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Dissertations / Theses on the topic 'Post-modernism'
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Nel, David Ferguson. "Information technology as an agent of post-modernism." Pretoria : [S.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-07032008-130105/.
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Flickinger, Mark John 1956. "An examination of Post-Modernism in landscape architecture." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/277836.
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This thesis explores the meaning of Modernism and Post-Modernism in landscape architecture and asks if contemporary landscape architecture can be classified as Post-Modern. Art, architecture, and landscape architecture were examined during the Industrial and Post-Industrial Eras to see if there is a correlation between each discipline's stylistic movements. Arguments both for and against the existence of a Post-Modern Movement in landscape architecture are presented. It is concluded that art and architecture are the current leaders in creating innovative, historically memorable landscape designs, and that there is need for further exploration, teaching, and debate about contemporary design history and theory.
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Sansom, Peter. "The poetry of Stanley Cook in the context of post-war British verse." Thesis, University of Huddersfield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368322.
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Spicanovic, Vladimir. "Pedagogical reflections : post-modernism in the studio teaching of painting." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85204.
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Drawing upon a review of literature and interviews with four artist-teachers, this thesis explores the implications of post-modernism on the studio teaching of painting. Additional emphasis is placed on uncovering the issue of the-death-of-painting and its links to post-modernism, and my own reflexivity as a painter and a teacher of art. The thesis presents also an attempt to respond to an apparent lack of educational research that addresses post-secondary studio teaching of art, and that engages artist-teachers in reflection on their teaching philosophies. The overall objective of this thesis is to generate a body of knowledge that could be of assistance to other practitioners in the field in their own pedagogical reflections and development of contemporary studio instruction. Thus the questions and ideas brought in this study present both an invitation and directions for future inquiries in this area of education.
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Warner, Meghan McLaughlin. "Shibui : Japan chic and post World War II American modernism." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3212.
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This dissertation examines the United States' interactions with Japan between 1945 and 1965 to demonstrate how global processes have transformed American culture at home, as well as exporting it abroad. Through U.S. political, military and economic involvement - including postwar occupation, subsequent maintenance of military bases, and the opening of markets to Japanese exports - Americans gained unprecedented exposure to Japan and its culture. At the same time, Cold War pressure to engage other "free world" nations provided impetus to try and understand foreign cultures, like Japan's. While Americans across the economic spectrum took an interest in their new ally, it was members of the middle and upper classes who most typically embraced the Japanese arts of flower arranging, bonsai, filmmaking, architecture, and landscape gardening, and the philosophy of Zen Buddhism.
Many argued that Japanese culture reflected tastes and beliefs that they valued, including understatedness, an appreciation of nature, and a desire for serenity; they described these qualities using the borrowed term "shibui." In knowledgeable circles, the word became shorthand for a particular type of Japan-based aesthetic that embraced the design principles of modernism (clean lines, efficient use of space), while in other ways running counter to industrial modernity. For example ikebana flower arrangements were praised for their minimalism, and the fact that practicing the art was supposed to provide respite from the harried pace of the 20th century life.
An appreciation for Japanese culture, or the use of Japan-inspired aesthetics in the way a person decorated or dressed, came to signify a certain kind of modernist refinement in postwar U.S. society. Consequently many suburbanites found shortcuts toward incorporating Japanese culture into their lives which enabled them to appear more stylish and cosmopolitan, without altering their lifestyle significantly. However, there were some components of Japanese culture that shibui enthusiasts conveniently ignored, and other uses to which it could be put, as demonstrated by Godzilla movies and Beat Zen. Taken together, each case study presented here reveals processes of transmission and translation in an often-overlooked direction, as well as uncovering previously neglected connections between U.S. policies abroad and the shifting layers of class and social identity formation at home.
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Born, Georgina Emma Mary. "The ethnography of a computer music research institute : modernism, post modernism, and new technology in contemporary music culture." Thesis, University College London (University of London), 1989. http://discovery.ucl.ac.uk/1349616/.
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The thesis is a socio-cultural study of IRCAM, a large, state-funded computer music research institute in Paris directed by the avant garde composer Pierre Boulez. The approach is primarily ethnographic, supported by broader historical analysis. The aim is to provide a critical portrait of musical modernism and post modernism as expressed by IRCAM and its milieu; and to place this in historical perspective by combining anthropology with cultural history. Theoretically, the thesis examines the contradictory position of the contemporary musical avant garde: established in official cultural spheres, yet lacking wider public appeal and cultural influence. In this context, the central problem is how IRCAM continues to legitimise itself. The thesis opens with a discussion of literature on the critical sociocultural study of music, on the sociology of culture (especially the work of Bourdieu and Williams), and on the avant garde and modernism. Chapters 2 to 4 provide the basic account of the institution, including status distinctions, stratification, and power structures. Three local historical influences on IRCAM are outlined: the American computer music network, the French national context, and Boulez's history and ideas. Chapters 5 to 8 analyse IRCAM's musical, scientific and technological work, examining the gaps between aims and actuality, ideology and practice. The character of IRCAM's dominant, 'dissident' and 'vanguard' projects are explored. The classification systems that structure the institute's internal conflicts and ideological differences are drawn out (Ch. 6). Chapters 7 and 8 focus in on computer music production, and describe the mediations and phenomenology of this and related software research. One composer's visit is detailed, and the social and technological problems inherent in this work are analysed. Chapter 9 provides an analysis of the main historical aesthetic traditions which inform IRCAM culture - modernism and post modernism - and develops an hypothesis of their discursive character and interrelation. This is related back to IRCAM culture, and throws light on the inter- and intra-subjective differentiation of IRCAM intellectuals, which in turn allows an analysis of mechanisms in the social construction of aesthetics and technology at IRCAM. The preceding analyses generate insight into the representation of modernism and post modernism within IRCAM. The Conclusions describe major developments at IRCAM after fieldwork. The legitimation of IRCAM is linked to its institutional and ideological forms: particularly its processes of self-legitimation, resting on the discursive authority of its own internal vanguard, and the universalising character of advanced computer music discourse. Finally, there is consideration of IRCAM's place in long term cultural processes, and of the implications for theorising cultural reproduction and change.
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Guzman-Medrano, Gael. "Post-Revolutionary Post-Modernism: Central American Detective Fiction by the Turn of the 21st Century." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/917.
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Contemporary Central American fiction has become a vital project of revision of the tragic events and the social conditions in the recent history of the countries from which they emerge. The literary projects of Sergio Ramirez (Nicaragua), Dante Liano (Guatemala), Horacio Castellanos Moya (El Salvador), and Ramon Fonseca Mora (Panama), are representative of the latest trends in Central American narrative. These trends conform to a new literary paradigm that consists of an amalgam of styles and discourses, which combine the testimonial, the historical, and the political with the mystery and suspense of noir thrillers. Contemporary Central American noir narrative depicts the persistent war against social injustice, violence, criminal activities, as well as the new technological advances and economic challenges of the post-war neo-liberal order that still prevails throughout the region.
Drawing on postmodernism theory proposed by Ihab Hassan, Linda Hutcheon and Brian MacHale, I argued that the new Central American literary paradigm exemplified by Sergio Ramirez’s El cielo llora por mí, Dante Liano’s El hombre de Montserrat, Horacio Castellanos Moya’s El arma en el hombre and La diabla en el espejo, and Ramon Fonseca Mora’s El desenterrador, are highly structured novels that display the characteristic marks of postmodern cultural expression through their ambivalence, which results from the coexistence of multiple styles and conflicting ideologies and narrative trends. The novels analyzed in this dissertation make use of a noir sensitivity in which corruption, decay and disillusionment are at their core to portray the events that shaped the modern history of the countries from which they emerge. The revolutionary armed struggle, the state of terror imposed by military regimes and the fight against drug trafficking and organized crime, are among the major themes of these contemporary works of fiction, which I have categorized as perfect examples of the post-revolutionary post-modernism Central American detective fiction at the turn of the 21st century.
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Wilcox, Denys J. "The London Group 1913-1939." Thesis, University of Bristol, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390143.
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Sharp, Alexander V. "The Hyperreal Nature of the Trump Administration's Post-Truth Rhetoric." University of Dayton / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1591216740376073.
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Buchberger, Michelle Philips. "Metafiction, historiography, and mythopoeia in the novels of John Fowles." Thesis, Brunel University, 2009. http://bura.brunel.ac.uk/handle/2438/6558.
