Postma

It is never wise to have a self-appointed religious institution determine a nation's moral code. The opportunities for moral compromise and failure are high; the moral codes and creeds assuredly racist, discriminatory, or subjectively and religiously defined; and the pronouncement of inhumanitarian political objectives quite predictable. - R.E. Slater

God's love must both center and define the Christian faith and all religious or human faiths seeking human and ecological balance in worlds of subtraction, harm, tragedy, and evil. - R.E. Slater

In Whitehead’s process ontology, we can think of the experiential ground of reality as an eternal pulse whereby what is objectively public in one moment becomes subjectively prehended in the next, and whereby the subject that emerges from its feelings then perishes into public expression as an object (or “superject”) aiming for novelty. There is a rhythm of Being between object and subject, not an ontological division. This rhythm powers the creative growth of the universe from one occasion of experience to the next. This is the Whiteheadian mantra: “The many become one and are increased by one.” - Matthew Segall

Without Love there is no Truth. And True Truth is always Loving. There is no dichotomy between these terms but only seamless integration. This is the premier centering focus of a Processual Theology of Love. - R.E. Slater

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Note: Generally I do not respond to commentary. I may read the comments but wish to reserve my time to write (or write from the comments I read). Instead, I'd like to see our community help one another and in the helping encourage and exhort each of us towards Christian love in Christ Jesus our Lord and Savior. - re slater

Saturday, May 20, 2023

Moving from Postmodernism to Metamodernism, Part 2 - Description




 Metamodernism Series







* * * * * *

METAMODERNISM

Metamodernism is a term that refers to a range of developments observed in many areas of art, culture and philosophy, emerging in the aftermath of postmodernism, roughly at the turn of the 21st century. To many, it is characterized as mediations between aspects of modernism and postmodernism; for others the term suggests an integration of those sensibilities with premodern (indigenous and traditional) cultural codes as well. Metamodernism is one of a number of attempts to describe post-postmodernism.

History of the term

A pendulum swinging back and forth.
To describe "the structure of feeling" of metamodernism, Akker and Vermeulen use the metaphor of a pendulum continually oscillating from the sincere seriousness of modernism to the ironic playfulness of postmodernism.[1][2]

In 1995, Canadian literary theorist Linda Hutcheon stated that a new label for what was coming after postmodernism was necessary.[3]

Early usages

The term appeared as early as 1975, when scholar Mas'ud Zavarzadeh used it to describe a cluster of aesthetics or attitudes which had been emerging in American literary narratives since the mid-1950s.[4] In 1999, Moyo Okediji utilized the term "metamodern" applying it to contemporary African-American art that issues an "extension of and challenge to modernism and postmodernism."[5] In 2002, Andre Furlani, analyzing the literary works of Guy Davenport, defined metamodernism as an aesthetic that is "after yet by means of modernism.... a departure as well as a perpetuation."[6][7] The relationship between metamodernism and modernism was seen as going "far beyond homage, toward a reengagement with modernist method in order to address subject matter well outside the range or interest of the modernists themselves."[6] In 2007, Alexandra Dumitrescu described metamodernism as partly a concurrence with, partly an emergence from, and partly a reaction to, postmodernism, "champion[ing] the idea that only in their interconnection and continuous revision lie the possibility of grasping the nature of contemporary cultural and literary phenomena."[8]

Vermeulen and van den Akker

In 2010, cultural theorists Timotheus Vermeulen and Robin van den Akker contributed significantly to the theorization of post-postmodernism, using the term metamodernism. [9][10] In their essay Notes on Metamodernism, they asserted that the 2000s were characterized by the return of typically modern positions that nevertheless did not forfeit the postmodern mindsets of the 1980s and 1990s. According to them, the metamodern sensibility "can be conceived of as a kind of informed naivety, a pragmatic idealism", characteristic of cultural responses to recent global events such as climate change, the financial crisis, political instability, and the digital revolution.[9] They asserted that “the postmodern culture of relativism, irony, and pastiche" is over, having been replaced by a post-ideological condition that stresses engagement, affect, and storytelling through "ironic sincerity."[11]

