Dissertations / Theses on the topic 'Postmodern humanism'

The zombie narrative has seen an increasing trend towards the emergence of a zombie sentience. The intention of this thesis is to examine the cultural framework that has informed the contemporary figure of the zombie, with specific attention directed towards the role of the thinking, conscious or sentient zombie. This examination will include an exploration of the zombie’s folkloric origin, prior to the naming of the figure in 1819, as well as the Haitian appropriation and reproduction of the figure as a representation of Haitian identity. The destructive nature of the zombie, this thesis argues, sees itself intrinsically linked to the notion of apocalypse; however, through a consideration of Frank Kermode’s A Sense of an Ending, the second chapter of this thesis will propose that the zombie need not represent an apocalypse that brings devastation upon humanity, but rather one that functions to alter perceptions of ‘humanity’ itself. The third chapter of this thesis explores the use of the term “braaaaiiinnss” as the epitomised zombie voice in the figure’s development as an effective threat within zombie-themed videogames. The use of an epitomised zombie voice, I argue, results in the potential for the embodiment of a zombie subject. Chapter Four explores the development of this embodied zombie subject through the introduction of the Zombie Memoire narrative and examines the figure as a representation of Agamben’s Homo Sacer or ‘bare life’: though often configured as a non-sacrificial object that can be annihilated without sacrifice and consequence, the zombie, I argue, is also paradoxically inscribed in a different, Girardian economy of death that renders it as the scapegoat to the construction of a sense of the ‘human’. The final chapter of this thesis argues that both the traditional zombie and the sentient zombie function within the realm of a posthuman potentiality, one that, to varying degrees of success, attempts to progress past the restrictive binaries constructed within the overruling discourse of humanism. In conclusion, this thesis argues that while the zombie, both traditional and sentient, attempts to propose a necessary move towards a posthuman universalism, this move can only be considered if the ‘us’ of humanism embraces the potential of its own alterity.

La "música postmoderna" es una categoría epistemológica creada con objeto de describir determinadas manifestaciones contemporáneas en la que los presupuestos estéticos de la modernidad se ven radicalmente cuestionados. No obstante, al igual que otros términos que jalonan nuestro vocabulario artístico (neoclasicismo, etc.), esta categoría está dando lugar a numerosos debates. Nuestro estudio parte de un examen crítico de las diversas aproximaciones esgrimidas hasta el momento y plantea posteriormente una nueva perspectiva con objeto de superar algunas de las contradicciones en las que éstas incurren.
La mayor parte de estas definiciones señalan dos direcciones a la hora de abordar la música postmoderna: la aparición de rasgos estilísticos (discontinuidad, fragmentación, etc.) que desmienten el ideal moderno de una estructura cerrada y una tendencia a recuperar lenguajes reconocibles frente a la abstracción sonora que había caracterizado el serialismo de posguerra. Sin embargo, estas definiciones no alcanzan una distinción neta entre ambos planteamientos estéticos, dado que la creación de formas fragmentarias y la reutilización de materiales preexistentes son rasgos igualmente presentes en compositores modernos: Mahler, Berg, Debussy, Stravinsky, entre otros.
Esta disertación doctoral caracteriza la música postmoderna como un paradigma estético dotado de unas coordenadas conceptuales y operativas específicas que la distinguen claramente de la estética moderna. Las confusiones generadas, sin embargo, podrían deberse al hecho de que ambos planteamientos estéticos responden a unas mismas problemáticas vinculadas con la evolución del lenguaje musical en la sociedad contemporánea y, más concretamente, con el cambio de condiciones de creación y recepción que se produce con el paso del Antiguo Régimen a un nuevo régimen de mercado. De ahí que el primer capitulo de nuestra disertación esté dedicado a un análisis de estas nuevas condiciones: la concepción de la propiedad artística (derechos de autor, la obra como mercancía, etc.); la emergencia de nuevas categorías como son el concepto de obra musical autónoma, la historia de la música, la música pura o la noción de una esfera autónoma del arte; y la evolución que el lenguaje musical sufre dentro de estas coordenadas. Posteriormente se analiza la articulación distinta que reciben estas categorías de la obra musical, la música pura, etc. en cada uno de estos planteamientos estéticos, relacionando para ello las teorías que surgen en el ámbito de la música con los discursos sobre la modernidad y postmodernidad desarrollados en el terreno de la filosofía.
