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1
Broad, Leah. „Nordic incidental music : between modernity and modernism“. Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:8a2b5571-4bbc-4bed-9b99-4b66dbd1e12d.
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This thesis argues for the centrality of incidental music in early twentieth-century music history, based on a study of Swedish and Finnish theatre music between 1908 and 1926. The central claims made are firstly, that incidental music is an integral part of music history in this period, supporting a narrative about modernity that does not focus exclusively on "high art" concert music. Second, the Nordic countries were part of a cross-continental discourse concerning modernity that did not revolve solely around, or stem from, central European capital cities such as Vienna or Paris. Third, dramatic literature was fundamental to the development of twentieth-century music in Sweden and Finland. Through an examination of productions with music by Jean Sibelius (Svanehvit, 1908, and Scaramouche, 1924), Wilhelm Stenhammar (As You Like It, 1920), and Ture Rangström (Till Damaskus III, 1926), the thesis demonstrates that the early 1900s in these countries were characterised by stylistic plurality. For the first two decades of the 1900s, when Sibelius composed the majority of his works, multiple modes of expression where referred to as 'modern' with no clear hierarchy between them. By the 1920s, however, 'modernism' was emerging as a term consistently used to refer to atonality and concurrent theatrical styles dominant in central Europe. Rather than adopt these stylistic languages, Stenhammar and Rangström used 'modernism' as a category to define themselves against, presenting themselves as modern but not modernist composers.
2
CRUZ, ALINE DUARTE DE OLIVEIRA. „MODERNITY AND MODERNISM IN LUIZ EDMUNDO´S MEMOIRE“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9345@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORModernidade e modernismo nas memórias de Luiz Edmundo tem como objetivo analisar a vida de Luiz Edmundo e sua relação como jornalista e cronista com o desenvolvimento histórico da cidade do Rio de Janeiro a partir de suas memórias. Para isto, o trabalho analisa, tomando como base o material anteriormente citado, o que o autor entende como modernidade e quais foram as conseqüências sentidas pela cidade carioca e pela sua geração por conta da criação de uma mentalidade, referente aos períodos históricos nacionais entendidos pelo autor como colonial e imperial, e que seria responsável pelo atraso cultural nacional. O presente trabalho avalia, ainda, como o autor percebe o movimento de modernização da cidade, qual é a responsabilidade de sua geração literária em relação a este e, sobretudo, que relação se estabelece entre o autor e o mundo ocidental civilizado, através do conceito de cosmopolitismo.
Modernity and Modernism in Luiz Edmundo´s memoire has as principal object to show how a writer that was born in Rio de Janeiro, named Luiz Edmundo, in 1878, thinks about the historical process which was responsible for the colonial image of the city of Rio de Janeiro in his days of youth. In those days, working as a reporter and going to places in the town when most of the young people went for discuss about the most modern literature´s tendencies, Luiz Edmundo develops a way to understand the modern days and how his generation should act socially for embrace the cause of de Modernity in Rio de Janeiro. As principal concepts, the presented work talks about life and literature, Rio de Janeiro city before and after it´s modernization process and what for the author means being a modern man and a cosmopolitan.
3
Evans, Victoria Louise, und n/a. „Douglas Sirk, aesthetic modernism, and the culture of modernity“. University of Otago. Department of Media, Film and Communication Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080707.122544.
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In this dissertation, I argue that Douglas Sirk was attempting to dissolve the boundaries of the cinematic medium by assimilating elements of avant-garde art, architecture and design into the colour, composition and settings of many of his most popular studio produced films. While the exaggerated artifice of this director�s formal style has often been remarked upon, it has yet to be interpreted in the light of his detailed cognisance of the major art and architectural movements of the period, which include German Expressionist painting and Machine Age Modernist design. This is a lacuna that my thesis should at least partially fill, since I have shown that Sirk�s highly self conscious visual approach was deeply influenced by the artistic debates that were taking place in Europe during the 1920s and �30s and in America after World War II. To my mind, there is no doubt that this director�s syncretic mise-en-scène was the result of an interdisciplinary, transnational dialogue, and I have sought to illuminate some of the social, philosophical and political meanings that it seems to convey.
4
Hercock, Edwin Henry Frederick. „Modernist objects/objects under modernity : a philosophical reading of Discrete series“. Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54335/.
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This thesis is the first book-length treatment of the poems in George Oppen's Discrete Series (1934), providing a counterbalance to critical readings of Oppen's work which have to date focused on work published after his return to poetry (i.e. from 1962 onwards). It is a philosophical presentation of the work which argues that the poems are themselves philosophical presentations of objects, and by those objects and that presentation, of the historical circumstances of those objects and the poems themselves. Its method is Adornian in three senses: first, it holds that literature is not only subject-matter for a (sub)subset of philosophy but a potential mode of participation within it; second, the philosophical writing with which the thesis puts the poems into dialogue is not a single authorship nor strictly aesthetic, but a broad range of writings by Kant, Hegel, Marx and Nietzsche (with a special emphasis on Hegel); and third, continual recourse is made to Adorno's own writings on art and objecthood. After a brief account of the pre-history of Objectivism, of Oppen's connection with Ezra Pound, and the circumstances of the work's production and appearance, the poems are analysed in depth alongside more thoroughly institutionally validated works by, among others, Pound and T.S. Eliot. The main focus of these readings is on the physical objects represented: their nature, type, consistency, and the fact and manner of their presentation. These objects are characterised by their resolute materiality – their distinctive hardness and their uniform impenetrable surfaces. These properties are analysed from literary-historical, historical and philosophical perspectives, i.e. in the contexts of modernist hardness and its precursors; industrial production and the individual; and the causes and consequences, in thought, of the experience of bare materiality that the poems present. Finally it considers how the poems, as well as registering a particular mode of object experience, themselves seek to produce it.
5
Jackson, Mark Simon. „Foucault's Askesis, the ethical work of thinking modernity against modernity“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/MQ34311.pdf.
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Choi, Seoyoon. „The Ghost of Modernity: Normative Power of Modernity as Propaganda“. Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2139.
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This thesis explores how domestic factions and authoritarian regimes in Japan and Korea in the period from the 1850s to 1970s appropriated the concept of “modernity” to gain normative superiority over their competitors. The appropriating entity revised the concept of modernity to suit its own worldview. Across the case studies, the propaganda of modernity created a hierarchy that privileged those who are “more modern,” encouraged martial masculinity, and attached itself to existing domestic norms, such as ethno- nationalism. Under authoritarian regimes, modernity helped justify the mobilization of capital, manpower, and other critical resources in the name of nation-building or defense. Many factions and demagogues may have initially used the concept of modernity for domestic gains, but using this narrative later devolved into foreign conquests and imperialist expansion, for otherwise, their call for modernization would have become an empty promise in the eyes of the masses. This paper examines five cases along these dimensions, namely the rise of reformist samurais in feudal-era Japan, the failure of Joseon Korea’s ruling regime to adopt modernity in a timely manner, Imperial Japan’s colonial practices in Korea and Manchuria, the ideological divergences among factions in Colonial Korea, and a South Korean dictator’s attempts to gain legitimacy following a coup d’etat. Each case follows how domestic factions or individuals were motivated by an inferiority complex and how they produced their own version of modernity that favored their ascendance.