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This thesis concerns the novelist John Fowles and analyses his seven novels in the order in which they were written. The study reveals an emergent artistic trajectory, which has been variously categorized by literary critics as postmodern. However, I suggest that Fowles's work is more complex and significant than such a reductive and simplistic label would suggest. Specifically, this study argues that Fowles's work contributes to the reinvigoration of the novel form by a radical extension of the modernist project of the literary avant-garde, interrogating various conventions associated with both literary realism and the realism of the literary modernists while still managing to evade a subjective realism. Of particular interest to the study is Fowles's treatment of his female characters, which evolves over time, indicative of an emergent quasi-feminism. This study counters the claims of many contemporary literary critics that Fowles's work cannot be reconciled with any feminist ideology. Specifically, I highlight the increasing centrality of Fowles's female characters in his novels, accompanied by a growing focus on the mysterious and the uncanny. Fowles's work increasingly associates mystery with creativity, femininity, and the mythic, suggests that mystery is essential for growth and change, both in society and in the novel form itself, and implies that women, rather than men, are naturally predisposed to embrace it. Fowles's novels reflect a worldview that challenges an over-reliance on the empirical and rational to the exclusion of the mysterious and the intuitive. I suggest that Fowles's novels evince an increasingly mythopoeic realism, constantly testing the limits of what can be apprehended and articulated in language, striving towards a realism that is universal and transcendent.
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Pollak, Johannes. "Kreativitet och estetik : En tonsättares undersökning av kreativa processer för att stimulera och förädla sin personliga estetik." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-68897.
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The aim with this thesis is to investigate how the creative element of the compositional process can be improved, and to research how a composer can develop and sublimate his or her aesthetics. As a part of the research process two pieces of music have been composed, one for the chamber ensemble Norrbotten NEO and one for the symphony orchestra NorrlandsOperans symfoniorkester. The compositional processes of the two pieces are described in detail and the thoughts and ideas that emerged during the two separate composing processes are the main basis of the concluding discussion of this thesis. The thesis also contains a more theoretical section where creativity, learning styles and the aesthetics of the modernistic era, among other things, are discussed. The final section of the thesis is a concluding discussion that argues that one effective way to improve the creative flow in the compositional process is to initially not work with exact pitches. Regarding aesthetics the thesis claim that aesthetic values are uttermost personal and that it therefore is pointless for a composer to try to acclimatize to the surrounding world. The thesis contends that it is preferable for a composer to try to understand his or her own aesthetic values and thereupon, in a personal and genuine way, share them with the rest of the world.
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De, Kiewit Charles. "The transforming power of gospel preaching to an audience influenced by post modernism." Diss., Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-06172005-084808/.
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Silva, Valéria Cristina Pereira da [UNESP]. "Girassóis de pedra: imagens e metáforas de uma cidade em busca do tempo." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/96721.
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A partir do estudo da cidade de Palmas, capital do Estado de Tocatins, o desafio fundamental da tese proposta é analisar o imaginário da cidade projetada e implantada, constituída num tempo compactado e, ainda, como esse espaço organizado no tempo ausente apresenta traços e encaixes na realidade do pós-modernismo. Brasília e Palmas são cidades do tempo ausente que, diferente das demais cidades não planejadas ou projetadas, tem o seu espaço-tempo surgido simultaneamente. Compreendemos teoricamente essa compactação ou simultaneidade, como ausência de tempo. A cidade de Palmas foi projetada e surgiu nessa condição de compactação temporal, sua paisagem urbana detem imagens cheias de simbolismos que jogam com a subjetividade do tempo...
From a study on the city of Palmas, the capital of the state of Tocantins-Brazil, the fundamental problem on the thesis proposal is to analyze the Idea of an implanted pre designed city, settled in a compact period of time and still as IF this organized period of absent time presents treats and fits into post modernism reality. Brasília and Palmas are cities that belong to the so called “absent time” that different from other cities Just haven’t been put into blueprint or pre-planned. They both have time and space emerged simultaneously. We theoretically understand that this compaction or simultaneity as “absence of time”. The city of Palmas has been put into blueprint and came to being into a time compaction condition. It´s urban design and landscaping is filled up with symbolism that simply plays with time subjectivity. The monuments are random temporal maps that represent different periods of time though they are all rather recently made creating an illusion to others perception with the goal of bringing some historic sense to the city. The path to understanding the city and its present/absent temporality on which it has been designed is based on a multiplicity logic that sketches and overlays urban image polysemy... (Complete abstract click electronic acces below)
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Stowell-Smith, Mark. "Race, psychopathy and subjectivity." Thesis, Manchester Metropolitan University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296488.
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Cooper, Allison Ann. "Disanimate modernism literature, painting and aesthetics in wartime and post World War I Italy /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1693038441&sid=7&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Jones, Liz. "Critical pedagogy : an im\possible task?" Thesis, Manchester Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267444.
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Silva, Valéria Cristina Pereira da. "Girassóis de pedra : imagens e metáforas de uma cidade em busca do tempo /." Presidente Prudente : [s.n.], 2008. http://hdl.handle.net/11449/96721.
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Orientador: Eda Maria GóesBanca: Maria Encarnação Beltrão Sposito
Banca: Everaldo Santos Melazzo
Banca: Marcia Metran de Mello
Banca: José Borzachiello da Silva
Resumo: A partir do estudo da cidade de Palmas, capital do Estado de Tocatins, o desafio fundamental da tese proposta é analisar o imaginário da cidade projetada e implantada, constituída num tempo compactado e, ainda, como esse espaço organizado no tempo ausente apresenta traços e encaixes na realidade do pós-modernismo. Brasília e Palmas são cidades do tempo ausente que, diferente das demais cidades não planejadas ou projetadas, tem o seu espaço-tempo surgido simultaneamente. Compreendemos teoricamente essa compactação ou simultaneidade, como ausência de tempo. A cidade de Palmas foi projetada e surgiu nessa condição de compactação temporal, sua paisagem urbana detem imagens cheias de simbolismos que jogam com a subjetividade do tempo... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: From a study on the city of Palmas, the capital of the state of Tocantins-Brazil, the fundamental problem on the thesis proposal is to analyze the Idea of an implanted pre designed city, settled in a compact period of time and still as IF this organized period of absent time presents treats and fits into post modernism reality. Brasília and Palmas are cities that belong to the so called "absent time" that different from other cities Just haven't been put into blueprint or pre-planned. They both have time and space emerged simultaneously. We theoretically understand that this compaction or simultaneity as "absence of time". The city of Palmas has been put into blueprint and came to being into a time compaction condition. It's urban design and landscaping is filled up with symbolism that simply plays with time subjectivity. The monuments are random temporal maps that represent different periods of time though they are all rather recently made creating an illusion to others perception with the goal of bringing some historic sense to the city. The path to understanding the city and its present/absent temporality on which it has been designed is based on a multiplicity logic that sketches and overlays urban image polysemy... (Complete abstract click electronic acces below)
Doutor
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Berndalen, Christian. "Populärmusik, konstmusik eller bara musik? : En undersökning av konstmusikaliska inslag i tre populärmusikaliska verk." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13443.