An image of Herzog and de Meuron's Elbe Philharmonie, Hamburg. Notes from Modernism describes it an example of the metamodernism in architecture.
Notes from Metamodernism states that the architecture of Herzog & de Meuron is expressive of "attempts to negotiate between such opposite poles as culture and nature, the finite and the infinite, the commonplace and the ethereal, a formal structure, and a formalist unstructuring."[12]


The prefix "meta-" referred not so much to a reflective stance or repeated rumination, but to Plato's metaxy, which denotes a movement between (meta) opposite poles as well as beyond (meta) them.[9] Vermeulen and van den Akker described metamodernism as a "structure of feeling" that oscillates between modernism and postmodernism like "a pendulum swinging between...innumerable poles".[13]

According to Kim Levin, writing in ARTnews, this oscillation "must embrace doubt, as well as hope and melancholy, sincerity and irony, affect and apathy, the personal and the political, and technology and techne."[11] For the metamodern generation, according to Vermeulen, "grand narratives are as necessary as they are problematic, hope is not simply something to distrust, love not necessarily something to be ridiculed."[14]

Vermeulen asserted that "metamodernism is not so much a philosophy—which implies a closed ontology—as it is an attempt at a vernacular, or...a sort of open source document, that might contextualise and explain what is going on around us, in political economy as much as in the arts."[14] The return of a Romantic sensibility has been posited as a key characteristic of metamodernism, observed by Vermeulen and van den Akker in the architecture of Herzog & de Meuron, and the work of artists such as Bas Jan Ader, Peter Doig, Olafur Eliasson, Kaye Donachie, Charles Avery, and Ragnar Kjartansson.[9]

Academic engagement since 2010

Metamodernism/metamodern theory has been engaged by scholars in numerous academic fields.

James MacDowell, in his formulation of the "quirky" cinematic sensibility, described the works of Wes Anderson, Michel Gondry, Spike Jonze, Miranda July, and Charlie Kaufman as building upon the "New Sincerity", and embodying the metamodern structure of feeling in their balancing of "ironic detachment with sincere engagement".[13]

The 2013 issue of the American Book Review dedicated to metamodernism included a series of essays identifying authors such as Roberto Bolaño, Dave Eggers, Jonathan Franzen, Haruki Murakami, Zadie Smith, and David Foster Wallace as metamodernists.[15][16]

In 2013, Linda C. Ceriello proposed a theorization of metamodernism for the field of religious studies, connecting the contemporary phenomenon of secular spirituality to the emergence of a metamodern episteme. Her analysis of contemporary religious/spiritual movements and ontologies posits a shift that is consonant with the metamodern cultural sensibilities identified by others such as Vermeulen and van den Akker, and which has given rise to a distinct metamodern soteriology. [17]

Linda Ceriello's work with Greg Dember on popular cultural products such as Joss Whedon's seminal television show Buffy the Vampire Slayer[18] and on Whedon and Goddard's 2012 film The Cabin in the Woods proposed an epistemic taxonomy of the monstrous/paranormal to distinguish the character of metamodern monsters from those which could be read as postmodern, modern or pre-modern.[19]

In a 2014 article in PMLA, literary scholars David James and Urmila Seshagiri argued that "metamodernist writing incorporates and adapts, reactivates and complicates the aesthetic prerogatives of an earlier cultural moment", in discussing twenty-first century writers such as Tom McCarthy.[20]

In 2014, Professor Stephen Knudsen, writing in ArtPulse, noted that metamodernism "allows the possibility of staying sympathetic to the poststructuralist deconstruction of subjectivity and the self—Lyotard’s teasing of everything into intertextual fragments—and yet it still encourages genuine protagonists and creators and the recouping of some of modernism's virtues."[21]