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Budathoki, Aakash. „Modernity & Migration“. Thesis, Karlstad University, Faculty of Social and Life Sciences, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-2807.
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Summery
The main objective of this essay is to analyze the challenges caused by today’s modern phenomenon of change in our society and to discuss it in relationship to the process of migration. In doing so I focus on questions like, “what does it really mean when a person becomes a migrant and what does it mean to be the host country?” Becoming a migrant or a host country is a complex process which involves variety of challenges both for individuals and the locality. New inventions are made in the field of science and technology. Societies and social institutions are subjected to change and we undergo several changes or modifications to fit in to this changing system. This makes intigration process more difficult and complex. I feel that the process of accepting and adopting begins from the very first moment in the new society. The one who comes in also brings in new cultural perspectives, new ideologies and beliefs. This establishes the background of plurality which has both positive and negative consequences.
I believe that every factor from bigger social institutions to minute incidents associated with an individual are of equal importance in understanding society as a whole. So I approach my research question here by considering both micro and macro theorists. I have also referred to migrations history of Sweden which provides general idea of types and mode of migration in the past few decades.
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Budathoki, Aakash. „Migration & Modernity“. Thesis, Karlstad University, Faculty of Social and Life Sciences, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-2809.
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The main objective of this essay is to analyze the challenges caused by today's modern phenomenon of change in our society and to discuss it in relationship to the process of migration. In doing so I focus on questions like, "what does it really mean when a person becomes a migrant and what does it mean to be the host country?" Becoming a migrant or a host country is a complex process which involves variety of challenges both for individuals and the locality. New inventions are made in the field of science and technology. Societies and social institutions are subjected to change and we undergo several changes or modifications to fit in to this changing system. This makes integration process more tedious and complex. I feel that the process of accepting and adopting begins from the very first moment in the new society. The one who comes in also brings in new cultural perspectives, new ideologies and beliefs. This establishes the background of plurality which has both positive and negative consequences.
I believe that every factor from bigger social institutions to minute incidents associated with an individual are of equal importance in understanding society as a whole. So I approach my research question here by considering both micro and macro theorists. I have also referred to migrations history of Sweden which provides general idea of types and mode of migration in the past few decades.
9
Stafford, Johnathan. „A martime modernity?“ Thesis, Kingston University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658598.
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Leonard, John. „Lyric and modernity /“. Online version, 1994. http://bibpurl.oclc.org/web/22516.
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Reid, Margaret. „Melodrama : metropolis : modernity“. Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6541/.
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The principal aim of this thesis is to extend current understandings of the dynamics of stage melodrama, as it was practised on the stages of the minor theatres in London during the second quarter of the nineteenth century, specifically by exploring the ways in which the genre represented, mediated, inflected, processed and systematised the experience of life in the new metropolis. A critical methodology has been employed in this study that is best described as hybrid, combining elements of cultural materialist analysis with a more performance-oriented mode of textual analysis. Where appropriate, reference is made to surviving publicity surrounding original productions such as playbills and reviews and, in order to locate the work within a concrete culture of production and consumption, to available data on the minor theatres in which it was performed. The theoretical underpinning of this study draws on a range of existing arguments surrounding the relationship between melodrama and modernity, but also on the work of urban theorists and cultural historians who have identified the metropolis as a significant catalyst in the formation of modernity. After outlining the conceptual framework and reviewing existing literature in the field, chapters continue with discussions of the emergence of proletarian protagonists in melodrama and their relationship with developing notions of metropolitan class consciousness; melodramatic representations of metropolitan space and the dynamics of movement through that space; nostalgic stagings of the rural past; melodrama’s relationship to Simmelian notions of metropolitan ‘mental life’; and the synergies between melodrama, the spectacular, and metropolitan culture. The overall aim is to add to current understanding of how melodrama interpreted the shifting physical forms and subjective and social experience of the early nineteenth-century city, but also how the city itself shaped, limited and enabled the forms of expression adopted by melodramatists.
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Peter, Bruce. „Form follows fun : modernism and modernity in British pleasure architecture, 1925-1940“. Thesis, Glasgow School of Art, 2005. http://radar.gsa.ac.uk/4064/.
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This thesis aims to establish how and why the architecture of pleasure matched the stylistic and ideological concerns of Modernism and to document the professional, entrepreneurial and institutional infrastructures affecting its development and appearance. It will argue that, in responding to flux of modernity, Modernism in the architecture of pleasure was appropriately ephemeral. Paradoxically, this fashionability undermined existing conceptions ofwhat constituted 'good' architecture and design. 'Theorising the architecture of pleasure' examines Modernism in relation to perceptions of high and mass culture in the inter-war era. Thereafter, 'Modernism and a typology of pleasure' establishes a range of building types for discussion in the remainder of the thesis. 'Professional relationships' investigates the various systems of influence and networks of patronage affecting the uptake ofModemism in the architecture of pleasure. 'Modernism and the geography ofpleasure' questions why the architecture of pleasure was concentrated in what appear to have been 'fringe conditions' - the seaside, suburbia and within the walls of amusement parks, zoos and exhibitions. Thereafter, 'Construction and architectural servicing' argues that dissemination of the Modern Movement in Britain was concurrent with, and related to, the expansion and rapid advances in architectural technology during the 1930s. Finally, catering and staffing are examined in 'Consuming and experiencing the architecture of pleasure' to show how Modernism was received by users through the architecture ofpleasure. In conclusion, it is argued that responses to Modernism through the architecture of pleasure were conditioned by wider debates about the role of design in relation to high and mass culture. The architecture of pleasure often simultaneously reflected and undermined Modernism's aims to provide an egalitarian experience and spiritual uplift in environments of a high design quality.
13
Baird, Timothy L. „Modernity in Context: Looking at Visual Representations of Modernity in Hangzhou“. Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1414748203.
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Handa, Atsuko. „Bridging Sōseki and Murakami : the modernity of Japan through modernist and postmodern prose“. Monash University, School of Languages, Cultures and Linguistics, 2004. http://arrow.monash.edu.au/hdl/1959.1/5230.
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Ferreboeuf, Rebecca Lucie. „The figure of the Detraquee: femininity and modernity in inter-war modernist writings“. Thesis, University of Leeds, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589035.
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The aim of this thesis is to explore and compare representations of femininity in modernist writings of inter-war France: Andre Breton's Nadja, Cendrars' Dan Yack, Paul Morand's Tendres Stocks and Ouvert la nuit, Colette Peignot's Ecrits de Laure, EIsa Triolet's Camouflage and Bonsoir Therese. This comparison seeks to undermine gender categorisation which, in the study of modernism and Modernity, either marginalises women's writings or accuses male modernism of misogyny. Questioning this gender categorisation is crucial to an analysis of female modernist writers which takes into account the influence of male modernism on their writings, and also highlights their specificity. It enables a new reading of two neglected female writers (Colette Peignot and EIsa Triolet) who are still very much remembered as the Muses of two influential male writers of the inter-war period (respectively: Georges Bataille and Louis Aragon). The need to question any absolute division between male and female modernism becomes apparent when we examine inter-war representations of femininity. The figure of the detraquee (literally the woman 'off-track') recurs throughout inter-war male modernist writings. The detraquee is a character through which male writers represent the pervasive inter-war malaise about subjectivity and gender. She crystallises at once a conservative view of gender roles and a radical desire to break away from tradition. This ambivalence symbolises the challenges faced by writers who want to create and enact the New. It permeates through the semi-autobiographical writings of Colette Peignot and EIsa Triolet who oscillate between a sharp criticism of patriarchal violence against women and the desire to correspond to stable definitions of identity and gender. Through their representation of femininity, modernist writers of both sexes reflect on the possibility of breaking away from the past.