El apartado dedicado a la música moderna describe la articulación dialéctica que reciben estas categorías y descubre la existencia de dos vertientes estéticas diferentes: una vertiente clásica correspondiente a los principios de la dialéctica hegeliana, donde se inscriben el relato de un progreso histórico del material y el concepto de una forma autónoma y cerrada; y otra vertiente alternativa que hemos calificado de "modernista", correspondiente a la dialéctica negativa de Adorno, donde se defienden formas fragmentarias y una continuidad histórica compatible con la reutilización de materiales del pasado. Hemos examinado así mismo la presencia de estas dos vertientes en la obra musical de tres compositores: Schoenberg, Debussy y Stravinsky.
En el apartado de la postmodernidad, analizamos la desarticulación de esta mediación dialéctica y la deconstrucción que se opera de las categorías que vertebraron la estética moderna: el concepto de no-obra; la disolución de una tradición histórica; la hibridación entre medios artísticos en las prácticas intermedia; y la deconstrucción de la autonomía del arte en manifestaciones que se sitúan en la brecha entre arte y vida. Estas coordenadas postmodernas han sido igualmente estudiadas en la obra de tres músicos experimentales del territorio español: Llorenç Barber, Carles Santos y Pepe Iges.
Postmodern music is an epistemological term which was created to describe certain contemporary musical expressions in which the aesthetic principles of modernism are radically contested. However, this nomenclature, like others that constitute our artistic vocabulary (neoclassicism, etc.) has provoked great controversy. Our research departs from a critical analysis of the various approaches developed and sets a new perspective with the objective of overcoming some of the contradictions which these generate.
The majority of these definitions point in two directions when dealing with postmodern music: the use of a number of stylistic features (discontinuity, fragmentation, etc.) that challenge the modern ideal of a closed structure and the practice of recovering recognizable languages as an answer to the sound abstraction that characterised the post war serialism. Yet these definitions do not reach a clear distinction between the two aesthetical approaches, as the creation of fragmentary forms and the recovery of preexisting materials are equally present in modern composers such as Mahler, Berg, Debussy and Stravinsky among others.
This dissertation is based on the assumption that postmodern music constitutes an aesthetical paradigm characterised by specific conceptual and operative keystones that undoubtedly distinguish it from modern aesthetics. But the existing confusion could arise due to the fact that both aesthetics respond to the same questions linked to the evolution of musical language in contemporary society and, more specifically, to the change in the conditions of creation and reception of music brought about by the decadence of the Ancien Régime in favour of a market economy. Therefore, the first chapter of our dissertation is dedicated to an analysis of these new conditions: the conception of artistic property (copyright, the work of art as a commodity, etc.); the emergence of new categories such as the concept of autonomous work, the history of music, pure music or the notion of an autonomous sphere of art; and the evolution of musical language under these conditions. There follows an analysis of the different forms adopted by these categories the musical work, pure music, etc. in each of these aesthetic approaches, relating thus the theories arising in the study of music to the discourses of the modern and postmodern developed in philosophy.
The section dedicated to modern music describes the dialectical form that these categories adopt and the existence of two different aesthetic tendencies: a classical one corresponding to the principles of Hegelian dialectics, defending a historical progress of the material and the concept of a closed and autonomous form; and an alternative one, so-called "modernist", corresponding to the negative dialectics of Adorno, defending fragmentary forms and historical continuity as compatible with the reutilization of former materials. We have examined the presence of these two tendencies in the music of three composers: Schoenberg, Debussy and Stravinsky.
In the section on postmodernism, we analyse the disarticulation of this dialectical mediation and the deconstruction applied to the categories that vertebrated modern aesthetics: the concept of unwork; the dissolution of historical tradition; the hybridising of artistic media in intermedia practices; and the deconstruction of the autonomy of art in productions situated in the breach between art and life. These postmodern keystones have been equally researched in the works of three Spanish experimental musicians: Llorenç Barber, Carles Santos and Pepe Iges.

