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<p>The paper addresses the cultural paradigm of metamodernism as conceived by Timotheus Vermeulen and Robin van den Akker (2010). Ontologically, metamodernism is perceived as oscillating between the modern and the postmodern, whereby the tools of postmodernism (such as irony, sarcasm, parataxis, deconstruction, scepticism and nihilism) are employed to counter (but not obliterate) modernist naivety, aspiration and enthusiasm. This oscillation results in what the above authors have termed “informed naivety,” a phrase denoting a state of wilful pragmatic idealism that allows for the imagining of impossible possibilities. Vermeulen and van den Akker’s two key observations about the shift from postmodernism to metamodernism in contemporary art are discussed in this paper, namely the (re)appearance of sensibilities corresponding to those of Romanticism and the (re)emergence of utopian desires, in an attempt at a metamodernist analysis of the Netflix adaptation of the <italic>Bridgerton</italic> book series, aimed primarily at elucidating its popularity as one of the most watched programmes of the global Covid-19 pandemic.</p>
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The paper addresses the cultural paradigm of metamodernism as conceived by Timotheus Vermeulen and Robin van den Akker (2010). Ontologically, metamodernism is perceived as oscillating between the modern and the postmodern, whereby the tools of postmodernism (such as irony, sarcasm, parataxis, deconstruction, scepticism and nihilism) are employed to counter (but not obliterate) modernist naivety, aspiration and enthusiasm. This oscillation results in what the above authors have termed “informed naivety,” a phrase denoting a state of wilful pragmatic idealism that allows for the imagining of impossible possibilities. Vermeulen and van den Akker’s two key observations about the shift from postmodernism to metamodernism in contemporary art are discussed in this paper, namely the (re)appearance of sensibilities corresponding to those of Romanticism and the (re)emergence of utopian desires, in an attempt at a metamodernist analysis of the Netflix adaptation of the Bridgerton book series, aimed primarily at elucidating its popularity as one of the most watched programmes of the global Covid-19 pandemic.

A Metamodernist Utopia: The Neo-Romantic Sense and Sensibility of the <italic>Bridgerton</italic> Series

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

A Metamodernist Utopia: The Neo-Romantic Sense and Sensibility of the  Series

The paper addresses the cultural paradigm of metamodernism as conceived by Timotheus Vermeulen and Robin van den Akker (2010). Ontologically, metamodernism is...

A Metamodernist Utopia: The Neo-Romantic Sense and Sensibility of the Bridgerton Series

Publicado en línea: 10 nov 2022

Páginas: 122 - 138

DOI: https://doi.org/10.2478/ausfm-2022-0015

Palabras clave
metamodernism, utopia, Neo-Romanticism, informed naivety, Bridgerton

© 2022 Anamarija Šporčič, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

A Metamodernist Utopia: The Neo-Romantic Sense and Sensibility of the Bridgerton Series

Publicado en línea: 10 nov 2022

Páginas: 122 - 138

DOI: https://doi.org/10.2478/ausfm-2022-0015

Palabras clavemetamodernism, utopia, Neo-Romanticism, informed naivety, Bridgerton

© 2022 Anamarija Šporčič, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Palabras clave
metamodernism, utopia, Neo-Romanticism, informed naivety, Bridgerton