In 2017, Vermeulen and van den Akker, with Allison Gibbons, published Metamodernism: Historicity, Affect and Depth After Postmodernism,[22] an edited collection of essays exploring the notion of metamodernism across a variety of fields in the arts and culture. Individual chapters cover metamodernism in areas such as film, literary fiction, crafts, television, photography and politics. Contributors include the three editors, James MacDowell, Josh Toth, Jöog Heiser, Sjoerd van Tuinen, Lee Konstantinou, Nicole Timmer, Gry C. Rustad, Kuy Hanno Schwind, Irmtraud Huber, Wolfgang Funk, Sam Browse, Raoul Eshelman, and James Elkins. In the introductory chapter, van den Akker and Vermeulen update and consolidate their original 2010 proposal, while addressing the divergent usages of the term “metamodernism” by other thinkers.

In a 2017 essay on metamodernism in literary fiction, Fabio Vittorini stated that since the late 1980s, memetic strategies of the modern have been combined with the meta-literary strategies of the postmodern, performing "a pendulum-like motion between the naive and/or fanatic idealism of the former and the skeptical and/or apathetic pragmatism of the latter."[23]

The first peer-reviewed article applying metamodern theory to the study of religions was published in 2017 by Michel Clasquin-Johnson,[24]

Starting 2018 the UK Arts and Humanities Research Council (AHRC) has funded a Metamodernism Research Network. The Network has hosted several international symposia and conferences.[25]

Timotheus Vermeulen at the Between Irony and Sincerity Lecture at Columbia GSAPP

In 2021, American philosopher Jason Josephson Storm published Metamodernism: The Future of Theory, a foundational theoretical text in metamodernist philosophy, social science, and politics. In this book, Storm establishes a novel method for critical scholarly research in the social sciences and humanities, disciplines which he refers to using the umbrella term "human sciences".[26] The metamodernist mode of analysis involves metarealism, process social ontology, hylosemiotics, Zeteticism and a "revaluation of values",[27] each of which is developed progressively in parts I-IV of the text.

Storm's philosophy of metamodernism builds on and critiques both modernism and postmodernism, arguing that those two preceding movements are not as disparate as they have been made out to be. Ultimately, while incorporating modernist and postmodernist elements, Metamodernism foregrounds the importance of reflective, self-analytical, interdisciplinary scholarship.[28] Storm asserts the need for a humble, positively and progressively oriented academy in which a collaborative and compassionate ethics serve openly as the motivation behind research and development of thought.[29] Contrasting with other strains of metamodernism, Storm articulates his project is more about creating a paradigm shift than merely describing an intellectual movement that's already happening in academia or culture writ large.[30]

Metamodernism in the arts

Drawing upon the work of Vermeulen and van den Akker, Luke Turner published The Metamodernist Manifesto in 2011 as "an exercise in simultaneously defining and embodying the metamodern spirit," describing it as "a romantic reaction to our crisis-ridden moment."[31][32] The manifesto recognized "oscillation to be the natural order of the world," and called for an end to "the inertia resulting from a century of modernist ideological naivety and the cynical insincerity of its antonymous bastard child."[33][34] Instead, Turner proposed metamodernism as "the mercurial condition between and beyond irony and sincerity, naivety and knowingness, relativism and truth, optimism and doubt, in pursuit of a plurality of disparate and elusive horizons," and concluded with a call to "go forth and oscillate!"[35][14] In 2014, the manifesto became the impetus for LaBeouf, Rönkkö & Turner's collaborative art practice, after Shia LaBeouf reached out to Turner after encountering the text,[36][37] with the trio embarking on a series of metamodern performance projects exploring connection, empathy, and community across digital and physical platforms.[38][39]