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van, Drunen Martha Elke. „Dwelling Among the Waves: Modernist Architecture, Walter Benjamin, and the Mythology of Modernity“. Thesis, University of Canterbury. Social and Political Sciences, 2011. http://hdl.handle.net/10092/6595.
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For Walter Benjamin, architecture is the clearest expression of the ‘latent mythology’ that underlies any historical epoch; by engaging with works of modernist architecture in continental Europe during the first half of the twentieth century, my project hopes to reveal the underlying tensions, mythologies, and contradictions that reveal modernity to be a construction both more open and unstable than might first be imagined. Using Benjamin’s work as a background also allows for Surrealist practice to become the dialectical foil to an architecture that is still widely understood as clinical, functionalist and utopic, but whose own paradoxes and uncanny intrusions ultimately reject a teleological and hyper-rationalist modernity. The tension between the profane and the messianic, time and timelessness, is here played out through modernist architecture as the search for the form and nature of dwelling within secular space.
This culminates in a study of two of Benjamin’s allegorical characters, the collector and the brooder, who between them embody different modes of response to the conditions of modernity: on the one hand, a redemptive practice centred around creative bricolage and the unmasking of modernity’s ambiguity, on the other, the reactive and melancholic attitude of the brooder, whose private dreams of entering and rescuing the past negate the critical potential of romanticism – of the modernist architects and their project to build a meaningful world.
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Carriere, Rejean. „Habermas' pessimism and modernity“. Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27451.
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Carvounas, David John. „The future of modernity“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49979.pdf.
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Craven, Greg. „Foucault, modernity, and postmodernity“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0007/MQ40641.pdf.
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20
Kennedy, Earl. „Homeschooling as Reflexive Modernity“. NCSU, 2008. http://www.lib.ncsu.edu/theses/available/etd-10082008-160408/.
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Although still a substantial minority, there now exists a sizable and growing population of parents in the United States making the decision to educate their children themselves, in their own homes. Curiosity, skepticism and often misperceptions abound about this group of people. Scholarly inquiries into the world of homeschooling have tended to focus on parental motivations to homeschool, characteristics of homeschoolers, homeschooling methods and homeschooling outcomes, usually measured by standardized test scores. Perhaps the largest body of research has sought to sort and classify homeschoolers according to various typologies. Research to date has shed a great deal of light on what appears to many a somewhat shadowy niche of American society. While helpful, many of these studies are severely limited and have sometimes produced, I will argue, misleading results. Using in-depth qualitative interviews with homeschooling families in North Carolina, I explore some of these issues. I will argue that none of the various homeschooling typologies work when compared to the lived experiences of actual homeschooling families. I suggest that a concentration on what homeschoolers have in common is more useful than attempts to subdivide and force them into ill-fitting typologies. I explore the connections between sociological theories of modernization and homeschooling. Specifically, I adapt and expand theories of reflexive modernity and argue that homeschoolers are best understood as social innovators at the micro-level through a practiced reflexive-modernization. I conclude with a discussion of the implications of designating homeschoolers as âreflexively modernâ.
21
Moran, Anthony F. „Modernity, racism and subjectivity /“. Connect to thesis, 1995. http://eprints.unimelb.edu.au/archive/00001238.
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Parpoulova, Petia R. „Amalgamated spaces of modernity /“. Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/6638.
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Grossman, Martin. „Museum imaging : modelling modernity“. Thesis, University of Liverpool, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332517.
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Bouchlaka, Rafik Abdessalem. „Islam, secularity & modernity“. Thesis, University of Westminster, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434360.
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Lehmann, Ulrich. „Tigersprung : fashion and modernity“. Thesis, University of Essex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361042.
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Perrett, Clive. „Magic, science and modernity“. Thesis, University of East London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532459.
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This thesis is a cross-disciplinary and wide ranging project which attempts to answer a simple but difficult question: how did it come about that by the mid C20 the human race was (unintentionally) on the edge of the possibility of self-destruction as a result of its own ingenuity - as a result either of civilisation-induced ecological breakdown, or of wars using weapons of mass destruction, or of both? The question is explored by considering "conundrums" of modernity, which include various C20 problematisations of modem science, and by analysing what I call three "myths" of modernity : Marlowe's play, Dr Faustus, Shelley's novel, Frankenstein and James Cameron's film, Terminator H. Common themes from all three texts are explored, with particular regard to questions of marriage and gender. I look at debates about the origins of modem science, and about the nature of science in the present day with particular regard to the relation between magic and science. I undertake a "case study" which looks at different and contrasting accounts of the life and work of the C 16 occult philosopher Cornelius Agrippa, and I study some of his writings, paying particular attention to his writings on women and marriage. I consider some Marxist and post-Marxist critiques of science, in particular Adorno and Horkheimer's notion of "enlightenment returning to mythology" and the epistemological theory of Alfred Sohn-Rethel that science studies nature "in commodity form". I connect these critiques to Marx's theory of commodity fetishism and to the "magical" ethos of modern advertising. I consider various modem theological and "new age" critiques of science, from the work of the Islamic scholar Seyyed Hossein Nasr, to critiques made by the Christian scholars Philip Sherrard and Jim Garrison and the philosopher physicist Fritjof Capra. I consider questions relating to the "two cultures", and to the division of labour in modernity, and concerning occultism and modem literature. I conclude that the central problem is the manner in which science broke free of both metaphysics and ethics in a way which lost touch with the human, in particular with the centrality to human society of the primary human relationship between male and female, and that the growth of modern science was intrinsically connected with the development of capitalism. My thesis offers a re-consideration of the manner in which this "break" took place, with particular regard to what the "occult philosophy" of C16 Europe contained which ceased to be included within science but migrated into art and literature. I argue that this creates the schizoid culture of modernity with its multitude of incompatible discourses, and that a symbiosis of modern science and capitalism has developed which generates the apocalyptic and destructive possibilities which may endanger the survival of civilisation. My thesis argues that it is this symbiosis which needs to be understood, and challenged, for human society to have a future.
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Franken, Lizelle. „Evil, morality and modernity“. Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20262.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: This thesis takes Zygmunt Bauman’s book Modernity and the Holocaust as a point of departure in an attempt to show that genocides of the twentieth century are by-products of modernity, and not aberrations, as previously thought. Bauman’s work focuses on the distinctly modern nature of the Holocaust. Using the theory he develops in Modernity and the Holocaust, this thesis attempts to show, first and foremost, that the Holocaust is not the only example of modern genocide. By comparing and contrasting the Holocaust to another, more recent, genocide, namely the Rwandan genocide of 1994, it becomes clear that despite superficial differences between the two genocides, the Rwandan genocide is also a by-product of modernity. This conclusion has important implications, not only for the way in which we remember the Holocaust and the Rwandan genocide, but also for our understanding of evil and perpetrators of evil. Drawing on the work of Bauman and Hannah Arendt, especially with regard to the Eichmann case, chapter three investigates our traditional assumptions and expectations with regard to evil and perpetrators of evil and notes the unsettling differences between our assumptions and the modern reality. In order to truly understand the nature of perpetrators of modern genocide, it is important to look at the influence of morality on such perpetrators and the reasons why morality seems incompatible with modernity. In this regard, Haas’ book Morality after Auschwitz is of critical importance. Given the various failures and unexpected by-products of modernity, one has to wonder whether postmodernity would offer a better moral alternative to modernity. Chapter five investigates this supposition, and finds it wanting. Drawing yet again on Bauman, the notion of an ethics of responsibility is put forth as the only safeguard against modern evil.