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Det är inte ovanligt att viss rock- och annan populärmusik tillskrivs konstnärliga ambitioner, eller förses med epitet som "konstnärlig" och "konstmusikalisk". Sällan utvecklas emellertid på vilket sätt detta konstnärliga tar sig uttryck. Uppsatsens syfte är att musikanalytiskt undersöka vad som kan motivera formuleringarna och om de kan anses adekvata. Materialet för undersökningen är tre verk/låtar ur rockgenren, som beskrivits med ovanstående begrepp: Close to the Edge med gruppen Yes från 1972, Sense of Doubt med David Bowie från 1977 och Sleep med gruppen Godspeed You! Black Emperor från 2000. Metoden är den auditiva musikanalysen, vilket innebär att analysen utgår från ett aktivt lyssnande på musikens förlopp. Två fokus finns: ett på själva musiken; ett på de intentioner i och med verket/låten som kan föreligga. Analysen utgår från en definition av begreppen konst- och populärmusik som görs i början av uppsatsen. Denna grundar sig i sin tur på en genomgång av begreppsdefinitioner i framförallt lexikon och ordböcker, men också i musikvetenskaplig litteratur och den kan därmed göra anspråk på en viss allmängiltighet. Resultatet av analysen visar att samtliga musikexempel går utanför ramarna för definitionen av populärmusik, samtidigt som de uppvisar flera egenskaper som faller inom konstmusikdefinitionen. Beskrivningarna av låtarna som konstmusikaliska och konstnärliga kan alltså anses adekvata. Analysen och den föregående begreppsdiskussionen medvetandegör emellertid också den problematik som ryms i distinktionen konst- respektive populärmusik. Detta utvecklas i uppsatsens slutdiskussion, där begreppen relateras till ett idéhistoriskt sammanhang. Distinktionen visar sig ha rötter i 1800-talets kulturdebatt och under 1900-talet har den närts av en modernistisk kultur- och samhällssyn. De senaste decenniernas postmodernistiska strömningar, med ökad värderelativism och uppluckrade musikaliska genregränser, har dock bidragit till att begreppen i allt större utsträckning spelat ut sin roll.It is not uncommon that certain rock and other popular music is attributed with artistic ambitions or is befitted with epithets such as "artistic" or "art music-like". However, it is rarely elaborated in which way these artistic qualities are conveyed. The purpose of this paper is to investigate from an analytical standpoint what can incentivize these wordings and if they can be viewed as adequate. The material for the investigation is three pieces/songs from the rock genre which have been described with the above terms: Close to the Edge by the group Yes from 1972, Sense of Doubt by David Bowie from 1977 and Sleep by the group Godspeed You! Black Emperor from 2000. The method is auditive music analysis which means that the analysis is based upon actively listening to the music. There are two areas of focus: one is on the music itself; one is on the intentions that may lie in and with the piece/song. The analysis is based upon a definition of the terms art music and popular music that is made at the beginning of the paper. This, in turn, is based upon a rundown of term definitions made in, above all, lexicons and dictionaries, but also in musicology, and thus it can claim a certain generality. The result of the analysis shows that all music examples move outside the boundaries of the definition of popular music and, at the same time, show qualities that fall inside the boundaries of the definition of art music. Thus, the descriptions of the songs as "art music-like" and "artistic" can be viewed as adequate. However, the analysis and the preceding term discussion raise awareness about the problems that are contained in the distinction between art music and popular music, respectively. This is elaborated in the concluding discussion in which the terms are interrelated to a contexture involving the history of ideas. The distinction is shown to have its roots in the cultural debate of the 19th century, and during the 20th century it has been nurtured by a modernist view of culture and society. The post-modernistic trends of the last few decades, characterized by increased value relativism and loosened musical genre boundaries, have contributed to making the terms obsolete.
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Hellesen-Hansen, Alexander. "Försvarad demokrati? : -En analys av diskurserna kring FRA-lagens legitimering." Thesis, Linköpings universitet, REMESO – Institutet för forskning om migration, etnicitet och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130352.
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Försvarad demokrati är ett arbete som genom en diskursanalys tar sig en närmare titt på debatten år 2008 om en utökad FRA-lag med sikte på att kritiskt analysera hur partierna med hjälp utav olika diskurser behandlar och vrider begrepp för att få dem att överstämma med den egna idén om hur vi bör förhålla oss till hotet. Arbetet kommer också reflektera över hur vi i en allt mer flytande modern värld försöker gör det flytande och okända fast för att på så sätt få någon typ utav kontroll över det samhälle som vi skapat oss. Genom att belysa de politiska diskurserna kring hot och demokrati i debatten om en utökad FRA-lag bidrar arbetet till att skapa en förståelse kring hur människor i en demokrati med demokratiska ideal, så som integritet samt tryck- och yttrandefrihet, genom relationen till hot accepterar att bli systematiskt och storskaligt övervakade utav sin egen stat. Därav också övervakade av sin egen demokrati.
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Skillern, Ada. "Southern Post-Modernism, Anti-Romanticism and Gender Difference in Flannery O'Connor and Some Other Southern Contemporaries." TopSCHOLAR®, 1999. http://digitalcommons.wku.edu/theses/758.
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Flannery O' Connor has long been an established southern writer of the mid-twentieth century. This paper discusses briefly the tenets of both Modernism and Post-Modernism as literary movements of the twentieth-century, then looks specifically at how O'Connor's fiction makes her a key hallmark figure in the movement known as Post-Modernism, but also as one of the first female southern writers to utilize very anti-Romantic themes and style. Further, this paper attempts to examine through a discussion of various contemporary male and female southern writers the depth of O'Connor's influence on their own works. Attention is also given to the differences found in voice, theme and tone between southern contemporary male and female writers today, and explanations are offered as to why these marked differences exist.
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Percoco, Bryan A. "Perihelion I." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337714862.
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Walter, Christopher D. "On Yonder Mountain." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/112.
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The road to becoming an artist is paved with much confusion as we try to mold our brains into understanding abstract concepts and ideas. I became fascinated with how people perceive art, in particular, southern males that have no previous knowledge of art history or desire to learn. I contemplated long and hard about this and asked myself the question, “What if they did want to understand art?” The only difference between my brethren and I is this desire to pursue this seemingly foreign world. By creating an imaginary world and culture based on my own southern upbringing I have created a series of figurative paintings exploring various contemporary art themes in an effort to clarify my own understanding of the two worlds I am closest to and how they may or may not be related.
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Dreyer, Nicolas D. "'Post-Soviet neo-modernism' : an approach to 'postmodernism' and humour in the post-Soviet Russian fiction of Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1917.
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The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.
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Oliveira, Maria Aparecida de. "A busca do tempo perdido em As horas de Michael Cunningham : a modernidade revisitada pela pós-modernidade /." Araraquara : [s.n.], 2006. http://hdl.handle.net/11449/99155.
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Orientador: Maria Clara Bonetti ParoBanca: Márcia Valéria Zamboni Gobbi
Banca: Marisa Giannecchini Gonçalves de Souza
Resumo: O debate entre a modernidade e a pós-modernidade tem levado grandes questões para uma compreensão do que representou a primeira e a partir da qual se pode delinear a segunda. O objetivo dessa pesquisa é analisar de que forma um romance pós-moderno, As horas, do autor norte-americano Michael Cunningham (1952- ) se apropriou da obra moderna Mrs. Dalloway de Virginia Woolf. O presente trabalho propõe-se a discutir essa apropriação, evidenciando as relações paródicas entre os dois textos; a investigar a configuração do tempo na narrativa, verificando as possíveis relações entre história e ficção e a analisar a construção das personagens femininas, ex-cêntricas do romance, examinando como o discurso das figuras femininas é construído na referida obra de Cunningham.
Abstract: The discussion between modernism and post-modernism has brought about several questions that we must answer in order to have an overview of both movements, once we are able to understand what the first has represented, we can better situate the second. Taking this into consideration, our aim is to analyze in which ways the contemporary The hours, written by the north-American author Michael Cunningham, appropriates the earlier Mrs. Dalloway, by Virginia Woolf. Thus, the aim of this study is to discuss these questions, verifying the parodic between the two texts. Furthermore, our intention is to investigate another important discussion: the time, verifying the possibel relations between history and fiction. Lastly, our attention focuses on the construction of the ex-centric characters, examining how the discourse of these characters is built in Cunningham's novel.
Mestre
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Coll, Allyson, and n/a. "This is not a thesis." University of Canberra. Professional & Community Education, 1998. http://erl.canberra.edu.au./public/adt-AUC20060629.110043.
Full textAbstract:
I should like to have completed this process by having this project bound so that it
read from right to left instead of the traditional manner in which we have learnt and
been taught to read. In partaking of such an activity, it would have been my purpose
and intention to share with you my sense of physical discomfort that has situated itself
beside me at various stages from the on-set of my research. Because I believe in this
process, I have decided to follow a traditional approach, and as you can see it reads as
it should from left to right.
In the introductory phase of this study, I assert quite unequivocally that this is not a
thesis. Instead I promote this as a prolegomena; an interlocutory prolusion. But don't
be deceived! This is very much a thesis. It has been researched according to
guidelines, formatted according to specifications and ethically undertaken. I want you
to believe that it is a thesis. Partially because I have pursued this research in a very
serious manner and also because no matter how much we try to avoid becoming
enmeshed in a system, ultimately we find that we are.
Three years ago I embarked on a quest. At this time, I proposed that I would
undertake a study on the Historical Understandings of passion throughout the Western
World. This idea came to a sudden and dramatic halt, through the encountering of
what I should like to refer to as a series of problems. In order to do justice to my
subject, I decided to write about these obstacles, a decision that I hoped would lead me
back to my original statement of intent, following their reconciliation.
It is Michel Foucault, that I credit with the title for this thesis. After reading his book
entitled "This Is Not A Pipe" (1982) I felt a certain sense of inspiration and ethical
obligation that I considered worth taking the risk for. Due to no longer writing a thesis
on passion, I decided that this could not be called a thesis. It could only be an
introduction to my thesis that would speak about why it had become impossible for me
to pursue my thesis at this stage. The other reason that this carries the title of this is
not a thesis, surrounds my favouring the post-modern over any other position that I
have inquired about.