A number of exhibitions devoted to metamodernism have been staged. In November 2011, the Museum of Arts and Design in New York staged an exhibition entitled No More Modern: Notes on Metamodernism, featuring the work of Pilvi Takala, Guido van der Werve, Benjamin Martin, and Mariechen Danz.[40] In March 2012, Galerie Tanja Wagner in Berlin curated Discussing Metamodernism in collaboration with Vermeulen and van den Akker. The show featured the work of Ulf Aminde, Yael Bartana, Monica Bonvicini, Mariechen Danz, Annabel Daou, Paula Doepfner, Olafur Eliasson, Mona Hatoum, Andy Holden, Sejla Kameric, Ragnar Kjartansson, Kris Lemsalu, Issa Sant, David Thorpe, Angelika J. Trojnarski, Luke Turner, and Nastja Säde Rönkkö.[41][42][43] In 2013 Andy Holden staged the exhibition Maximum Irony! Maximum Sincerity 1999-2003: Towards a Unified Theory of M!MS. The exhibition examined the manifesto he had written in 2003 that called for art to be simultaneously ironic and sincere. The exhibition told the history of the writing of the manifesto and subsequently M!MS it now often cited as a precursor to Metamodernism as a ‘structure of feeling’.[44]

In his fourth novel, More Deaths than One, published in 2014, the New Zealand writer and singer-songwriter Gary Jeshel Forrester examined metamodernism by way of a search for the Central Illinois roots of David Foster Wallace during a picaresque journey to America.[45] In it, Forrester wrote that "[m]etamodernist theory proposes to fill the postmodernist void with a rough synthesis of the two predecessors from the twentieth century [modernism and post-modernism]. In the new paradigm, metaphysics, epistemology, and ontology all have their places, but the overriding concern is with yet another division of philosophy – ethics. It's okay to search for values and meaning, even as we continue to be skeptical."

In May 2014, country music artist Sturgill Simpson told CMT that his album Metamodern Sounds in Country Music had been inspired in part by an essay by Seth Abramson, who writes about metamodernism on his Huffington Post blog.[46][47] Simpson stated that "Abramson homes in on the way everybody is obsessed with nostalgia, even though technology is moving faster than ever."[46] According to J.T. Welsch, "Abramson sees the 'meta-' prefix as a means to transcend the burden of modernism and postmodernism's allegedly polarised intellectual heritage."[48]

A strand of metamodernism can be identified in Sci-Fi, taking the place of Postmodernism. Denis Villeneuve's Arrival is seen by Pappis as an example, "in that it explores an oscillation in and transcendence of time".[49]

Bo Burnham's Inside and Eighth Grade have been described as metamodern reactions to growing up with social media.[50][51]

Developmental metamodernism

Other authors have utilized the term metamodernism in a sense that is partly related but divergent from the general academic conception and employment of the term as a cultural sensibility. These authors treat the concept as an aspirational stage in human development. Some have also related this conceptualization of metamodernism to Integral theory-- an earlier developmental paradigm with a spiritual emphasis.

Hanzi Freinacht and Nordic metamodernism

In 2017, sociologist Daniel Görtz and theory artist Emil Ejner Friis, writing under the pen name "Hanzi Freinacht",[52] published the first volume in their 'Metamodern Guide to Politics' Series, The Listening Society. Employing metamodernism as their "philosophical engine," they construe metamodernism as an active intellectual, social, and political movement emerging to meet the crises arising from globalization.

"Freinacht" articulates a progressive political program heavily informed by developmental psychology, particularly the Model of Hierarchical Complexity (MHC), a neo-Piagetian framework developed by Michael Commons. In this context, metamodernism is for them best understood not merely as a cultural phase, but as a developmental stage, which is manifested at both the individual and the collective levels.[53] They assert that the distinct stages of their MHC correspond to cultural expressions of these stages and their associated worldviews, or "effective value memes."