La tesis titulada “¿Cómo haremos para desaparecer? La disolución del sujeto en la literatura postmoderna” pretende definir el concepto de Postmodernidad para colocar la figura del sujeto en su interior, objetivo que permite analizar los textos seleccionados desde un marco teórico riguroso. La tesis no se ciñe a un territorio concreto sino a una tradición, pues justamente basa gran parte de su argumento en la red de relaciones que se establecen entre los textos sin respetar fronteras. Esto ha aumentado la dificultad de elegir un corpus textual que lograse representar de manera adecuada esa tradición. Sin obviar los trabajos realizados sobre los diferentes autores analizados, el trabajo intenta “escuchar” los textos para extraer el “mensaje” o “mensajes” y para enfocarlos desde un punto de vista determinado, esto es, la certeza de la tradición postmoderna y del sujeto como principal elemento de análisis, para así aportar una visión renovada del asunto. Aunque en principio podría dar la impresión de que el tema de la tesis es inabarcable pues podría llevar a la apertura de un sinfín de líneas argumentales, el trabajo se mantiene cohesionado gracias a un discurso interno construido con agilidad. Por una parte, se establecen los conceptos cardinales, es decir, los que llevan el peso del discurso (la postmodernidad, el sujeto y la nada o el vacío), a partir de los cuales se van desprendiendo conceptos que conectan con los principales teóricos sobre la época. Por otra parte, el discurso se fundamenta en el trinomio construcción, duplicación y disolución, lo que permite observar una consecución natural del argumento de principio a fin, manteniendo unidos los distintos hilos del discurso. El resultado de esto es un trabajo sólido a pesar del amplísimo ámbito al que pertenece. Entre los aportes de la tesis podemos mencionar: una sistematización clarificadora de los conceptos ligados a la postmodernidad, una visión renovada del concepto y una aproximación, no definitiva, a su definición; el tratamiento de la figura del sujeto dentro de la postmodernidad y una definición de esta figura; un análisis riguroso de los textos propuestos que agrega elementos nuevos y originales para su comprensión. Finalmente, hay que destacar la amplitud del tema tratado y las dificultades que conlleva el tratamiento de una teoría tan compleja, así como la complicada selección bibliográfica que abarca autores de muy diversos ámbitos, como la filosofía, la neurobiología, la física, la literatura y de amplísimo marco temporal, desde Descartes hasta Heidegger.
The thesis entitled “How will we manage to disappear? The dissolution of the individual in postmodern literature” intends to define the concept of Postmodernity in order to place the individual in its inside, an aim which allows us to analyze the selected writings from a strict theoretical frame. The thesis does not adhere just to a concrete field but to a tradition since it is based on the network of relationships which are established between writings, beyond any borders. This has increased the difficulty of the texts choice which could accurately depict this tradition. Although there has been no intention of omitting the writers being analyzed, this work pretends to analyze the writing to extract the “message” or “messages” and to approach them from a certain point of view. In short: the certainty of postmodern tradition and the individual as the main element to be analyzed in order to give a renovated approach to the topic. Although at first it might give the impression that the subject of the thesis is too wide since it could open endless lines of argument, the work is consistent thanks to the internal discourse built with agility. On the one hand, it establishes the cardinal concepts, those which carry the weight of the discourse (Posmodernity, individual, and nothingness or the void), from which the concepts that connect with the main theorists about this period originate. On the other hand, the discourse is based on three concepts: construction, duplication and dissolution, which permit to observe the logical completion of the plot from the beginning to the end, holding together the different threads of discourse. As a result, this is a solid work despite the wide range of issues it refers to. Some of the contributions thes thesis offers are: a clarifying systematization of the concepts connected with Postmodernity, a renovated view of the concept and a non-definitive approach to its definition; the treatment of the individual inside Post modernity and its definition; a thorough analysis of the writings involved which adds new and original elements to its comprehension. Finally, it is to point out the wide range of the chosen topic and the difficulties that go with the treatment of such complex theory and the complicated bibliographical selection which, from Descartes to Heidegger, refers to writers from many different fields, such as philosophy, neurobiology, physics, literature.