This prolusion involves a discussion surrounding many of the problematics associated
with my research processes. These include extensively looking at existing
methodologies available when undertaking research today. Adjunct to the
illumination of these problems, I look at literary disruptions; my penchant for
knowledge and my naive aspirations which all contributed to thwarting my journey
into completing an adequate study on passion.
Included in this prolegomena, are two diagrammatic representations of passion. The
first seeks to re-inscribe through re-presenting passion away from its traditional
juxtaposition with love or sexual gratification. It re-presents passion as a polyvalent
movement that is vastly more complicated than that to which we have come to believe
in through out the centuries. Accompanying this depiction, are the traditional notions
of passion. This is based on the works of authors such as Aquinas, Daly, Cicero and
McLellan.
In the conclusion of this prolusion, I suggest that there is a need to re-write a new
methodology. One that transcends our current juncture that promotes stances
belonging to foundationalism, anti-foundationalism and non-foundationalism. It is my
ardent belief, that this is a necessary course of action and will enable the subject of
passion to be spoken to as never before.
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Hodge, Raegan Nicole. "Binge." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/33.
Full textAbstract:
Binge is a multi-media installation consisting of dangling IV bags looming over a large table of food. Monitors on the table show live online chats about thinness, depression and eating disorders. On the rear wall, interview footage describing the gruesome experiences of the eating disorder sufferer intercut with the newest development of the disease, the online presence. The installation confronts the viewer with the horrible dualities of the disease: discipline and madness, reason and passion, and suffering and indulgence. The work references the philosophic mind/body struggle as well as the grim reality of these afflicted young women.
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Smith, Aaron M. "Boneyard Shifts and Shadow Work." Youngstown State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1213193189.
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Bas, Judith Hall. "Post-Impressionist Woolf." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1998. http://www.kutztown.edu/library/services/remote_access.asp.
Full textAbstract:
Thesis (M.A.)--Kutztown University of Pennsylvania, 1998.Source: Masters Abstracts International, Volume: 45-06, page: 2840. Typescript. Abstract precedes thesis as preliminary leaves [1]-2. Includes bibliographical references (leaves 104-106).
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Cafcules, Stephanie Tyler. "An eddy of self discovery." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1371.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Fine Arts
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Valantiejus, Vaidotas. "Post-communism as the form of the political." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140722_081328-24659.
Full textAbstract:
The aim of this dissertation is to analyze the relationship between the event of post-communism and the democratic nature of the political. Three main tendencies of post-communist condition are analyzed: the relationship between post-communism and historicism; the interaction between post-communism, liberalism and postmodernism; the relationship between unitarism and pluralism. The fundamental assumption of the analysis is the significance of post-foundational political thought for the understanding of post-communism. Post-communism is analyzed not as linear liberal modernization, but as democratic transformation. Post-communism is the hybrid condition that includes the alter egos of communism, liberalism and postmodernism. Post-communism assimilates the potential alter egos of liberalism and postmodernism and therefore transforms the distinction of friend/enemy to the criterion of friend/friend, which ignores the nature of the political. Condition of post-communism requires not the eradication of differencies, but self-reflection of the differential nature of the political. The task of new democracy of post-communism is to articulate the possibility of democratic pluralistic politics under post-totalitarian conditions. However, post-communism is reluctant to accept the dimension of post-totalitarianism and tries to converge with universal post-liberalism. Dominating liberal pluralism assimilates democratic pluralism which becomes democratic procedural minimalism.Disertacijos tikslas yra išnagrinėti sąveikas tarp postkomunizmo įvykio prigimties ir demokratinės politiškumo prigimties. Darbe yra nagrinėjamos trejopos sąveikos: postkomunizmo ir istorizmo santykis; postkomunizmo, liberalizmo ir postmodernizmo santykis; vienovės ir pliuralumo santykis. Specifinei postkomunizmo būklės analizei taikomos postfundacionalizmo filosofijos idėjos. Postkomunizmas nagrinėjamas ne pabrėžiant liberalios modernizacijos turinį (kaip tranzitologinėse koncepcijose), bet analizuojant demokratinės transformacijos sąlygas ir galimybes. Postkomunizmo tapatybė formuojasi kaip hibridinis trijų sudedamųjų dalių – komunizmo, liberalizmo ir postmodernizmo – darinys. Liberalizmo ir postmodernizmo alter ego yra asimiliuojami universalistinėje draugo/draugo asociacijoje, kuri pakeičia išorinę draugo/priešo skirtį, nurodančią politiškumo prigimtį. Diferencinės politikos kilmės problema yra nauja, aktuali ir tęstinė postkomunizmo būklės problema. Postkomunizmas linkęs pamiršti posttotalitarizmo komponentą (jeigu išeinama iš komunizmo, tai išeinama ir iš totalitarizmo) ir siekia prisišlieti prie postliberalizmo tendencijų. Demokratinio pliuralizmo idėją asimiliuoja dominuojanti liberalios pliuralizacijos tendencija.
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Hyde, Marissa Cathryn. "Personage and Post-Adolescence in F. Scott Fitzgerald's This Side of Paradise." Cleveland State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=csu1611535243379139.
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Chambouleyron, Ingrid Cyfer. "A tensão entre modernidade e pós-modernidade na crítica à exclusão no feminismo." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8131/tde-03022010-122141/.
Full textAbstract:
O objetivo deste trabalho é analisar o projeto de Nancy Fraser de pacificar a chamada guerra de paradigmas na teoria feminista, ou seja, o confronto entre teorias feministas pós-modernas e modernas. Essa análise é feita a partir do debate entre Judith Butler, Seyla Benhabib e Nancy Fraser acerca dos problemas teóricos que emergem das exclusões no movimento feminista, ou seja, da dificuldade de o movimento representar as várias formas de viver a condição feminina, levando em conta as intersecções entre a identidade de gênero, racial, de classe, etc. A intenção de Nancy Fraser é combinar a concepção de sujeito moderno e pósmoderno a fim de somar a desconstrução do sujeito, ou seja, a desnaturalização da identidade feminina com as concepções de igualdade e autonomia que estão presentes no argumento de Benhabib. Essa discussão remete a três tensões conceituais: autonomia e contextualização do sujeito; identidade e reconhecimento da diferença e igualdade e pluralidade. Por fim, concluo que a conciliação entre modernidade e pós-modernidade é problemática porque a concepção de sujeito pós-moderno apresenta desafios teóricos profundos a uma autonomia suficientemente forte para justificar a crítica social. No entanto, isso não significa necessariamente ter de escolher entre poder e autonomia, entre sujeito abstrato e determinado pelo meio. Na concepção de self narrativo de Benhabib, que ela concebe sob a influência do modernismo relutante de Hannah Arendt, encontra-se um modelo de conciliação de poder e autonomia mais promissor para vencer a exclusão no feminismo sem abandonar a identidade coletiva no movimento feminsita.The subject of this thesis is Nancy Frasers attempt to overcome the tension between post-modernism and modernism in the feminist political theory, known as the paradigm war. This attempt is analysed though her debate with Judith Butler and Seyla Benhabib about the theoretical consequences of dealing with the problem of exclusion within the feminist movement. Nancy Fraser intends to combine Judith Butlers conception of the subject with Benhabibs conception of equality. For her, this is the only way to integrate power and autonomy in feminist political theory. This discussion leads to three theoretical tensions: contextualization of the subject and autonomy; identity and recognition of difference, and equality and plurality. My conclusion is that this combination is not possible because the post modern subjet challenges any conception of autonomy that is strong enough to explain and motivate social criticsm. Nevertheless, in Benhabibs conception of self narrative, inspired in the reluctant modernism of Hannah Arendt, we can find a theoretical model that is more adequate to fight the exclusion in feminist movement without abandoning its colletive identity.
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Pentes, Tatiana. "CRUEL BEAUTY: The articulation of ‘self’, ‘identity’ and the creation of an innovative feminine vocabulary in the self-portrait paintings of Frida Kahlo." Art History & Theory, Arts, University of Sydney, 1999. http://hdl.handle.net/2123/1905.