Stages and their Value Memes
MHC StageCultural Code
Stage 7: Pre-operational stageArchaic
Stage 8: Primary StageAnimistic
Stage 9: Concrete StageFaustian
Stage 10: Abstract StagePost-Faustian
Stage 11: Formal StageModern
Stage 12: Systematic StagePostmodern
Stage 13: Metasystematic StageMetamodern

In September 2018, Görtz conducted a TEDx talk in Berlin outlining the development of "value memes" (influenced by the work of Clare W. Graves and Don Beck[54]) claiming that the metamodern value meme constitutes the highest form yet.[55]

In 2019, the second volume of the Series, Nordic Ideology, was published, providing Freinacht's detailed vision for a political metamodernism.

Politics

Swedish political party Initiativet is based on metamodern principles. It is a sister-party of Danish political party Alternativet.

Metamodernity and Bildung

In 2019, Lene Rachel Anderson published the book Metamodernity: Meaning and Hope in a Complex World, in which she claims: "Metamodernity provides us with a framework for understanding ourselves and our societies in a much more complex way. It contains both indigenous, premodern, modern, and postmodern cultural elements and thus provides social norms and a moral fabric for intimacy, spirituality, religion, science, and self-exploration, all at the same time."

2019 also saw the publication of The World We Create: From God to Market by Tomas Björkman, a work exploring the complex origins of our precarious situation today, along with a set of proposed solutions utilizing a metamodern framework.

In 2021, Perspectiva Press published Metamodernity: Dispatches from a Time Between Worlds, an anthology of essays on metamodernism and society by Jonathan Rowson and others.[56]

Criticism

Following interviews with Vermeulen and van den Akker[57] and Daniel Görtz,[58] philosopher and founder of Parallax magazine Tom Amarque criticized Metamodernism on a range of points.[59] He states that the approaches of Metamodernism provide few insights into longstanding issues such as modern warfare.[60] He has also accused its academic theoretical framework of being untranslatable to the working class.[61] He also claims that the metamodern emphasis on sincerity would assign meaning to things like sentimental Hollywood clichès.[62]