AFRIKAANSE OPSOMMING: Hierdie tesis neem Zygmunt Bauman se boek Modernity and the Holocaust as ‘n beginpunt en probeer om te wys dat die volksmoorde van die twintigste eeu byprodukte, en nie afwykings, van moderniteit is nie. Bauman se werk fokus op die moderne eienskappe van die Holocaust. Deur gebruik te maak van die teorie wat hy in Modernity and the Holocaust ontwikkel, probeer hierdie tesis om, eerstens, te wys dat die Holocaust nie die enigste voorbeeld van ‘n moderne volksmoord is nie. Deur die Holocaust met ‘n ander, meer onlangse volksmoord, die Rwandese volksmoord van 1994, te vergelyk en te kontrasteer word dit duidelik dat ten spyte van die oppervlakkige verskille tussen die twee volksmoorde, die Rwandese volksmoord ook ‘n byproduk van moderniteit is. Hierdie gevolgtrekking het belangrike implikasies nie net vir die manier waarop ons die Holocaust en die Rwandese volksmoord onthou nie, maar ook vir die wyse waarop ons die kwaad (evil) en perpetrators of evil1 verstaan. Deur verder gebruik te maak van Bauman se werk sowel as die werk van Hannah Arendt, veral met betrekking tot die Eichmann saak, ondersoek hoofstuk drie ons tradisionele aannames en verwagtinge met betrekking tot die kwaad (evil) en perpetrators of evil en wys die onaangename verskille tussen ons aannames en die moderne realiteit uit. Ten einde werklik die aard van perpetrators van moderne volksmoord te verstaan, is dit belangirk om na die invloed van moraliteit op hierdie perpetrators of evil te kyk, asook die redes waarom moraliteit blykbaar teenstrydig is met moderniteit. Haas se belangrike boek, Morality after Auschwitz, word hier geraadpleeg. Gegewe die verskeie tekortkominge van moderniteit, moet ons wonder of postmoderniteit nie dalk ‘n beter morele alternatief bied nie. Hoofstuk vyf ondersoek hierdie stelling en vind dat postmoderniteit ook nie voldoende is nie. Laastens word Bauman weereens geraadpleeg en sy seining van ‘n etiek van verantwoordelikheid word voorgestel as die enigste beskerming teen moderne kwaad.
Harry Crossley Foundation
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Jaggard, Dylan William Yeandle. „Nietzsche, morality and modernity“. Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419710.
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In recent years, Nietzsche's moral philosophy has been receiving more and more attention in the English speaking moral philosophical community. This study is a contribution to the ongoing debate in this area. Its central aim is to understand Nietzsche's critique of Christian morality in relation to his own particular understanding of modernity. For Nietzsche modernity is a condition in which the individual is committed to the antithetical moral value schemes of master and slave moralities, whilst failing to recognise that this is so. These value schemes are antithetical in regard to the stance they take towards existence. A master morality is one that affirms life, whereas a slave morality is one that denies life. The thesis begins by looking at Nietzsche's characterisation of the problem of morality. For Nietzsche, Christian morality has become a problem because, in the light of the death of God, it has lost its foundations. He argues that we should attempt to assess the value of these Christian values. His method of doing so is a psychological-historical one, which he calls genealogy. This thesis examines Nietzsche's genealogy of Christianity in detail and treats it as a serious historical account rather than as illustrative fiction as some scholars have done in the past. I argue that some of the problems that one encounters when treating genealogy as history stem from the fact that commentators have placed too much emphasis on Nietzsche's work, On the Genealogy of Morality, and that his other genealogical texts deserve equal attention. I then show how this genealogy supplies the modem human being with the necessary self-knowledge in order that it can recognise its commitment to antithetical value schemes. Finally, this thesis examines some of the issues that surround Nietzsche's attempt to aid the modem human being in overcoming its commitment to Christian values.
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Steffen, Giana Targanski. „Legends in liquid modernity“. reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/xmlui/handle/123456789/123019.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês, Florianópolis, 2013.Made available in DSpace on 2014-08-06T17:41:15Z (GMT). No. of bitstreams: 1 325098.pdf: 2523039 bytes, checksum: 8777f69659b8615296b5be26f8c1c0f8 (MD5) Previous issue date: 2013
Abstract : Since the 1980's, Urban Legends (ULs) have been extensively studied by folklore studies (Brunvand, 1981, 1993, 1998, 2001, 2002), focusing on the role of these texts in society. Following the early focus on orally transmitted legends, more recent research has addressed the written format of ULs on the Internet (Genge, 2000; Noymer, 2001; Brednich, 2002; Dale, 2005; Lopes, 2007, 2008; DiFonzo & Bordia, 2007). In this context, the present research investigates textual and contextual features of contemporary ULs following the perspective of Critical Discourse Analysis (Fairclough, 1989, 1992, 1995, 2003, 2004), a multidisciplinary field to the study of texts that stresses the bidirectional relation between texts and contexts. The texts in this study are analyzed as a type of discourse and genre, examined in relation to specific lexicogrammatical features viz. TRANSITIVITY, MOOD and exponents of Modality (Halliday & Matthiessen, 2004), and discussed both in terms of their immediate context of situation and of the broader context of culture. Besides, aspects of the representation of social practices, social actors and legitimation are explored applying van Leeuwen's (1996, 2008) sociosemantic categories. In order to discuss the sociological component of language in the data, I propose to look at these texts as social semiotic activities in a globalized context that Bauman has called Liquid Modernity (2000, 2001, 2004, 2006, 2007a, 2007b, 2011a, 2011b). Results show that though relying on the narrative structure, contemporary Urban legends can be considered a type of hortatory discourse; the textual and contextual parameters allow the readers to identify with the victims' position, creating a virtual group of 'us' (possible victims) versus 'them' (deceivers), and the mundane, daily contemporary environments and social actions are represented as unsafe and fearful. Results also show that the writers/senders establish a degree of intimacy with the readers, rely on a series of legitimation techniques to manipulate belief in fabulous events and entice the re-transmission of the texts. Furthermore these stories can be seen as a social practice that represents and propagates the fears and insecurities which are characteristic of liquid modernity.