Full textAbstract:
Master of Letters (with Merit)The objective of this paper is to examine the self-portrait paintings of Frida Kahlo and to explore the way in which they articulate a ‘self’ and ‘identity’ through creating an innovative feminine vocabulary. The aim of this creative research is to explore the way in which Frida Kahlo represented her sexual subjectivity in the body of self-portraits she produced in her short life time. The self-portraits, some of which were produced in a state of severe physical disability and chronic illness, were also created in the shadow of her famous partner- socialist Mexican muralist/ revolutionary Diego Rivera. An examination of the significant body of self-portrait paintings produced by Frida Kahlo, informed by her personal letters, poems, and photographs, broadens the conventional definitions of subjective self beyond the generic patterns of autobiographical narrative, characteristic of an inherently masculine Western ‘self’. In Kahlo’s self-portraits the representation of the urban Mexican proletarian woman-child draws stylistically from the domain of European self-portraiture, early studio photographic portraiture, and the biographical Mexican Catholic retablo art, with its indebtedness to the ancient Aztec Indian symbology of self.
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Lourenço, Eliana Bernardes. "Educação universitaria : para alem do paradigma da modernidade." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252429.
Full textAbstract:
Orientador: Elisabete Monteiro de Aguiar PereiraTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Doutorado
Politicas de Educação e Sistemas Educativos
Doutor em Educação
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Pentes, Tatiana. "CRUEL BEAUTY: The articulation of ‘self’, ‘identity’ and the creation of an innovative feminine vocabulary in the self-portrait paintings of Frida Kahlo." Thesis, The University of Sydney, 1998. http://hdl.handle.net/2123/1905.
Full textAbstract:
The objective of this paper is to examine the self-portrait paintings of Frida Kahlo and to explore the way in which they articulate a ‘self’ and ‘identity’ through creating an innovative feminine vocabulary. The aim of this creative research is to explore the way in which Frida Kahlo represented her sexual subjectivity in the body of self-portraits she produced in her short life time. The self-portraits, some of which were produced in a state of severe physical disability and chronic illness, were also created in the shadow of her famous partner- socialist Mexican muralist/ revolutionary Diego Rivera. An examination of the significant body of self-portrait paintings produced by Frida Kahlo, informed by her personal letters, poems, and photographs, broadens the conventional definitions of subjective self beyond the generic patterns of autobiographical narrative, characteristic of an inherently masculine Western ‘self’. In Kahlo’s self-portraits the representation of the urban Mexican proletarian woman-child draws stylistically from the domain of European self-portraiture, early studio photographic portraiture, and the biographical Mexican Catholic retablo art, with its indebtedness to the ancient Aztec Indian symbology of self.
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Hourigan, Daniel. "The Phantasmatic Subject of Technology: Slavoj Zizek, Techne, and the Abyss." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/365491.
Full textAbstract:
This critique of technology takes up the thought of Slavoj Žižek to engage in a psychoanalytic and philosophical exploration, critique, and redemption of the human subject under the sway of post-modernity’s politic of technophilia. By first establishing the persistence of the subject as an aporia in the discourse of knowledge-production, this discussion unravels the philosophical, political, and psychoanalytic difficulties hidden by the fetishisation of technology and the globalised lie of its vulgar materialism that entraps the subject in a technological phantasia coordinated by the ‘metaphysics’ of technology: technicity. Interrogating this phantasia of technology, we will intervene in the overdetermination of the ontology of the subject by the perverse social order of a mystical deadlock between the ‘treatment’ of the subject’s existence by the perverse order of technical rationalisation through its annihilation and fabrication of the embodiment of the subject. This intervention aims to reveal the dark contingency at the core of the subject, and to develop this Cause as the site of a rupture and reordering of the symbolic universe maintained by the ideology of technological over-determination. This Cause will be shown through techne, the jettisoned ontological element of technology, and herein this demonstration will unveil the possibility for redeeming the subject from the overdetermination of the technological through the ideology-critique of the phantasia of knowledge-production that covers over the importance of ontology to the self-conception of the human subject. The moment of redemption will be shown to begin from the subject who emerges in and through the university discourse of knowledge-production that Žižek has criticised as the epochal mode of post-modernity.
In attending to this thesis the dissertation engages with Žižek’s critique against the tide of post-modern critique that paralyses the critical gaze of the subject, especially in the consideration of the critical role fantasy plays in maintaining the perverse psychosocial order of knowledge-production that leads to the structuring of the phantasmagoria of technicity. Here the critique with which this dissertation is engaged demonstrates that the fetishisation of knowledge maintaining the ‘lie’ of this phantasmagoria betrays its overdetermination of the subject through the vulgar materialism and the repressed metaphysical mania of annihilation and fabrication that allows technicity to substitute its raison d’étre for the Cause at the core of the subject. By attending to the return of the repressed techne alongside the subject who has been substituted by technicity and excluded from the Symbolic and exiled to the Abyss of the Real, this dissertation will propose the rupture and rearrangement of the authorial order maintained through technicity’s binary of annihilation and fabrication. And to this end the dissertation aims to show how the ontological emergence of the subject at the heart of the dialectical materialist tussle with philosophical idealism can serve to be given a voice in a techne phantasmagoria of open possibility that is not reduced to mere ‘virtuality’ by technicity’s spurious presentism and anti-metaphysical prejudice.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts
Faculty of Arts
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Axelsson, Jan. "New Times, New Heroes : Ambiguity, Socio-Political Issues and Post Modernism in Frank Miller's Graphic Novel The Dark Knight Returns." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-27203.
Full textAbstract:
Frank Miller’s The Dark Knight Returns is one of the first graphic novels to redraw the map for this kind of literature but perhaps first and foremost for the characteristics of superheroes and villains. It is a story which we have read before in the sense that Batman, the eternal crime fighter, chases his arch enemies Two Face and the Joker, but it is also a new story in which we meet an ambiguous and complex superhero. Batman has become an old man tormented by his past, in which his side kick Robin died, and the present, where he is forbidden to operate under his alias. It is also a story of a corrupt and inept government and its errand boy, Superman. In my analysis I have focused on how Miller has changed the superhero and made him more complex than we are used to see. For instance does a super hero have to have superpowers or is it enough to be super-potential? Furthermore I will show how socio- realism and socio-political issues, such as a corrupt government, have crossed over to comics. My conclusion is that this old Batman has gone from a young crime fighter to an old anarchist and altruist. The fact is that there are no clear borders or lines between good or bad, crime fighter and villain, the characters, and comics, are no longer in black and white but more brought forth in different shades of grey.
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Valantiejus, Vaidotas. "Postkomunizmas kaip politiškumo forma." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140722_081344-53618.
Full textAbstract:
Disertacijos tikslas yra išnagrinėti sąveikas tarp postkomunizmo įvykio prigimties ir demokratinės politiškumo prigimties. Darbe yra nagrinėjamos trejopos sąveikos: postkomunizmo ir istorizmo santykis; postkomunizmo, liberalizmo ir postmodernizmo santykis; vienovės ir pliuralumo santykis. Specifinei postkomunizmo būklės analizei taikomos postfundacionalizmo filosofijos idėjos. Postkomunizmas nagrinėjamas ne pabrėžiant liberalios modernizacijos turinį (kaip tranzitologinėse koncepcijose), bet analizuojant demokratinės transformacijos sąlygas ir galimybes. Postkomunizmo tapatybė formuojasi kaip hibridinis trijų sudedamųjų dalių – komunizmo, liberalizmo ir postmodernizmo – darinys. Liberalizmo ir postmodernizmo alter ego yra asimiliuojami universalistinėje draugo/draugo asociacijoje, kuri pakeičia išorinę draugo/priešo skirtį, nurodančią politiškumo prigimtį. Diferencinės politikos kilmės problema yra nauja, aktuali ir tęstinė postkomunizmo būklės problema. Postkomunizmas linkęs pamiršti posttotalitarizmo komponentą (jeigu išeinama iš komunizmo, tai išeinama ir iš totalitarizmo) ir siekia prisišlieti prie postliberalizmo tendencijų. Demokratinio pliuralizmo idėją asimiliuoja dominuojanti liberalios pliuralizacijos tendencija.The aim of this dissertation is to analyze the relationship between the event of post-communism and the democratic nature of the political. Three main tendencies of post-communist condition are analyzed: the relationship between post-communism and historicism; the interaction between post-communism, liberalism and postmodernism; the relationship between unitarism and pluralism. The fundamental assumption of the analysis is the significance of post-foundational political thought for the understanding of post-communism. Post-communism is analyzed not as linear liberal modernization, but as democratic transformation. Post-communism is the hybrid condition that includes the alter egos of communism, liberalism and postmodernism. Post-communism assimilates the potential alter egos of liberalism and postmodernism and therefore transforms the distinction of friend/enemy to the criterion of friend/friend, which ignores the nature of the political. Condition of post-communism requires not the eradication of differencies, but self-reflection of the differential nature of the political. The task of new democracy of post-communism is to articulate the possibility of democratic pluralistic politics under post-totalitarian conditions. However, post-communism is reluctant to accept the dimension of post-totalitarianism and tries to converge with universal post-liberalism. Dominating liberal pluralism assimilates democratic pluralism which becomes democratic procedural minimalism.
