Jonathan Fitzgerald is writer, web developer and perpetual learner living in Jersey City with his wife Stephanie, a painter. He has written for a number of periodicals and journals both online and in print focusing on such diverse topics as peace studies, literary criticism, religion and politics. He recently found out he needs glasses to see.
Film & Television / Humanity / Music & Performing Arts / Social Justice
December 4, 2009The line between modernism and postmodernism, both in theory and in time, is blurred, but one thing is certain: in the last decade, we’ve subtly begun to move away from the lack of interest in morality and the relativism so prominent in the twentieth century.
Why we connect with the road novel, what makes it alluring, and what can make it dangerous.
So I have Star Trek on the brain, and yet I do very much want to share thoughts on this summer’s Shakespeare in the Park. And, if you’ll bear with me, I think we will find more connections between the works of Gene Roddenberry and those of Shakespeare than just the actor Patrick Stewart.
Is the constant rush to upgrade a good or bad thing? Or is it both?
Is the convention of “prequel” a shameless, money-making trick or is it a legitimate narrative convention?
On the places where patriotism and questioning intersect, and where literature can help us reach across a divide.
The feeling that settled on us in our car as we descended Newark Avenue into downtown Jersey City can only be described as “coming home.”
It occurred to me somewhere in the middle of rewatching the final installment in the series that the Shrek movies are animated acts of deconstruction. They are striking examples of postmodernism in popular culture.