Desde a década de 1980, as Lendas Urbanas (LUs) tem sido bastante estudadas pelos estudos de folclore (Brunvand, 1981, 1993, 1998, 2001, 2002), que focalizam o papel desses textos na sociedade. Seguindo o foco inicial em lendas transmitidas oralmente, pesquisas mais recentes têm abordado a forma escrita das LUs na Internet (Genge, 2000; Noymer, 2001; Brednich, 2002; Dale, 2005; Lopes, 2007, 2008; DiFonzo & Bordia, 2007). Nesse contexto, a pesquisa aqui apresentada investiga características textuais e contextuais de LUs contemporâneas seguindo a perspective da Análise Crítica do Discurso (Fairclough, 1989, 1992, 1995, 2003, 2004), uma área multidisciplinar para o estudo de textos que destaca a relação bidirecional entre textos e contextos. Os textos nesse estudo são analisados como um tipo de discurso e gênero, examinados em relação a características lexicogramaticais especificas viz. TRANSITIVIDADE, MODO e exponentes de Modalidade (Halliday & Matthiessen, 2004), e discutidos tanto em relação ao contexto de situação imediato quanto ao contexto de cultura mais amplo. Além disso, aspectos da representação de práticas sociais, atores sociais e legitimação são explorados com a aplicação das categorias sociosemânticas de van Leeuwen (1996, 2008). Para a investigação do componente sociológico da linguagem nos dados, proponho que olhemos para estes textos como atividades socio-semióticas em um contexto globalizado a que Bauman se refere como Modernidade Líquida (2000, 2001, 2004, 2006, 2007a, 2007b, 2011a, 2011b). Os resultados mostram que, apesar de ter como base a estrutura narrativa, as Lendas Urbanas contemporâneas podem ser consideradas um tipo de discurso exortativo; os parâmetros textuais e contextuais permitem ao leitor identificar-se com a posição de vítima, criando um grupo virtual de 'nós' (possíveis vítimas) versus 'eles' (enganadores) os ambientes e ações sociais mundanos, diários e contemporâneos são representados como inseguros e passíveis de medo. Os resultados também mostram que os autores/retransmissores estabelecem um grau de intimidade com os leitores, utilizam uma série de estratégias de legitimação para manipular a crença em eventos fabulosos e incitar a retransmissão dos textos. Além disso, essas estórias podem ser vistas como uma prática social que representa e propaga o medo e a insegurança que são característicos da modernidade líquida.
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Hebborn, William. „Three waves in modern Catholic education : from isolationism via modernity to post-modernity“. Thesis, London South Bank University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265282.
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This study argues that there have been three waves of modern Catholic education, with two major ships in the last thirty years. The first wave, which I call the Tildentinel institutional', was the product of the Council of Trent, and rcflcctcd the narrow defensive priorities of a Church which felt itself besiegedb y encn-deso n all sides, and was inherently hostile to the intellectual force of modernity. The fir-st ship look place in the mid-I 960s, and masks the arrival of the second wave, which I have called the 'experiential Vexpaimentall. It emerges as an immediate response to the reforms of the Second Vatican Council and essentially totally reversed the Church's previous isolationist policy as regards the modem world, a fact which clearly had profound policy implications for Catholic education The second a,v ew as therefore grounded in this new policy of openness and dialogue with the modem world, consequentliy twas more open to the then current rescarch insights in educatione, specially child-centred experientiaal pproachets en in favour.I t is also associated in educationatl erms with the crisis, which gripped the Catholic Church in the wake of Vatican U. Ile next shijl to the third 'restorationistIntegrationtst' mnw, coulda t first glanceb e dismisseda st he inevitablec onservativree actiont o the reformso f the 1960s%, whicinh part it is, but I believei t to be more than merer eaction.C onsequentlyI , have arguedt hat it representsa more sophisticatedcr itical analysisi n both theologicaal nd educationatle rmso f the modernw orld in the postV atican1 1p eriod.E achm aveI, maintain, correspondms ith a pcriod-specificC hurchs trategya s regardsm odernity.F roni this perspectiveth ef irst Kvver epresentsa strategyb asedo n absoluter esistanceto modernity,t hesecondw avea ccommodationw,h ile the third wavei s in a sensea n amalgamo f the two previousw aves,a nd representsa n ambivalentt ms-modem strategyo f selectiveT Csistmccto the modemworld. The third wavec oincides% %itthhe pontificateo f PopeJ ohnP aul U and representsa n attemptt o find a postmoderns olutiont o the problemsa risingf rom modernity,a nd so dcmandsa morec onfidenta ssertiono f Catholici dentity and culture, and a readinessto return to a more systematicp resentationo f the Catholicf aith. This policy is underpinnedb y a radical assertioni,n terms of uitness,o f the sociald emandso f the Gospel,m tdchi s useda s a meansm bcrcbyt he Church,a s it seesi t, ran confront false moderni deologiesa nd values.T his approachis also supportedb y a strongf eeling running throught he CatholicC hurcht hat duringt he crisis that followcdt he CouncilC atholicismto ok a too deepq uaff of 'secularism' which has donem ucht o destroyt he sacred1jeculabr alancem ithin the Church.I le third wave.t hen, I am suggestingi,s an attemptb y the Churcht o restoret his balanceT. be main bulk of thcwork is context.T he thesisi s divided into threes ections. The first dealsw ith definiitionsa nd looks at Catholic educationfr om the macrop erspectiveT. he seconds ectionf ocuseso n the local Catholic community in England and Wales and its engagement witeh education issues, from the particular perspective of the development of the Catholic schools system in this country. The third sectiond eals% %itmh y o%n; case study,w lich at 'Corei!s concerned% ithd iscoveringth e ideas, and attitudeso f Catholicp riestst o Catholic education ; with a specific focus upon Ctholic shools , wich I hope wll throw some lght on my central tesis.My cases tudy i very much a study wthin a study,and wuld have lttle value i it did not address the current issues n modemC atholice ducationI. will analyseth e continuingd ebatew ithin the Catholicc ommunityo n the role andp laceo f the schoolsi,n a changeda ndc hanging environmentf,r om the perspectiveo f the wavesth esis.
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Repphun, Eric, und n/a. „Haunted, religious modernity and reenchantment“. University of Otago. Department of Theology and Religious Studies, 2009. http://adt.otago.ac.nz./public/adt-NZDU20090218.141700.
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The academic study of religion has for too long laboured under a flawed understanding of the relationship between modernity and religion. Any narrative of the displacement of religion by a universal and secularising modernity fails to recognise the complexity of the historical and cultural realities. While modernity has demonstrably contributed to the erosion of certain forms of religion, there is a growing body of evidence, and new interpretations of existing evidence, which suggest that the interconnections between modernity and religion are far more complex than any simple opposition could account for. Indeed, modernity appears, in certain circumstances, to be capable of producing its own religious effects. This thesis seeks to answer what then becomes a fundamental question: what does it mean for the study of religion if we accept that modernity can generate the religious?
New conceptual tools are needed to deal critically with the far-reaching consequences of embracing the true density of modernity. The study of religion can be greatly enhanced by one such concept: reenchantment. However, reenchantment, as an interpretive framework, must be carefully formulated. Reenchantment cannot be properly understood as a reversal of disenchantment, a conception this thesis will be calling thin reenchantment, but as an ongoing dialectic of reenchantment and rationalisation, which this thesis will be calling thick reenchantment. The formulation of a credible and useful concept of reenchantment can in turn be aided by the work of the philosopher and cultural critic Jean Baudrillard. Baudrillard�s work is not itself an expression or example of reenchantment, but it demonstrates a remarkable congruence with the concept of thick reenchantment, as both interrogate dominant understandings of modernity in relationship to differing systems of value.