Dès ses premiers films, Icíar Bollaín a réussi à démontrer que critique sociale et succès cinématographique ne sont pas incompatibles. Elle y est parvenue principalement grâce à sa capacité à construire ses narrations autour de personnages, de situations et d'ambiances quotidiennes facilement reconnaissables par le public. De ce fait, sa filmographie ouvre un large terrain d'études dans le domaine de l'analyse cinématographique, et dans une perspective sociologique. Néanmoins, il existe un autre niveau d'analyse dans le cinéma d'Icíar Bollaín, auquel nous allons nous intéresser tout particulièrement dans ce travail. C'est ce niveau subtil, moins évident, mais sans aucun doute présent, faisant référence aux conflits et aux tensions tant culturelles, sociales qu'économiques, générées par certaines structures de pouvoir et de domination que la réalisatrice dénonce. Sans nous proposer un genre de cinéma à "thèse" ou strictement documentaire, Iciar Bollaín démonte les mécanismes de ces relations de domination, surtout entre hommes et femmes et nous livre une magnifique réflexion sur la quête identitaire, les identités genrées, le processus de libération et les solidarités tant personnelles que collectives. Pour la réalisatrice, seul le dépassement des stigmates sexuels pourrait mener à des relations solidaires entre les hommes et les femmes, leur permettant de se retrouver vraiment en tant qu'êtres humains. En approfondissant encore, nous pouvons détecter, de la part d'Icíar Bollaín, une critique de l'activité scopique du spectateur et du narcissisme du créateur artistique, rapprochés respectivement de la masculinité et de la féminité. La véritable rencontre entre les deux ne pourra se produire qu'à condition que le spectateur renonce à sa position d'observateur passif et se sente prêt à agir et que l'auteur-metteur en scène fasse le pari du partage plutôt que de l'exhibition de son travail.

Dès ses premiers films, Icíar Bollaín a réussi à démontrer que critique sociale et succès cinématographique ne sont pas incompatibles. Elle y est parvenue principalement grâce à sa capacité à construire ses narrations autour de personnages, de situations et d’ambiances quotidiennes facilement reconnaissables par le public. De ce fait, sa filmographie ouvre un large terrain d’études dans le domaine de l’analyse cinématographique, et dans une perspective sociologique. Néanmoins, il existe un autre niveau d’analyse dans le cinéma d’Icíar Bollaín, auquel nous allons nous intéresser tout particulièrement dans ce travail. C’est ce niveau subtil, moins évident, mais sans aucun doute présent, faisant référence aux conflits et aux tensions tant culturelles, sociales qu’économiques, générées par certaines structures de pouvoir et de domination que la réalisatrice dénonce. Sans nous proposer un genre de cinéma à "thèse" ou strictement documentaire, Iciar Bollaín démonte les mécanismes de ces relations de domination, surtout entre hommes et femmes et nous livre une magnifique réflexion sur la quête identitaire, les identités genrées, le processus de libération et les solidarités tant personnelles que collectives. Pour la réalisatrice, seul le dépassement des stigmates sexuels pourrait mener à des relations solidaires entre les hommes et les femmes, leur permettant de se retrouver vraiment en tant qu’êtres humains. En approfondissant encore, nous pouvons détecter, de la part d’Icíar Bollaín, une critique de l’activité scopique du spectateur et du narcissisme du créateur artistique, rapprochés respectivement de la masculinité et de la féminité. La véritable rencontre entre les deux ne pourra se produire qu’à condition que le spectateur renonce à sa position d’observateur passif et se sente prêt à agir et que l’auteur-metteur en scène fasse le pari du partage plutôt que de l’exhibition de son travail
