Abstract
Recently, Peter Buerger tried, like Lukacs before him, to interpret literary modernism by resorting to the Hegelian premise that a double alienation between the subject and the object and between 'man' as an individual and 'man' as a member of a species are basic characteristics of modern (bourgeois) society.' Proceeding from this premise, he catalogs the variety of narrative modes in which the subject seeks (unattainably) to become one with surrounding objects. The historico-philosophical foundation of Buerger's investigation assumes the continuity of literary modernity and its Eurocentric determination. Is it possible to ascertain a threshold between the modern and the postmodern at a point where Buerger wants to see nothing but continuity? Or, better, what is the other that allows the identity of the postmodern itself-as the recognition of the end of Eurocentrism and Western hegemony-to appear? Against the horizon of new forms of culture and social reproduction, the art of narrative plays a different role today than it did in the early 1960s, when the term postmodernism was introduced for the first time in
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