The thesis is divided into two sections. The first, substantially longer, section presents in some detail thick reenchantment as an interpretive frame. Though it does not claim to offer any new evidence, the first chapter outlines the evidential background for the thesis, which adopts the concept of religious modernity, developed by sociologist Danièle Hervieu-Léger, as a way of framing this evidence. The second chapter develops the concept of reenchantment and the typology of thin and thick reenchantment in relation to the foundational work of Max Weber. The third chapter is an analysis and review of the extant multidisciplinary discourse on reenchantment. The fourth chapter, the theoretical core of the thesis, presents an innovative reading of Baudrillard�s considerable body of work.
The second section elaborates on a further insight of the first - that text is a necessary element in the study of religious modernity - by offering detailed readings of the work of three contemporary authors - novelists Douglas Coupland and Chuck Palahniuk and filmmaker Tom Tykwer - as instantiations of the sorts of cultural artefacts that the conceptual framework of thick reenchantment means to explore.
Though its claims remain conceptual and interpretive rather than evidential, normative, or explanatory, this thesis, interdisciplinary as it is, is intended as a contribution to a number of related fields, from the study of contemporary literature and film to the exploration of Baudrillard�s work, which the study of religion has to date largely neglected, to its detriment However, its primary purpose is to suggest new and fruitful ways to approach the study of religion in modernity.
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Schwandt, Mark Wayne. „Transmodern initiatives or reengineering modernity“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ61945.pdf.
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Patel, E. S. „Ismaili religious education and modernity“. Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395302.
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Marden, Jonathan. „Danish Modernity : Society and Politics“. Thesis, University of Sussex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505910.
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Sumich, James Michael. „Elites and modernity in Mozambique“. Thesis, London School of Economics and Political Science (University of London), 2005. http://etheses.lse.ac.uk/831/.
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This thesis examines the connections between ideologies of modernity and social power for three interrelated sets of elites in Mozambique. My research is based on 20 months of ethnographic fieldwork primarily, but not solely, among the now adult children of high-ranking members of Frelimo (Mozambican Liberation Front, the ruling party since independence) and those closely associated with the party in the capital city of Maputo. It examines how elites’ transforming relationship to the project of modernity has allowed them to survive periods of dramatic social change while maintaining power, although in a modified form. The thesis argues that “local” understandings of modernity held by dominant groups in Mozambique have created the wider political field that unifies elites and creates the parameters in which they operate. It allows them both to control the positions that underwrite their social power and to attempt to justify their positions of power. The thesis examines the source of elites’ social dominance and how it has been transformed over the generations. I also investigate how recent social, political and economic changes have created a growing backlash among social groups who were once Frelimo’s strongest supporters. The thesis argues that through the acquisition and monopolisation of “modern” skills, such as high levels of education, elites can survive contested legitimacy because there are few who seem capable of replacing them.
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Bhambra, Gurminder K. „Contesting modernity : a postcolonial analysis“. Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406613.
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Dutta, Ashim. „Mystic modernity : Tagore and Yeats“. Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21997/.
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This thesis looks at the interpenetration of mysticism and modernity in the writings of Rabindranath Tagore and William Butler Yeats. The relationship of these poets from Ireland and India, and their analogous ambivalence about the nationalist politics of their respective countries have received some critical attention. My thesis, by contrast, explores their involvement in mystical spirituality of both orthodox and heterodox kinds, arguing that in both of these poets’ works mysticism is not put to the service of their modern(ist) poetic projects, but deeply forms and informs those as well as their modern sensibilities. While this study revises tired readings of these poets’ relationship and offers some comparative insights into their mystic modernity, after the introductory chapter I deal with them separately in individual chapters in order to offer some in-depth reading of their works. Chapter 1 historicises the formation of Tagore’s mystic-modern orientation by studying his complex engagement with Brahmoism, Hinduism, and Western humanist ideas, while concentrating on his pre-Gitanjali poetic development. Chapter 2 examines Yeats’s early mystical associations with particular emphasis on his foundational engagement with Indian spirituality, both philosophically and poetically understood, as well as its repercussions in and relevance to the creative, mystical, and cultural-political activities of his early career. Returning to Tagore in Chapter 3, I focus on his mid to late career works in order to analyse the development of his mystic-modern notion of the spiritual evolution of man. The chapter particularly examines his complex engagement with astronomical and evolutionary sciences and his attempt to synthesise them with his eclectic mystical vision. Finally, Chapter 4 shifts to Yeats’s antithetical vision, as expressed in his mystical system and related poetry. This chapter also explores the congruity between Yeats’s later interest in Eastern Christianity and his revived enthusiasm for Indian mysticism.
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Tepe, John Bright. „Literary urbanism, visuality and modernity“. Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/859/.
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Literary Urbanism and the Symbolist Aesthetic argues that the modern city influences urban writers to develop particular literary-visual practices that translate urban experience into poetry and prose. Chapter one considers how urban planning in Paris during the Second Empire inspired Charles Baudelaire‘s theories of modernity and aesthetic history. Chapter two discusses how A.C. Swinburne translates Baudelairean modernity into an English literary perspective through Sapphic poetry, and the importance Swinburne‘s association with painters has in this process. Swinburne‘s friendship with James McNeill Whistler, for example, results in the ekphrastic poem "Hermaphroditus", which uses sculpture to comment upon the modern city‘s potential to heighten perceptual consciousness. Chapter three studies the application of ekphrasis in urban writing, especially the way in which Arthur Symons‘ poetry uses symbols to render an immediate awareness of the city. Symons‘ reception of French Symbolist poetics opens chapter four, and introduces T.E. Hulme and Henri Bergson as theorists who develop a means of thinking the city through internal consciousness, not geographic space. This initiates chapter five‘s interest in how Pound and Eliot use metaphors of illumination to articulate how perceptions of the city arrive through transposition and refraction.
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Alberts, Thomas Karl. „Shaminism : history, discourse and modernity“. Thesis, SOAS, University of London, 2013. http://eprints.soas.ac.uk/16642/.
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This research considers the emergence in history of a discourse about shamans. Beginning with the prevalent claim that shamans have existed in all human societies throughout history, the initial question is: how did a kind of ritual specialist first reported in Siberia in the seventeenth century become the eponymous category of a universalisable religiosity? My project is anchored by the argument that the simultaneity of epistemological practice that tends to produce universal structures with an ontological practice that tends to deconstruct universals into embodied contingencies, together illustrate the double-hinge on which pivots modern subjectivity. According to Foucault's reading of Kant, this double-hinged subjectivity is instantiated in a practical limit attitude that in turn establishes a selfperpetuating dialectic, a perpetual motion dynamo animating and innervating modern history. This thesis argues that the simultaneously particularising and universalising tendencies of statements about shamans are part and parcel of modernity's practical limit attitude, and can be seen in the proliferations and intensifications of shamanism discourse since the eighteenth century. Chapter Two considers this problem from a genealogical perspective, with reference to eighteenth- and nineteenth-century Russia. Subsequent chapters consider shamanism's imbrications with other discursive fields. With reference to the indigenist movement for human rights (Chapter Three), environmentalist critiques of anthropocentrism (Chapter Four), and neoliberal governmentality in self-conduct as much as the conduct of states (Chapter Five), structural transformations in these respective fields have variously sustained and stimulated new proliferations, intensifications and circulations of shamanism, and have contributed to the reported revival of shamanic religiosity since the 1990s. This argument takes seriously Arjun Apparudai's recommendation to pay attention to the 'mundane discourses' of global cultural flows, and is conceived as a contribution towards both the sociology of religion and critical-theoretical approaches to studying religion. Regarding the former, this research demonstrates shamanism is a highly adaptive and productive discourse for a diverse assemblage of actors with interests in tapping shamanism's significatory potential. Regarding the latter, shamanism is demonstrated to be a highly productive subject for reflexive studies of contemporary religiosity, including strategies for circumscribing interests, authorising representations, and legitimating practices.