39
Butler, Elaine, and n/a. "Curriculum work : post modern positions and problematics : a personal perspective." University of Canberra. Education, 1995. http://erl.canberra.edu.au./public/adt-AUC20060622.133222.
Full textAbstract:
This thesis presents an interrogation of curriculum practices and positionings, over
time, of a feminist educator and curriculum worker seeking to centre gender and
subjugated knowledges in a curriculum framework with the potential for
transformative outcomes. The interrogation offers an opportunity to consider
discourses in operation, to frame curriculum and pedagogy as sites of discursive
struggle around knowledges, gender and power.
The thesis, presented as a critical narrative, interweaves theories and theoretical ideas
from four key areas: post modernism and post structuralism; feminism/s; education
and curriculum, and critical social sciences, including critical theory. Interpretative
feminist praxis is employed as the methodological approach.
Central to the investigation is a curriculum project undertaken in Papua New Guinea
(the Goroka Curriculum Project). This Project which is positioned as a case study,
provides text for conceptual and contextual interrogation of a specific site of
curriculum work, and a corrective moment in which the limitations of the writer's
endeavours and position/s of advantage are acknowledged.
Curriculum positionings described as oppositional are challenged as a result of the
lack of attention to gender by radical and critical theorists. Further, the disjuncture
between such theorising, and the development of curriculum models to inform
oppositional work is made overt and problematic.
Curriculum models and practices associated with the work of traditional empiricist
approaches found to be dominant in Papua New Guinea, reify western intellectual
endeavours to the disadvantage of indigenous and women's knowledges and
knowledge practices. This naturalisation is framed as an example of a meta narrative
in education, whereby the discursive practices associated with traditional / rational
curriculum models both colonise the endeavours of curriculum workers, and position
learners as colonised subjects. A central outcome of the traditional/rational model is
the inherent positioning of such individuals and groups as marginalised, devalued
Other. Such curriculum work is framed as a technology of governance, privileging
attempts to establish order and homogeneity in an increasingly disorderly and
fragmented world.
The investigation by the curriculum writer of her theory/practice leads to recognition
of oppositional work as a site of power, that also has the potential to 'oppress',
extending the colonial project. Following this, the thesis investigates transformative
curriculum work as problematic potentiality, questioning what the work of a feminist
curriculum writer in a post modern world is to do and to be.
While acknowledging there are no innocent discourses of liberation, the potential of
the 'courage to know', to attend to pedagogical ethics and ethics of self, and
acknowledge the messy, contradictory and deeply political work of curriculum design
are posited. An emergent notion of curriculum work as textual practice, within a
multi-dimensional framework that conceptualises curriculum as representation is
advanced.
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Oliveira, Maria Aparecida de [UNESP]. "A busca do tempo perdido em As horas de Michael Cunningham: a modernidade revisitada pela pós-modernidade." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/99155.
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Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0
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oliveira_ma_me_arafcl.pdf: 765596 bytes, checksum: b7f44563f3be1ac4a613ed30f6a2a52e (MD5)O debate entre a modernidade e a pós-modernidade tem levado grandes questões para uma compreensão do que representou a primeira e a partir da qual se pode delinear a segunda. O objetivo dessa pesquisa é analisar de que forma um romance pós-moderno, As horas, do autor norte-americano Michael Cunningham (1952- ) se apropriou da obra moderna Mrs. Dalloway de Virginia Woolf. O presente trabalho propõe-se a discutir essa apropriação, evidenciando as relações paródicas entre os dois textos; a investigar a configuração do tempo na narrativa, verificando as possíveis relações entre história e ficção e a analisar a construção das personagens femininas, ex-cêntricas do romance, examinando como o discurso das figuras femininas é construído na referida obra de Cunningham.
The discussion between modernism and post-modernism has brought about several questions that we must answer in order to have an overview of both movements, once we are able to understand what the first has represented, we can better situate the second. Taking this into consideration, our aim is to analyze in which ways the contemporary The hours, written by the north-American author Michael Cunningham, appropriates the earlier Mrs. Dalloway, by Virginia Woolf. Thus, the aim of this study is to discuss these questions, verifying the parodic between the two texts. Furthermore, our intention is to investigate another important discussion: the time, verifying the possibel relations between history and fiction. Lastly, our attention focuses on the construction of the ex-centric characters, examining how the discourse of these characters is built in Cunningham's novel.
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Häll, Jörgen. "From Sound to Score : A search for a post-genre compositional process." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-68859.
Full textAbstract:
In this thesis, the author explored an alternative way of composing contemporary western art music, being inspired by thoughts regarding post-genre. The composition method incorporated the use of the Digital Audio Workstation (DAW) software Cubase. Musical gestures were recorded with two musicians which where used as samples in the DAW to compose the piece Lines. The role of the score was shifted by moving it’s realisation to after the aural result was completed. The process was inspiring and was perceived to work well for a textural piece of music. Using a DAW when composing contemporary western art music is something that could be explored by classically trained composers in favour of working solely in a notation software. The result was the digitally made recording of Lines and two scores; one aimed to reproduce the recorded version (where only violin and violoncello where used) and another where adjustments where made, mainly in the instrumentation, to facilitate live performances by string orchestras.
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Shakespeare, Alex Andriesse. "Robert Lowell, Lyric and Life." Thesis, Boston College, 2013. http://hdl.handle.net/2345/bc-ir:104264.
Full textAbstract:
Thesis advisor: Paul MarianiRobert Lowell, Lyric and Life investigates the meaning of autobiography as it is represented and produced by the work of art. I begin by tracing Lowell's poetics to the highly personal Romanticism of William Wordsworth and the highly impersonal Modernism of T.S. Eliot, Ezra Pound, and Allen Tate. Reading Lowell's writing in light of this dual inheritance, I am able to point out the limitations of calling Lowell's poetry "confessional" and to propose a model of the lyric self that accounts for the significant semiotic and psychological complexity that goes into the making of a lyric "I." I argue that, from a reader's point of view, Lowell's autobiographical poems are more creations of experience than they are records of experience; that, although the reader is supposed to believe he is "getting the real Robert Lowell," what he really gets is a fictive representation. Taking hold of what Robert Lowell called the "thread of autobiography" that strings together his life's work, I then trace the changing role of Lowell's autobiographical lyric self in a series of three chapters. The first of these chapters concerns the manuscript drafts and published poems of Life Studies (composed from 1953-1959) and, through attention to Lowell's revisions, demonstrates the great extent to which Lowell fictionalized his experience: for instance, by omitting some of the most personal details of the poems in favor of elegant prosodic or thematic composition. The next chapter takes up what I designate "the Notebook poems" (the sonnets published between 1967 and 1972 in the volumes Notebook 1967-68, Notebook, History, and For Lizzie & Harriet), examining the ways in which Lowell's move to New York City and his readings of Hannah Arendt, Eric Auerbach, Simone Weil, and Herbert Marcuse (among others) affected his views of the lyric self in relation to history. This chapter ends by arguing for the Dantesque contours of the Notebook poems, and again takes a close look at Lowell's drafts, including an unpublished essay on Dante. A final chapter examines two ekphrastic autobiographical poems ("Marriage" and "Epilogue"), from Lowell's final volume, Day by Day (1977), in relation to poems by Elizabeth Bishop and William Wordsworth. It concludes by showing, through a close reading of "Epilogue" and its drafts, Lowell's own retrospective concern to question and doubt the autobiographical pursuits of his poetry. A brief epilogue draws the variegated threads of these chapters together and offers a final reflection on the inextricable knot of Lowell's lyrics and his life by way of reading his final poems and the biographical record of his death
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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Rangel, Eduardo Azanha 1982. "Análise ideológica e utopia = elementos para a compreensão do conceito de ideologia de Fredric Jameson." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278727.
