Robin van den Akker is Lecturer in Continental Philosophy and Cultural Studies at Erasmus University College Rotterdam. Alison Gibbons is Reader in Contemporary Stylistics at Sheffield Hallam University. Timotheus Vermeulen is Associate Professor in Media, Culture and Society at the University of Oslo.

• Acknowledgements 1. Periodising the 2000s, or, the emergence of metamodernism, Robin van den Akker and Timotheus Vermeulen Section I: Historicity 2. Metamodern Historicity, Robin van den Akker 3. The metamodern, the quirky, and the challenge of categorization, James MacDowell 4. Toni Morrison’s Beloved and the Rise of Historioplastic Metafiction, Josh Toth 5. Super-hybridity: Non-simultaneity, political power, and multipolar conflict, Jorg Heiser 6. The Cosmic Artisan: Mannerist Virtuosity and Contemporary Crafts, Sjoerd van Tuinen Section II: Affect 7. Metamodern Affect, Alison Gibbons 8. Four Faces of Post-Irony, Lee Konstantinou 9. Radical Defenselessness: A new sense of self in the work of David Foster Wallace, Nicoline Timmer 10. Contemporary Autofiction and Affect, Alison Gibbons 11. The Joke that Wasn’t funny anymore: Empathy in Contemporary Sitcoms, Gry Rustad and Kai Schwind Section III: Depth 12. Metamodern Depth or ‘Depthiness’, Timotheus Vermeulen 13. Reconstructing Depth: Authentic Fiction and Responsibility, Irmtraud Huber and Wolfgang Funk 14. Between truth, sincerity and satire: Post-truth politics and the rhetoric of authenticity, Sam Browse 15. Notes on Performatist Photography: Experiencing beauty and transcendence after postmodernism, Raoul EshelmanEpilogue 16. Thoughts on writing about art after postmodernism, James Elkins References Index Contributor Information

If you’re in the market for a slick, shiny new aesthetic of the post-post or the meta-, you won’t find it here – but you won’t find it anywhere else, either, because it doesn’t exist. If, however, you genuinely want to understand the “sticky mess” (in Jörg Heiser’s phrase) that the new cultural practices are in the very process of emerging from, then you owe it to yourself to give this volume your fullest attention.

Robin van den Akker is Lecturer in Continental Philosophy and Cultural Studies at Erasmus University College Rotterdam. Alison Gibbons is Reader in Contemporary Stylistics at Sheffield Hallam University. Timotheus Vermeulen is Associate Professor in Media, Culture and Society at the University of Oslo.

• Acknowledgements 1. Periodising the 2000s, or, the emergence of metamodernism, Robin van den Akker and Timotheus Vermeulen Section I: Historicity 2. Metamodern Historicity, Robin van den Akker 3. The metamodern, the quirky, and the challenge of categorization, James MacDowell 4. Toni Morrison’s Beloved and the Rise of Historioplastic Metafiction, Josh Toth 5. Super-hybridity: Non-simultaneity, political power, and multipolar conflict, Jorg Heiser 6. The Cosmic Artisan: Mannerist Virtuosity and Contemporary Crafts, Sjoerd van Tuinen Section II: Affect 7. Metamodern Affect, Alison Gibbons 8. Four Faces of Post-Irony, Lee Konstantinou 9. Radical Defenselessness: A new sense of self in the work of David Foster Wallace, Nicoline Timmer 10. Contemporary Autofiction and Affect, Alison Gibbons 11. The Joke that Wasn’t funny anymore: Empathy in Contemporary Sitcoms, Gry Rustad and Kai Schwind Section III: Depth 12. Metamodern Depth or ‘Depthiness’, Timotheus Vermeulen 13. Reconstructing Depth: Authentic Fiction and Responsibility, Irmtraud Huber and Wolfgang Funk 14. Between truth, sincerity and satire: Post-truth politics and the rhetoric of authenticity, Sam Browse 15. Notes on Performatist Photography: Experiencing beauty and transcendence after postmodernism, Raoul EshelmanEpilogue 16. Thoughts on writing about art after postmodernism, James Elkins References Index Contributor Information

If you’re in the market for a slick, shiny new aesthetic of the post-post or the meta-, you won’t find it here – but you won’t find it anywhere else, either, because it doesn’t exist. If, however, you genuinely want to understand the “sticky mess” (in Jörg Heiser’s phrase) that the new cultural practices are in the very process of emerging from, then you owe it to yourself to give this volume your fullest attention.

Robin van den Akker is Lecturer in Continental Philosophy and Cultural Studies at Erasmus University College Rotterdam. Alison Gibbons is Reader in Contemporary Stylistics at Sheffield Hallam University. Timotheus Vermeulen is Associate Professor in Media, Culture and Society at the University of Oslo.

• Acknowledgements 1. Periodising the 2000s, or, the emergence of metamodernism, Robin van den Akker and Timotheus Vermeulen Section I: Historicity 2. Metamodern Historicity, Robin van den Akker 3. The metamodern, the quirky, and the challenge of categorization, James MacDowell 4. Toni Morrison’s Beloved and the Rise of Historioplastic Metafiction, Josh Toth 5. Super-hybridity: Non-simultaneity, political power, and multipolar conflict, Jorg Heiser 6. The Cosmic Artisan: Mannerist Virtuosity and Contemporary Crafts, Sjoerd van Tuinen Section II: Affect 7. Metamodern Affect, Alison Gibbons 8. Four Faces of Post-Irony, Lee Konstantinou 9. Radical Defenselessness: A new sense of self in the work of David Foster Wallace, Nicoline Timmer 10. Contemporary Autofiction and Affect, Alison Gibbons 11. The Joke that Wasn’t funny anymore: Empathy in Contemporary Sitcoms, Gry Rustad and Kai Schwind Section III: Depth 12. Metamodern Depth or ‘Depthiness’, Timotheus Vermeulen 13. Reconstructing Depth: Authentic Fiction and Responsibility, Irmtraud Huber and Wolfgang Funk 14. Between truth, sincerity and satire: Post-truth politics and the rhetoric of authenticity, Sam Browse 15. Notes on Performatist Photography: Experiencing beauty and transcendence after postmodernism, Raoul EshelmanEpilogue 16. Thoughts on writing about art after postmodernism, James Elkins References Index Contributor Information

If you’re in the market for a slick, shiny new aesthetic of the post-post or the meta-, you won’t find it here – but you won’t find it anywhere else, either, because it doesn’t exist. If, however, you genuinely want to understand the “sticky mess” (in Jörg Heiser’s phrase) that the new cultural practices are in the very process of emerging from, then you owe it to yourself to give this volume your fullest attention.