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Akhmatov, Vladyslav, und L. V. Roienko. „History and modernity of cryptocurrencies“. Thesis, Університет Григорія Сковороди в Переяславі, 2020. https://er.knutd.edu.ua/handle/123456789/16226.
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У статті досліджуються особливості та передумови виникнення криптовалют у світовій економіці. Досліджується історія виникнення криптовалют, їх типи. З’ясовуються особливості функціонування біткоїна та інших криптовалют та сфери їх вжитку.
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Tang, Siu-Fu. „Modernity and Xunzi's moral philosophy“. Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442907.
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Gova, Alnoor S. „The Nizari-Ismailis in modernity /“. Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2345.
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Carr, Jamie Marie. „Queer times : Christopher Isherwood's modernity /“. View online ; access limited to URI, 2004. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/3145424.
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Lavery, Andrew. „Unmasking Modernity through Urban Ruin“. Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/27497.
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This thesis is a visual artist’s investigation into the role of urban ruin as the site of revelation and redemption from the impacts of capitalist modernity on urban communities. The urban ruin of Sydney’s gentrifying suburbs is the focus of the visual exploration of this research.
The research connects approaches to urban ruin in contemporary art with a succession of traditions, starting with those of ruin in art in antiquity. It seeks to reveal how decay and decrepitude have shaped narratives and critiques concerned with human history and societal development. The thesis posits new ways of working with and interpreting urban ruin in contemporary art through its exploration of Marxian theory, especially as adopted by Walter Benjamin and Henri Lefebvre.
The research started with the overarching question—How can an artist unmask the reality of modernity through urban ruin? It developed along the following trajectory:
• What has been the role of ruin in art since antiquity?
• How have artists addressed capitalist modernity through the urban ruin?
• Can historical materialism expand readings of contemporary art practice?
• How can a practising artist create new forms in contemporary art through an engagement with seminal practice and historical materialist discourse?
The thesis accomplishes a major contribution to knowledge; it is a definitive study which combines four elements: an application of a framework of historical materialism to urban ruin; an analysis of Benjamin’s and Lefebvre’s novel approach to urban ruin; an investigation of contemporary art concerned with urban ruin, from the seminal works of Robert Smithson in the 1970s through to contemporary practice; and four artworks produced in cross-pollination with the research.
The artworks of this thesis aim to unmask the reality of modernity through the Marxian aesthetics of urban ruin in select gentrifying suburbs of Sydney—Bondi, Marrickville, Millers Point and Arncliffe.
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Tolonen, Juha. „Waste*lands : landscape photography modernity“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/268.
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This is a thesis with two distinct but connected halves. Text and image are applied to the subject of wastelands; the former works to raise the status of wastelands while the latter gathers visual fragments of wastelands to harness a picture of contemporary modernity. The two combine to create a practical and poetic, a social and flaneurial picture of wastelands. I identify wastelands as the material manifestation of industrial modernity. Although wasteland is an overarching term used to describe general decline in many social, cultural and natural spheres. I adopt it specifically to describe spaces of abandoned industry that have emerged since the post-war years in the West. Wastelands are invitations to engage with the destructive side of modernity. Berman (1982) describes modernity as simultaneously progressive and destructive. Yet I suggest that this destructive face is too often disregarded. I see it as a matter of necessity to reengage more thoughtfully with the processes and manifestations of destruction. Wastelands encourage us to do both. Institutional and market forces generally promote limited responses to wastelands. Hawkins (2006) identifies a similar situation in the realm of waste in general. She suggests that the affects of waste should be considered alongside traditional institutional dogma to expand our relationship with waste. This position is adopted in my examination of wastelands. By avoiding dismissive responses wastelands can emerge as potential spaces of improvisation. The text places wasteland in context with other modern traditions of landscape, it also seeks to localise the wasteland in particular social contexts. The images provide a more generalised reading of wasteland; they are the souvenirs of flanuerial adventures in wastelands. Wastelands are authentic spaces of modernity.
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Carrasco, André de Oliveira Torres. „Os limites da arquitetura, do urbanismo e do planejamento urbano em um contexto de modernização retardatária: as particularidades desse impasse no caso brasileiro“. Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-02022012-101349/.
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Esta tese de doutorado tem como objeto de pesquisa o cenário de crise que envolve o desenvolvimento da arquitetura, do urbanismo e do planejamento urbano no Brasil no período compreendido entre a segunda metade do século XX e os primeiros anos do século XXI. Essa constatação se originou na análise das contradições entre os objetivos vislumbrados pela Arquitetura Moderna Brasileira, escola que definiria os rumos dessa produção e seus resultados. Um dos principais pontos de seu programa central foi a defesa da emancipação do homem, através da transformação de seu espaço. No entanto, sua produção passaria a expressar limites críticos a partir do momento em que as características assumidas pelo processo de modernização brasileiro, resultantes de sua forma de desenvolvimento no atual estágio do capitalismo, inviabilizaria a emancipação desejada e produziria cidades marcadas pela precariedade material e social. A hipótese central desenvolvida nesta tese trata das relações entre o caráter crítico - no sentido de se manifestar como uma situação perene de crise - da produção de arquitetura, urbanismo e planejamento urbano no Brasil e a formas particulares de desenvolvimento da crise do processo de modernização no país.The research subject of this doctoral thesis was the crisis scenario that involves the development of architecture, urbanism and urban planning in Brazil in the period between the second half of the twentieth century and the early years of Century XXI. This finding originated in the analysis of the contradictions between the goals envisioned by the Brazilian Modern Architecture, a school that would define the course of this production, and its results. One of the main points of its central program was the defense of human emancipation through the transformation of its space. However, its production would express critical limits from the time when the characteristics assumed by the modernization of Brazil, resulting from its way of development at the present stage of capitalism, would make the desired emancipation and would have cities marked by material and social precariousness. The central hypothesis developed in this thesis deals with the relations between the critical nature - to manifest itself as a perennial state of crisis - of the architecture, urbanism and urban planning production in Brazil and the particular forms of the modernization crisis development in the country.
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Hidas, Eniko. „Modernity and the Backward Glance: Photography and the Uncanny in Hungary 1890-1939“. Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23757.