Full textAbstract:
Orientador: Josué Pereira da SilvaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta pesquisa busca apresentar a construção do conceito de ideologia em Fredric Jameson, discutindo as principais referências teóricas utilizadas pelo autor e as especificidades de sua análise, como a dialética da ideologia e da utopia. A partir destes objetivos, retomamos, primeiramente, a distinção entre ideologia e utopia feita por Karl Mannheim, na tentativa de pensar os conceitos em relação à sociologia enquanto prática analítica e ao historicismo enquanto método e as influências da ideologia na cognição e na epistemologia. Posteriormente, há o resgate do conceito de pós-modernismo em Jameson, com o intuito de fixarmos seu diagnóstico da contemporaneidade e refletir sobre suas relações e críticas às concepções de ideologia de Louis Althusser e Theodor Adorno. Por fim, abordaremos as principais temáticas jamesonianas relativas à ideologia, como os limites estruturais da produção simbólica, as formas de mediação entre indivíduo e sociedade e a ideologia enquanto consciência de classe, para apoiar a necessidade teórica de Jameson de fundar uma hermenêutica positiva em sua análise ideológica, a perspectiva da utopia
Abstract: The purpose of this research is to present the construction of the concept of ideology in Fredric Jameson, discussing the main theoretical references used by this author and the specificities of his analysis, such as the dialetics of ideology and utopia. From these objectives, we will resume, at first, the distinction between ideology and utopia as made by Karl Mannheim, in an attempt to ponder on the concepts related to sociology as an analytical practice, and historicism as a method, as well as the influences of ideology on the cognition and epistemology. Subsequently, there will be a resumption of the concept of postmodernism in Jameson, with the purpose of engraving his diagnosis into contemporaneity, and pondering on his relations and criticism to Louis Althusser's and Theodor Adorno's conceptions of ideology. Finally, we will approach the main jamesonian themes related to ideology, such as the structural limits of symbolic production, the forms of mediation between individual and society, and ideology as class consciousness, to support Jameson's theoretical need for establishing a positive hermeneutics in his ideological analysis, the perspective of utopia
Mestrado
Sociologia
Mestre em Sociologia
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Castro, Pedro Pontes Araújo. "Comunicação e cultura: amálgama e fragmentos no cinema contemporâneo." Universidade do Estado do Rio de Janeiro, 2005. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1163.
Full textAbstract:
Este trabalho tem como objetivo estudar a incorporação de elementos estilísticos do vídeo-clipe pelo cinema, da década de 1990 em diante. Alinharemos o olhar da história cultural, esta entendida como história dos símbolos, com as teorias de McLuhan sobre os meios de comunicação, sobretudo no que diz respeito às mudanças sensoriais impulsionadas pela exposição e utilização de novas tecnologias. Com aplicação simultânea destes enfoques, estabeleceremos a diferença entre a narrativa cinematográfica clássica e uma nova forma narrativa, influenciada pelo estilo de filmagem e montagem dos vídeo-clipes e da MTV. Adotaremos o termo Amálgama, para designar esta nova forma. Demonstraremos como estas mudanças do cinema refletem um novo ambiente cultural ocidental do final do século XX, especialmente no que diz respeito à fragmentação das identidades culturais e ao surgimento de uma cultura mundializada neste período.This paper aims to study the assimilation of stylistic elements from music vídeos in film as of the 1990s. We shall align natural history, hereby understood as a history of symbols, with McLuhans media theories, which deal with changes in sensitivities due to exposure and utilization of new technologies. With these complementary two premises, we shall stablish a distinction between classic film narrative and this new one, influenced by the style of editing and filming of music videos and MTV. This new narrative shall be named Amalgam. We shall demonstrate how such changes in film making reflect the new western cultural environment of the late 20th century, with emphasis on the fragmentation of cultural identities and the rising of a global, media-centered culture.
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Okuroglu, Sule. "An Analysis Of Metafictional Self-reflexivity In Laurence Sterne." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/3/12606560/index.pdf.
Full textAbstract:
This thesis evaluates metafictional self-reflexivity, and presents it within the scope of certain structuralist and post-structuralist approaches especially by referring to William Gass&rsquodefinition of metafiction and Raymond Federman&rsquo
s theories on the devices of metafiction. Then aspects of the works of William Gass&rsquo
Willie Master&rsquo
s Lonesome Wife and Laurence Sterne&rsquo
s The Life and Opinions of Tristram Shandy are discussed within this framework.
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Frighetto, Gisele Novaes. "Contradições do contemporâneo: a memória, o nacional e o universal em O sol se põe em São Paulo e Diário da queda." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-03052017-092556/.
Full textAbstract:
Esta tese propõe o estudo dos temas da memória, do nacional e do universal em dois romances brasileiros contemporâneos, O Sol se põe em São Paulo (2007), de Bernardo Carvalho e Diário da queda (2011), de Michel Laub. Estes romances abordam a memória de imigrantes pela narração subjetiva de seus descendentes brasileiros, o que suscita uma discussão em torno de narrativas transculturais. O pós-modernismo é entendido como tendência cultural contraditória, caracterizada pela presença do passado na retomada de estilos e textos da tradição literária em narrativas paródicas. O narrador pós-moderno encerra o paradoxo da exigência de narração, a despeito da deterioração da experiência observada desde a modernidade. A persistência de um realismo formal ou social contribui para a composição de narrativas onde convivem tendências conflitantes, sintetizadas nos conceitos de realismo afetivo e realismo traumático, conforme Schøllhammer (2012; 2013). A ambientação dos dois romances, seus temas e influências, sugerem uma produção de projeção universal, contrabalançada pela permanência do nacional do ponto de vista material, que se constitui pela representação de aspectos relacionados ao subdesenvolvimento brasileiro. Este contexto particular demanda a concepção de um pós-modernismo e de uma pós-modernidade a partir das condições peculiares existentes nas sociedades latino-americanas, cuja coexistência entre atraso e progresso influencia sua produção literária e afeta sua legitimação no interior de um sistema literário mundial.This dissertation aims to study the themes of memory, nationality and universality in two contemporary brazilian novels, O Sol se põe em São Paulo (2007), by Bernardo Carvalho, and Diário da queda (2011), by Michel Laub. These novels approach the memory of immigrants through the subjective narration of Brazilian descendants, what brings the discussion around transcultural narratives. The post-modernism is understood as a contradictory cultural tendency characterized by the presence of the past, made of the recovery of aesthetics and texts of literary tradition inside parodic narratives. The post-modern narrator enclosures the paradox of the necessity of narrative, even after the deterioration of experience in modernity. The remains of a formal or social realism contributes to the composition of narratives where conflicting tendencies defined in terms of affective realism and traumatic realism coexist, according to Schøllhammer (2012; 2013). Ambiance, themes and influences acknowledged in these two novels suggest a production oriented to a universalist approach, in contrast with the permanence of aspects of nationality, perceived through its material representation related to the brazilian underdevelopment. This particular context demands the conception of a post-modernism and a post-modernity that contemplates the peculiarities of Latin American societies, whose coexistence between backwardness and advancement may affect literary production as well as its legitimation inside a world literary system.
47
Ballardini, Anny. "Ghost Dance in 31 Movements." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/826.
Full textAbstract:
A kind of poetry that tries to understand contemporary social and philosophical issues as much as behaviors by rewriting in a poetic language the video artwork of some of the main representatives of modernism and postmodernism. Such poetry is deprived of confessional hues, any personal reference has to be ascribed to a mirroring effect by which the single person empathically absorbs and projects what is conveyed, be it stemming directly from the historical time of the artwork's making and inherited, or alive at the time of its actual viewing. By following a restructuring process started at the beginning of the twentieth century, the writing analyzes possible ways to outline developments or to underline breaking points. Poetry is seen as an active medium within the formation of societies characterized as it is by its highly introspective power, not restricted to the individual but open to all beings perceived as members of one entity.
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Andrade, Elenise Cristina Pires de. "A superficie ex-cri(p)ta em professores e professoras : curri, corre, colares, dores simulando silencios ensurdecedores." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252952.