Right from her first films, Icíar Bollaín succeeded in showing that social criticism and film success are not incompatible. This goal was reached thanks to her capacity, in most cases, to build her narrations around characters, situations and daily atmospheres which were easily recognizable by the general public. Due to this, her filmography opens a broad spectrum of studies in the field of film analysis, from a sociological perspective. However, there is another level of denunciation in Icíar Bollaín's films which we are going to particularly focus our work on. Another aspect we would like to focus on and which is explicitly revealed and denounced by Icíar Bollaín, concerns cultural, social and economic conflicts and tensions generated by specific structures of power and domination Icíar Bollaín does not indulge into moralizing or documentary films. She analyzes these specific relationships between men and women, explores gender relationships and her films provide food for thought on gender, women’s empowerment, personal and collective solidarities.For the film director, it is only by transcending these sexual stigmata that united relations between the men and the women could be created thus allowing them to meet on an equal footing as true human beings. Through a more in-depth analysis, we can discern from Icíar Bollaín, a criticism of the spectator's scopic activity and the narcissism of the artistic creator, brought respectively closer to masculinity and to femininity. The true meeting between the two will only be able to occur provided that the spectator abandons his position as a passive viewer and feels ready to act and the author/movie director focuses on sharing rather than exhibiting his work
"Icíar Bollaín ha conseguido desde sus primeras películas demostrar que crítica social y éxito de público no son incompatibles. Tiene mucho que ver con esto su capacidad para construir sus relatos en torno a personajes, situaciones y ambientes cotidianos, fácilmente reconocibles por el público, y ahí sin duda hay un terreno amplio de estudio para el análisis cinematográfico en su vertiente sociológica. Pero existe otro nivel de denuncia en su cine en el cual nos concentraremos en este trabajo. Es este nivel sutil, menos evidente, pero sin duda presente, que hace referencia a los conflictos y a las tensiones tanto culturales, sociales como económicas generadas por ciertas estructuras de poder y dominación el que denuncia la directora. No nos propone un tipo de cine de “tesis” o estrictamente documental. Icíar Bollaín demuestra los mecanismos de esta relaciones de dominación sobre todo entre hombres y mujeres y nos entrega una magnifica reflexión sobre la búsqueda identitaria, las identidades de género, el proceso de liberación y la solidaridades tanto personales como colectivas. Apunta la directora a la superación de esas marcas sexuales como camino hacia relaciones solidarias entre hombre y mujer que les permitan encontrarse realmente como seres humanos. Escarbando aún más en este nivel significativo, puede detectarse una crítica a la actividad escópica del espectador y al narcisismo del creador artístico, equiparados respectivamente a la masculinidad y a la feminidad. El verdadero encuentro entre ambos ocurrirá cuando el espectador renuncie a su posición de observador pasivo y esté dispuesto a la acción y el autor-director apueste por compartir antes que por exhibirse

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The current assignment on Michel Maffesoli reflects about his notions that help us to understand how the subject youth is thought on the contemporary. This study try to realize how the youth can be understood as a phenomenon from the approachs of the postmodern society. Therefore, is necessary first of all to place the main ideas and the influence of the author among the brazilians researchers and think about his most important beliefs like: the postmodern society that appears when the modernity starts to collapse; the method of sociology created by Maffesoli called “formismo” and finally some notions that are applied to understanding youth. In the first chapter Maffesoli and his influence among researchers is presented as well the studys that were conclude, especially those studies that talk about youth and the influence of the CEAQ( center of studies about actual and “everyday”. The second chapter will show us the method of Maffesoli trought the notions from the phenomenology “formista”. And the last chapter proposes some notions to understanting youth and the phenomena that involves the young people. In this study was used the bibliography research from books, magazines and the internet. We expect that the present study can promotes the Exchange of the knowledge and the notions of Maffesoli.