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This thesis investigates the concept and character of an industrial and urban uncanny in Hungarian photography between the late 1890s and 1939. It seeks to demonstrate the suitability of the photographic medium to convey the spirit and images of a changing pre- and post Habsburg Hungary. It examines the photography of urban and rural industrial sites as emblems of modernity in late nineteenth and early twentieth-century Hungary within a socio-historical and art-historical framework, drawing from the theoretical work of Walter Benjamin, Louis Althusser, and contemporary theoretical writing on the modern and architectural uncanny. The work of Hungarian national poets and writers will further underpin the reading of the photographs and examine them in the context of national views of the modern condition in Hungary. This thesis examines the nature and beginnings of urban themed photography in the work of György Klösz around the turn of the century and follows the evolution of modernist photography of the post war rural and urban environment in the work of Rudolf Balogh, Ferenc Háar, Olga Máté and Imre Kinszki in the 1920s and 1930s. It will demonstrate how the social and political changes of the early twentieth century, particularly the geo-political changes to Hungary following World War I, and the ways in which elements of the Freudian uncanny and Walter Benjamin’s concept of a historical uncanny contributed to the development of a distinctively Hungarian photographic modernism.
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Daisley, Simon Francis Stirling. „Exorcising Luther: Confronting the demon of modernity in Tibetan Buddhism“. Thesis, University of Canterbury. Social and Political Sciences, 2012. http://hdl.handle.net/10092/7329.
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This study explores the idea that the Western adaptation of Tibetan Buddhism is in fact a continuum of the Protestant Reformation. With its inhospitable terrain and volatile environment, the geography of Tibet has played an important role in its assimilation of Buddhism. Demons, ghosts and gods are a natural part of the Tibetan world. Yet why is it that Tibetan Buddhism often downplays these elements in its self portrayal to the West? Why are Westerners drawn to an idealistic view of Buddhism as being rational and free from belief in the supernatural when the reality is quite different? This thesis will show that in its encounter with Western modernity Tibetan Buddhism has had to reinvent itself in order to survive in a world where rituals and belief in deities are regarded as ignorant superstition. In doing so it will reveal that this reinvention of Buddhism is not a recent activity but one that has its origins in nineteenth century Protestant values. While the notion of Protestant Buddhism has been explored by previous scholars this thesis will show that rather than solving the problems of disenchantment, Buddhist Modernism ignores the human need to find meaning in and to take control over one’s surroundings. In doing so it will argue that rather than adopting a modern, crypto-Protestant form Buddhism, Westerners instead need to find a way to naturally transplant Tibetan Buddhism onto their own surroundings.
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Ironside, Joseph. „Renewed Shall Be Blade That Was Broken: Tolkien, Modernity and Fascist Utopia“. Thesis, Stockholms universitet, Engelska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-159897.
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This thesis consists of a close reading and meta-analysis of themes and patterns in the works that comprise the fictional world of “Middle-Earth” created by J. R. R. Tolkien, in specific relation to the culturally prevalent views of the decadence of modernity and the ideological dynamics of fascism. This thesis explores the ideological dynamics of the fictional world constructed by Tolkien’s texts, and argues that his work contains demonstrable similarities to the ideological dynamics of fascism in its response to the existential challenges of modernity. To clarify, this thesis does not argue that Tolkien’s fiction can be read as “fascist,” tout court, but rather to give a comprehensive outline of how the fictional world created within his texts relate to discourses critical of modernisation and to what extent the aesthetic and ideological dynamics of this world present what I will call a fascist utopia. Tolkien’s work will be approached using the arguments and theories from canonical texts and authors regarding discourses on modernity, including works from the fields of philosophy (Nietzsche), political economy (Marx and Engels), literary studies, sociology (Durkheim, Weber and Simmel) and psychology (Freud). Alongside this I will use relevant studies of fascism to analyse how Tolkien fits within and relates to the aforementioned discourses. I assert the findings that Tolkien creates a world which, in its attempts to renew the values of the past through the presentation of mythology, rootedness, community, agrarianism and hierarchy, demonstrates a semi-fascistic utopia. This is not to cast aspersions or make claims about Tolkien’s creative intentions or personal ideology, rather an observation as to the content and themes of his fictional world. I will argue this fictional world aligns with fascist concepts of identity, nationhood, heritage, mythology and renewal; however, at the same time finding it non-aligned with the central thrust of fascism, in its overt condemnation of industrialism and technology. This contradictory combination produces a fictional world which presents the renewal of what Roger Griffin terms the “shields against ontological terror” (75) now lost or delegitimised in the modern age.
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Valicourt, Emmanuel de. „La Société parfaite - catégorie de la modernité, catégorie théologique“. Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLS524.
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A la suite de l'Incarnation du Fils de Dieu, l'Église, analogie du Corps mystique du Christ, est enracinée dans une géographie historique transitoire. C'est la foi professée par l'Eglise catholique romaine. Sa mission ne peut donc se restreindre aux réalités spirituelles entendues comme immatérielles. Si l'État a vocation première à assumer les réalités temporelles selon le plan divin, cela ne signifie pas que l'Église doive renoncer à sa part de responsabilité éthique et politique. Au service de la vocation ultime de l'être humain, c'est "l'homme considéré dans son unité et sa totalité" (Gaudium et Spes 3) que l'Eglise catholique aussi doit conduire au salut.La canonicité de l'engagement ecclésial dans les réalités temporelles affronte le pouvoir politique et sa tendance hégémonique à imposer une doctrine soit étatiste ou régalienne, soit séparatiste et parfois discriminatoire.Quels sont les arguments juridiques dont cette Église dispose pour justifier, devant son interlocuteur politique, d'une légitimité de prise de parole dans des domaines de la res publica qui relèvent premièrement de l'État et de ses structures ? Dans cette tâche, elle ne peut se présenter ni comme une institution associative, ni comme un simple lobby. Les XIXe et XXe siècles ont été le lieu d'un travail doctrinal et d'une expression magistérielle très riche en ce domaine. En rappelant son fondement divin dont la forme juridique prend celle d'une Société parfaite théologique, l'Église a affirmé un statut de société religieuse, la distinguant d'une puissance séculière de machine de prise de pouvoir, et définissant le proprium d'une parole d'éthique internationale. L'organisation canonique de la souveraineté vient, non d'une concession de la sphère profane, mais d'une volonté divine. L'Eglise se disant Société parfaite, ou encore société externe devant l'organisation internationale, ces notions sont nécessairement théologiquesFollowing the Incarnation of the son of God, the Church, analogy of mystical Body of Christ, is rooted in a transitional historical geography. This is the faith professed by the Roman Catholic Church. Its mission can not therefore be limited to spiritual realities understood as immaterial. If State has primary vocation to assume temporal realities according to the divine plan, that does not mean that the Church should give up its share of ethical and political responsability. Serving the ultimate vocation of human being it's "man seen in its unity and totality" (Gaudium et Spes 3) that the Church must also lead to salvation.Canonicity of the ecclesial commitment in temporal realities confronts political power and its hegemonic tendency to impose a doctrine either statist or regal, either separatist and sometimes discriminatory.What are legal arguments which the Church has to justify, before his political interlocutor, legitimacy of speaking in areas of "res publica" that fall firstly to the state and its structures ? In this task, it can occur either as an associative institution nor a simple lobby. The nineteenth and twentieth centuries were the scene of a doctrinal work and a magisterial speech rich in this area. Recalling its divine foundation which takes the legal form of a Theological perfect Society, the Church has affirmed the status of a religious society, distinguishing it from a secular machine to gain power and defining the proprium of an international ethics. The canonical organization of sovereignty is not a concession to the secular sphere, but a divine will. The Church is called perfect company or external company to the international organization, these concepts are necessarily theological