See also

References

  1. ^ Kovalova, Mariia; Alforova, Zoya; Sokolyuk, Lyudmyla; Chursin, Oleksandr; Obukh, Liudmyla (2022-10-18). "The digital evolution of art: current trends in the context of the formation and development of metamodernism" (PDF). Revista Amazonia Investiga. 11 (56): 114–123. doi:10.34069/AI/2022.56.08.12. ISSN 2322-6307. S2CID 253834353.
  2. ^ Vermeulen, Timotheus; van den Akker, Robin (2010). "Notes on metamodernism". Journal of Aesthetics & Culture. 2 (1): 5677. doi:10.3402/jac.v2i0.5677. ISSN 2000-4214. S2CID 164789817.
  3. ^ Hutcheon, Linda (2002). The Politics of Postmodernism. New York: Routledge. p. 166.
  4. ^ Zavarzadeh, Mas'ud (1975). "The Apocalyptic Fact and the Eclipse of Fiction in Recent American Prose Narratives". Journal of American Studies. Vol. 9, no. 1. pp. 69–83. ISSN 0021-8758. JSTOR 27553153.
  5. ^ Okediji, Moyo (1999). Harris, Michael (ed.). Transatlantic Dialogue: Contemporary Art In and Out of Africa. Ackland Museum, University of North Carolina. pp. 32–51. ISBN 9780295979335. Retrieved July 26, 2014.
  6. ^ Jump up to:a b Furlani, Andre (2002). "Postmodern and after: Guy Davenport". Contemporary Literature. 43 (4): 713. doi:10.2307/1209039. JSTOR 1209039.
  7. ^ Furlani, Andre (2007). Guy Davenport: Postmodernism and After. Northwestern University Press.
  8. ^ Dumitrescu, Alexandra. "Interconnections in Blakean and Metamodern Space". On Space. Deakin University. Archived from the original on March 23, 2012. Retrieved September 15, 2011.
  9. ^ Jump up to:a b c d Vermeulen, Timotheus; van den Akker, Robin (2010). "Notes on metamodernism". Journal of Aesthetics & Culture. 2 (1): 5677. doi:10.3402/jac.v2i0.5677. ISSN 2000-4214.
  10. ^ Eve, Martin Paul (2012). "Thomas Pynchon, David Foster Wallace and the Problems of Metamodernism" (PDF). Journal of 21st-century Writings. 1 (1): 7–25. Archived from the original (PDF) on 2014-02-23. Retrieved 28 July 2014.
  11. ^ Jump up to:a b Levin, K. (15 October 2012). "How PoMo Can You Go?". ARTnews. Retrieved 14 July 2014.
  12. ^ Vermeulen, Timotheus; van den Akker, Robin (2010). "Notes on metamodernism". Journal of Aesthetics & Culture. 2 (1): 5677. doi:10.3402/jac.v2i0.5677. ISSN 2000-4214. S2CID 164789817.
  13. ^ Jump up to:a b Kunze, Peter, ed. (2014). The Films of Wes Anderson: Critical Essays on an Indiewood Icon. Palgrave Macmillan.
  14. ^ Jump up to:a b c Potter, Cher (Spring 2012). "Timotheus Vermeulen talks to Cher Potter". Tank: 215.
  15. ^ Moraru, Christian (2013). "Introduction to Focus: Thirteen Ways of Passing Postmodernism". American Book Review. 34 (4): 3–4. doi:10.1353/abr.2013.0054. ISSN 2153-4578. S2CID 142998010.
  16. ^ Gheorghe, C. (2013). "Metamodernismul sau despre amurgul postmodernismului" (in Romanian). Observator Cultural. Retrieved 16 July 2014.
  17. ^ Ceriello, Linda C. (2018-05-30), "Toward a metamodern reading of Spiritual but Not Religious mysticisms", Being Spiritual but Not Religious, Routledge, pp. 200–218, doi:10.4324/9781315107431-13, ISBN 9781315107431, S2CID 187908803
  18. ^ Ceriello, Linda C. (2018). "The Big Bad and the 'Big AHA!': Metamodern Monsters as Transformational Figures of Instability". In Heyes, Michael E. (ed.). Holy Monsters, Sacred Grotesques: Monstrosity and Religion in Europe and the United States. Lexington Books. ISBN 9781498550772. OCLC 1050331873.
  19. ^ Ceriello, Linda C.; Dember, Greg (2019). "The Right to a Narrative: Metamodernism, Paranormal Horror, and Agency in The Cabin in the Woods". In Caterine, Darryl; Morehead, John W. (eds.). The Paranormal and Popular Culture: A Postmodern Religious Landscape. Routledge. doi:10.4324/9781315184661. ISBN 9781315184661. S2CID 213527076.
  20. ^ James, David; Seshagiri, Urmila (2014). "Metamodernism: Narratives of Continuity and Revolution". PMLA. 129: 87–100. doi:10.1632/pmla.2014.129.1.87. S2CID 162269414.
  21. ^ Knudsen, S. (March 2013). "Beyond Postmodernism. Putting a Face on Metamodernism Without the Easy Clichés". ArtPulse. Retrieved 14 July 2014.
  22. ^ van den Akker, Robin; Gibbons, Alison; Vermeulen, Timotheus (2017). Metamodernism: History, Affect and Depth After Postmodernism. London: Rowman & Littlefield. ISBN 978-1783489619.
  23. ^ Vittorini, Fabio (2017). Raccontare oggi. Metamodernismo tra narratologia, ermeneutica e intermedialità. Bologna: Pàtron. p. 155. ISBN 9788855533911.
  24. ^ Clasquin-Johnson, Michel (2017-02-08). "Towards a metamodern academic study of religion and a more religiously informed metamodernism". HTS Teologiese Studies / Theological Studies. 73 (3). doi:10.4102/hts.v73i3.4491. ISSN 2072-8050.
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