O presente estudo versa sobre algumas noções do sociólogo francês Michel Maffesoli que contribuem para a compreensão de como a temática juventude é problematizada na contemporaneidade. Inclina-se à reflexão de como a juventude pode ser compreendida como fenômeno a partir das noções que abrangem do pensamento pós-moderno. Para tanto se faz necessário em primeira instância contextualizar o pensamento do autor e sua influência entre os pesquisadores brasileiros e refletir sobre algumas temáticas que são decorrentes de suas abordagens dando sentido às suas acepções, tais como: a reflexão que se faz sobre o atual momento que advém do mundo moderno em ruínas - o pós-moderno – a reflexão que se faz sobre a metodologia mafessoliana a partir do formismo sociológico, e a reflexão sobre algumas das próprias noções que se aplicam à juventude. Dessa forma, o trabalho é estruturado em três capítulos. O primeiro procura apresentar Maffesoli e sua influência nas pesquisas brasileiras refletindo sobre sua formação e sobre os estudos que já foram produzidos por brasileiros, especificamente aqueles com temáticas que abarquem a juventude. Neste tópico refletir-se-á, primeiramente, sobre a influência do Centro de Estudos do Atual e do Quotidiano (CEAQ) e sobre quem são os pesquisadores brasileiros desse centro, e em seguida, entender a crítica que Maffesoli faz ao racionalismo e ao uso dos conceitos. O segundo apresentará a metodologia Maffesoliana a partir da reflexão sobre os passos da sociologia compreensiva e dos fundamentos da fenomenologia formista. E o último capítulo propõe a reflexão sobre algumas noções de Maffesoli para compreensão dos fenômenos que envolvem a juventude. O método que embasará a pesquisa em questão é o método fenomenológico, com uma ramificação para a sociologia do cotidiano, com ênfase no formismo sociológico, apresentado por Maffesoli. Para esse estudo utilizou-se a pesquisa bibliográfica em livros, periódicos e internet. Espera-se como resultado proporcionar a reflexão sobre algumas noções que Michel Maffesoli nos apresenta, bem como a divulgação e o intercâmbio das informações e do conhecimento com outras pesquisas

El sujeto moderno es una creación propia de un tiempo que fue la Modernidad. Se construyó al sujeto en base a unos valores, desde el yo y la individualidad hasta constituirlo como sujeto. El mismo proceso que permitió esta construcción constituía el entorno circunstancial que establecía las condiciones de posibilidad del sujeto. Cuando la Modernidad entró en crisis y se fueron difuminando los valores que le habían dado entidad, también el sujeto moderno se disolvió para dejar paso a un nuevo sujeto con menos identidad firme, en un mundo más lábil.
The modern subject is a creation of a time that was modernity itself. The subject was built on the basis of values, from the self and individuality to establish it as a subject. The same process that allowed this construction constituted the situational environment that established the conditions of possibility of the subject. When the currency went into crisis and values that had given entity were blurring, also the modern subject was dissolved to make way for a new subject with less firm identity, in a more labile world.

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This dissertation aims to reflect on the narrative construction, narrator and point of view in Lucrecia Martel's feature films, specifically “La ciénaga” (2001), “La niña santa” (2004) and “La mujer sin cabeza” (2008). Considering that the above mentioned works were produced at a historical moment called Postmodernism, some theorists are used to determine this concept, and thus to realize that this period determines and influences many of the fields of social life, including the arts and its aesthetic framework. The narrative, the narrators and the point of view of these filmmaker's works are part of this group, and therefore a more in-depth study of the postmodern issues is justified. Lucrecia Martel has a peculiar way of filming and constructing her narrative space – the sense of disorder is constant –, consequences of the use of the flow narrative. In addition, she also uses orality techniques, making her works to be complex, not only in their compositional structure, but thoroughly. Their narrators are hybrids, as well as the point of view used to tell/show their fiction. Postmodern works are constructed without limiting boundaries. They slide between the various artistic fields, making the cultural representations fragmented, ephemeral and fluid, remnants of the social structure. For theoretical basis, the propositions of Fredric Jameson ([1991] 1996), David Harvey ([1989] 2008) and Linda Hutcheon ([1988] 1991) are sought to address the questions of Postmodernism. Silviano Santiago ([1989] 2002) and Flavio de Campos ([2007] 2009), regarding the specifications of the narrators, Norman Friedman ([1967] 2002) as for the specification of the point of view, and, when necessary, by way of theoretical comparison, other authors dealing with these subjects. This way, it is intended to discuss and undertake the delineation of how the narrative, the narrator(s) and the point of view in the cinematographic works are constructed in Lucrecia Martel's films.
