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This is the first bibliography of Postmodernism to take account of work published in all subject areas and in all languages. Deborah Madsen has identified a new first occurrence of the term in 1926, preceding by more than twenty years the first occurence documented by the Oxford English Dictionary . In a chronological listing, books, articles, notes, letters and working papers on Postmodernism are described with full bibliographical details. Reviews of major books are documented and full contents listings are given for special issues of journals devoted to Postmodernism. An appendix includes books on Postmodernism announced for publication in 1995. This bibliography brings together in one place all secondary material published on Postmodernism. All disciplines are included, from anthropology to zoology: architecture, cultural studies, dance, drama, feminism, fiction, geography, history, legal studies, literary theory, mathematics, medicine, music, pedagogical theory, philosophy, photography and film, poetry, politics, religion, sociology, the visual and plastic arts, and others. The bibliography also documents items in a range of languages other than English: Chinese, French, German, Italian, Japanese, Russian, Slovanian, Spanish, and the Scandinavian languages. Access to the information contained in the bibliography is made easy with a comprehensive index providing guidance according to author, subject, language, and key words. Postmodernism: A Bibliography, 1926-1994 is an essential reference text for anyone working in the area of contemporary culture studies

Survivance as a legal concept names the right to inheritance and more specifically the condition of being qualified to inherit a legacy. In an interview Jöelle Rostkowski, Vizenor explains: "[s]urvivance . is the heritable right of succession or reversion of an estate." This aspect of survivance is overlooked by those scholars of Vizenor's work who focus on the conjunction of the terms "survival" and "resistance", terms that are important most fundamentally as they intersect with the capacity to transmit and to accept the inheritance of the past that is itself the intersection of survival and resistance. Survivance is not a static object or method but a dynamic condition of historical and cultural survival and also of political resistance, practiced in the continual readiness of Indigenous communities to accept and continue the inheritance passed on by elders and ancestors. In this sense, claims made by recent Indigenous video-game developers to speak to youth through digital media by providing games that transmit tribal legacies of language, stories, ontologies, and ways of knowing and being in the world, speak to the practice of survivance. Indeed, the particular capacity of video games to engage oral storytelling and active participation in the making of stories offers a powerful means to encourage and sustain survivance. This essay focuses on the analysis of video game mechanics: the rules of the game that determine the opportunities made possible for, and the limitations imposed upon, player interactivity. Vizenor's concept of survivance enhances understanding of the powerful decolonizing potential of mechanics in Indigenous video games and these game mechanics illustrate in particularly clear ways the workings of survivance as an active engagement in the politics of what Vizenor calls "native presence." In the interview with Jöelle Rostkowski referenced above, Vizenor remarks: "The character of survivance creates a sense of native presence, a critical, active presence and resistance, over absence, historical and cultural absence, nihility and victimry."This essay seeks to show how the sense of a critical, active Indigenous presence is created, by analyzing the mechanics of two different types of Indigenous digital games. Resistance to "historical and cultural absence, nihility and victimry" is explored through the 2-D fixed shooter arcade game Invaders (2015 Steven Paul Judd, Elizabeth LaPensée, Trevino Brings Plenty). The Iñupiat puzzle platformer video game Never Alone (2014 Upper One Games) enacts survivance as the epistemological practice of a living, tribal presence past, present, and future. In these digital games, mechanics are designed to compel players to enact survivance. Understanding this relationship underlines the importance of the decolonizing potential of Indigenous video games.

The Visual Culture of Modernism offers a wide-ranging exploration of intertextual relations that bring together artists, artistic forms and artistic periods in response to the question: what is the relevance of early twentieth-century American Modernism to our present historical moment? Scholars from Europe and America develop responses to this question based on the philosophical heritage of modernity and in the context of the range of Modernist cultural praxis. The essays collected here explore links between literary and cultural Modernism, the relationship between the concepts of modernity and Modernism, and the legacy of Modernism in the late twentieth century and the contemporary period. Cinema, cinematic paratexts, television, the visual arts of painting and photography, poetry, fiction, and drama are among the artistic forms discussed in terms of issues ranging from cinematic and stage reinterpretations of Modernist literary texts to the genre of televisual melodrama and the trope of racial passing. The essays argue that visuality remains an urgent concern, from the Modernist period to our present age of media revolution.