Full textAbstract:
Orientador: Antonio Carlos Rodrigues de AmorimTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Resmas que se resumem em restos Tu és pó e ao pó ¿reverteres¿ que se estrangulam e se repetem e a mim desde dentro produzindo a diferença pura. Em verdade é só isso que queres Fluxos e movimentos em silêncios ensurdecedores de uma quase-tese escrita por onde o tema das (im)possibilidades de discussão sobre o humano que perpassa um arquivo de Power Point foi apresentado, rememorado, esgarçado pela ex-crita, pelos professores e professoras Vem do Sol o que queima e as cores (dez ao todo) que se encontraram comigo no primeiro semestre de 2004 e me encantam desde dentro em seus cantos que calam e, no entanto, cantam com Gilles Deleuze na Lógica do Sentido que na Diferença e Repetição multiplica-se em Conversações que percorrem Crítica e Clínica não sem antes convidar Kafka, por uma literatura menor que escorrega pelos Mil platôs encontrando Anne Dufourmantele convida Jacques Derrida a falar de hospitalidade. Peripécias por metamorfoses em um nada curricular em ruína Amanhã o teu pó serão flores que resiste à necessidade de preencher, habitar sempre, com vozes,idéias, conhecimentos, contradições reais, concretas, palpáveis esse nada que insiste em permanecer incorpóreo. Quando sinto no pescoço um nó Incorporeidade que se descola deslocando a cripta do jogo da representação e elege o teatro da diferença pura ao propor um gaguejar desde dentro da escrita/pesquisa como experiência. Ex-cri(p)ta que insiste na fluidez, materializada no papel pela exigência acadêmica, que invade a evanescência, presa pela encadernação. Quasetese desde dentro. Vem o vento e me sopra, eu sou pó. (Poema PÓ da autoria de Beto Brasiliense que Oswaldo Montenegro musicou no CD ¿Letras brasileiras¿)
Abstract: Fluxes and movements in deafening silences of an almost-thesis written by the theme of the human (im)possibilities that passes over a power point file presented, remembered, teared as by the written as by ten teachers with whom I met in 2004 and who enchant me with their songs: shutting up and, however, singing with Gilles Deleuze and Jacques Derrida. Peripetia by metamorphosis in a no-school-program that resists to the need of filling, always, with voices, ideas, knowledges, real and material contraditions: this "nothing" that insists in staying bodiless, ruined. Written that insists in fluidity, materialized in the paper by the academic exigence, that invades the evanescence confined in the bookbinding. Almost-thesis from inside
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação
49
Sol, Luísa Alexandra Pimenta Ferreira. "A imagem da cidade e o seu espaço-representado no "videoclip" da década de oitenta." Doctoral thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2018. http://hdl.handle.net/10400.5/17591.
Full textAbstract:
Tese de Doutoramento em Arquitetura com a especialização em Teoria e História apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Doutora.A presente investigação analisará a cidade ocidental da década de oitenta do século XX, e o seu Espaço-Representado no videoclip do mesmo período. Pretende-se entender de que forma a cidade, através do videoclip, veicula e efectiva uma nova imagem de si, e qual o impacto deste dispositivo audiovisual na arquitectura e vice-versa. A pós-modernidade e o devir da cidade pós-industrial acompanham o aumento da diversidade social, de novos padrões de consumo, assentes na procura do “mais” e do “mais novo”. A Cidade aqui analisada será a cidade norte-americana, por ser ilustrada, especificamente, à luz do videoclip disseminado pela MTV, que surgiu na América no ano de 1981. Este foi o momento em que o videoclip se instituiu e se assumiu como um dispositivo que traz a si associada a submersão numa fórmula pop e capitalizável que inclui moda, marca, som, imagem, marketing, cinema e estilo de vida. A explosão dos mass-media e a proliferação da imagem e de um hedonismo característicos desta década, potenciaram uma nova forma de representação da cidade, na qual tanto a cidade como o videoclip se contaminaram reciprocamente, contaminações que aqui denominamos como interferências. Da mesma forma que a cidade se imiscuiu na visualidade do videoclip, efectivando e veiculando, a partir deste período, uma cidade punk, uma cidade queer, uma cidade pop, uma cidade rap ou hip-hop, por exemplo, também o videoclip terá interferido, a posteriori, na cidade. As consequências destas interferências na Cultura Arquitectónica Ocidental serão aqui abordadas, particularmente, no caso de Portugal, nas décadas seguintes à avalanche de visualidade-musical anglo-saxónica proporcionada pelo eclodir da MTV. A intenção será a de averiguar e entender as consequências destas contaminações, influências e interferências. De que forma a Cidade se emprestou ao videoclip, este a assimilou, a digeriu e a devolveu ao público? E, simultânea e posteriormente, de que forma o videoclip se emprestou à Cidade e à Arquitectura? Tendo em consideração as características específicas deste dispositivo, averiguar-se-ão quais as suas consequências na Cidade, na sua Imagem e no seu Espaço-Representado depois do seu contacto com o videoclip da década de oitenta.
ABSTRACT: The present research will analyze the western city of the eighties of the twentieth century and its Represented-Space in the music videos of the same period. It aims at understanding how the city conveys and enforces a new image of itself through the music videos, as well as the impact of this audiovisual device on architecture and vice versa. Postmodernity and the post-industrial city's evolution are accompanied by an increase in social diversity along new patterns of consumption, based on the search for the "more" and the "newer". The city analyzed here is the North American city because it is specifically illustrated in the light of the MTV music videos that first appeared in America in 1981. This was the moment when the video was instituted and was assumed as a device associated to a submersion in a pop and capitalizable formula that includes fashion, brand, sound, image, marketing, cinema and lifestyle. The mass media boom along with the proliferation of the image and of a specific type of hedonism typical of this decade have fostered a new form of representation of the city. Meaning, the city and the video were contaminated reciprocally. These contaminations shall be named interferences here. The same way that the city immersed itself in the visuality of the music video implementing and conveying, from this moment onwards, a punk city, a queer city, a pop city, a city rap or hip-hop, to mention just a few, so will the music video interfere, afterwards, in the city. The consequences of these interferences in Western Architectural Culture will be addressed here. Special focus will be given to Portugal’s case, in the decades that followed the avalanche of Anglo-Saxon musical visuality provided by MTV's hatch. The intention will be to ascertain and understand the consequences of these contaminations, influences and interferences. In what way did the City lend itself to the video? And how did the video assimilate, digest and return it to the public? And, simultaneously and later on, how did the music video lend itself to the City and Architecture? Taking into account the specific characteristics of this device, we will investigate its consequences in the City, its Image and its Space-Represented after its contact with the music videos of the eighties.
N/A
50
Zeegers, Margaret, and bhoughton@deakin edu au. "A Mercantilist Cinderella: Deakin University and the Distance Education Student in the Postmodern World." Deakin University. Faculty of Education, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20030404.161615.
Full textAbstract:
This is a thesis presented on the position of the distance education student at a distance education university in the present era. Traditionally, the distance education student has been a sort of Cinderella: marginalised, being constructed as some form of lesser version of the on campus one. A largely invisible part of the higher education system in Australia since 1911, the distance education student has really only come to be foregrounded in university education discourses from 1983 onwards. It was not until then that the distance education student emerged from hidden pools identified by Karmel (1975), and since then the construction of this student has undergone a number of modifications, mapped in this thesis. At the same time university education itself has undergone a series of modifications, not least of which has been its taking on mercantilist overtones as investments made by students in their own careers and professional development. The modifications, also mapped in this thesis, have progressed to the stage where the construction of the old distance education student is now one of a flexible learner in a mercantilist system of university education. The notion of distance education and the distance education student has undergone significant shifts, redefinitions and constructions, which are tracked in this thesis. My research has focussed on a number of pertinent questions, based on a study of Deakin University and its practice since its establishment.
The thesis draws on a number of works which have been informed by those of Foucault, and I have framed my research questions accordingly. I have asked why and how Deakin University came into being as a distance education provider at tertiary level. What were the conditions of its establishment and progression in relation to the political events, economic practices and communication technology in use over time?
To consider such questions, I needed to analyse the changes that I had seen occurring in the context of wider restructurings in university education. These had occurred in the context of government forging a closer interconnectedness between education and national economic aims and objectives at the same time as it demanded greater productivity in the face of commercial and industrial sector pushes for applied knowledge.
Poststructuralist philosophical developments offer tools to explore not only questions of power, but the practical outcomes of questions of power, and how the complicity of individuals is established. This thesis explores ways in which such considerations helped to shape the changing constructions of the distance education student from a marginalised, disadvantaged and under-represented participant in higher education to a privileged, well catered for and advantaged learner. These same considerations are used to explore ways in which they have helped to shape university distance education courses from a perceived second-rate form of higher education to a prototype that better captures the essential elements of learning for what has been styled in a postmodern world as the Information Age. Overlaid on these considerations is a changing view of the economics of such provision of higher education.
It is anticipated that this thesis will contribute to developing new understandings of the construction of subjectivities in relation to the distance education university student specifically, and to the university student generally, in the postmodern world. The implications of this examination are not inconsiderable for students and academics in a self-styled Information Society.