A presente dissertação objetiva refletir sobre a construção narrativa, do narrador e do ponto de vista nos longas-metragens de Lucrecia Martel, específicamente La ciénaga (2001), La niña santa (2004) e La mujer sin cabeza (2008). Considerando-se que as obras citadas se construíram em um momento histórico denominado como Pós-modernismo, utilizam-se alguns teóricos para a definição desse conceito e, assim, perceber que este período determina e influencia muitos dos campos da vida social, incluindo as artes e seu arcabouço estético. A narrativa, os narradores e o ponto de vista das obras da cineasta citada fazem parte deste grupo e, por isso, justifica-se um estudo mais aprofundado das questões pós-modernas. Lucrecia Martel possui uma forma peculiar de filmar e construir seu espaço narrativo - a sensação de desordem é constante - consequências da utilização da narrativa de fluxo. Além disso, utiliza-se ainda das técnicas da oralidade, tornando suas obras complexas, não somente em sua estrutura composicional, mas na totalidade delas. Seus narradores são híbridos, assim como o ponto de vista utilizado para contar/mostrar sua ficção. Obras pós-modernas se constroem sem fronteiras delimitadoras, elas deslizam entre os vários campos artísticos, tornando as representações culturais fragmentadas, efêmeras e fluídas, resquício da estrutura social. Para fundamentação teórica, buscam-se as proposições de Fredric Jameson ([1991] 1996), David Harvey ([1989] 2008) e Linda Hutcheon ([1988] 1991), a fim de abordar as questões do Pós-modernismo. Silviano Santiago ([1989] 2002) e Flavio de Campos ([2007] 2009), no que concerne às especificações dos narradores, Norman Friedman ([1967] 2002), quanto à especificação do ponto de vista e, quando necessário, a título de comparação teórica, de outros autores que tratam destes assuntos. Pretende-se, deste modo, discutir e empreender o delineamento de como se constrói a narrativa, o(s) narrador(es) e o ponto de vista nas obras cinematográficas de Lucrecia Martel.

La tesis es un estudio analítico de la obra literaria y teórica de la escritora afrocaribeña afincada en Canadá Marlene Nourbese Philip según teorías postcoloniales y posmodernas.
Tras algunas consideraciones sobre la estructuración y enfoque del estudio, y una primera aproximación al contexto actual de la literatura y la comunidad canadiense afrocaribeña, el texto elabora una sucinta arqueología de la posmodernidad y establece unos principios para una "literatura posmoderna" que se aplicarán al corpus literario analizado. El análisis posterior pone de manifiesto la pertinencia de combinar etiquetas relacionadas con lo posmoderno con una literatura aparentemente minoritaria como es la de Philip, una literatura, por lo demás, marcada por el deseo de combatir el endémico racismo de que adolece la sociedad canadiense, y consagrada a hallar caminos de representación de la subjetividad de todo un colectivo: el de las mujeres afrospóricas de origen caribeño que viven en Canadá.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research aims to analyze the National General Curriculum Guidelines for Basic Education 2010 - DCNs/10, in order to understand the theoretical foundations, from the formulations and forwards the so call postmodern agenda. It seeks to dialectically apprehend the contradictions and antagonisms in that capital, labor and state relationship, as components of the social metabolism system of the capital, and its influences in relation to the debate called postmodern agenda in education. It seeks to highlight the limits and possibilities of education in historical and dialectical materialist perspective. The study's bibliographic and documentary and takes place from the theoretical contributions of Marx, Engels, Mészáros, Lukács, Lessa, Tonet,Moraes and others. In the first chapter, we seek to clarify the mediations, contradictions and antagonisms present between labor, capital and the state and its impact on education and human development. Seeks to demonstrate the changes in the economic, political, social and educational context, based on productions that discuss content covered in the chapter. From this, we use them for contributions, especially of: Marx, Engels, Mészáros, Lukács, Tonet, Lessa, Gounet, Kuenzer, and Pinto Antunes. The second chapter seeks to highlight pertinent to the debate called postmodern agenda and its relationship to the process of organizing and structuring of capital issues and their influences to the area of educational research in Brazil. To do so, we highlight relevant questions about a possible genesis of discussions about the postmodern elements of its ideological base schedule, and conceptualization. Authors from different theoretical perspectives were used in the study, such as:Anderson, Harvey, Lyotard, Eagleton, Kumar, Freitas, Moraes, Wood, Kaplan and others. In the third chapter, we seek to analyze what influences and foundations of postmodern schedule are present in the National Curriculum Guidelines General for Basic Education 2010 - DCNs/10, which corresponds to the CNE/CEB nº 7/2010e the CNE/CEB nº 4/2010. In this sense, some important points are evident from the proceedings on the formulation of such legislation and analysis of assumptions related to the postmodern present in the documents schedule categories. , Among others, the contributions of Shiroma, Moraes, Evangelista, Gomes, Tonet and others were used. From the analysis, it was possible to identify some influences of postmodern agenda in the National Curriculum Guidelines for General Basic Education - DCNs/10 such as: a) hybridity, volatility and uncertainty; b)multiculturalism and decentralization of the working class; c) the centrality of education in defense of citizenship and democracy. These categories showed that the postmodern schedule is constituted as an ideology closely linked to the need for expanding the capital, made possible through the educational policy constitutes the mediations as an extension of social reproduction.
A presente pesquisa tem como objetivo analisar as Diretrizes Curriculares Nacionais Gerais para a Educação Básica de 2010 – DCNs/10, na perspectiva de compreender os fundamentos teóricos, a partir das formulações e encaminhamentos da chamada agenda pós-moderna. Procura-se apreender dialeticamente as contradições e antagonismos presentes na relação capital, trabalho e Estado, entendidos como componentes do sistema de sociometabolismo do capital, e suas influências em relação ao debate da denominada agenda pós-moderna na educação. Busca-se evidenciar os limites e possibilidades da educação numa perspectiva materialista histórica e dialética. O estudo é bibliográfico e documental e realiza-se a partir das contribuições teóricas de Marx, Engels, Mészáros, Lukács, Lessa, Tonet, Moraes e outros. No primeiro capítulo, busca-se explicitar as mediações, contradições e antagonismos presentes entre trabalho, capital e Estado e seus desdobramentos para a educação e a formação humana. Busca-se evidenciar as mudanças ocorridas no contexto econômico, político, social e educacional, com base nas produções que discutem o conteúdo abordado no capítulo. A partir disso, utilizamo-nos das contribuições, sobretudo, de: Marx, Engels, Mészáros, Lukács, Tonet, Lessa, Gounet, Kuenzer, Antunes e Pinto. No segundo capítulo, procura-se evidenciar questões pertinentes ao debate da chamada agenda pós-moderna e sua relação com o processo de organização e estruturação do capital, bem como as suas influências para a área da pesquisa educacional no Brasil. Para tanto, destaca-se questões relevantes sobre uma possível gênese das discussões sobre a agenda pós-moderna, conceituação e elementos da sua base ideológica. Autores de diferentes correntes teóricas foram utilizados no estudo, tais como: Anderson, Harvey, Lyotard, Eagleton, Kumar, Freitas, Moraes, Wood, Kaplan e outros. No terceiro capítulo, busca-se analisar quais as influências e fundamentos da agenda pós-moderna estão presentes nas Diretrizes Curriculares Nacionais Gerais para a Educação Básica de 2010 – DCNs/10, as quais correspondem ao Parecer CNE/CEB nº 7/2010 e a Resolução CNE/CEB nº 4/2010. Nesse sentido, são evidenciados alguns pontos relevantes do processo referente à formulação de tal legislação e a análise das categorias relacionadas aos pressupostos da agenda pós-moderna presentes nos documentos. Foram utilizadas, entre outras, as contribuições de Shiroma, Moraes, Evangelista, Gomes, Tonet e outros. A partir da análise, foi possível identificar algumas influências da agenda pós-moderna nas Diretrizes Curriculares Nacionais Gerais para a Educação Básica – DCNs/10, tais como: a) o hibridismo, a volatilidade e a incerteza; b) o multiculturalismo e a descentralização da classe trabalhadora; c) a centralidade da educação na defesa da cidadania e da democracia. Tais categorias demonstraram que a agenda pós-moderna se constitui como uma ideologia estreitamente ligada à necessidade de ampliação do capital que, viabilizada por meio da política educacional, se constitui como uma extensão das mediações de reprodução social.

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A discussão que envolve questões da vida humana e da ruptura de alguns conceitos presentes na sociedade pós-moderna põe em discussão assuntos que transcendem análises detentoras de ambiguidades e/ou contradições a serem refletidas e discutidas, as quais conduzem a avaliações sobre a condição do homem inserido no centro das relações sociais. Versando sobre este eixo, “Minha vida, meu tempo, minha condição” tem como principal objetivo realizar um estudo sobre a situação do idoso na sociedade contemporânea em tempos de transformações sociais cada vez mais aceleradas, bem como as alternativas para lidar com tal questão, cujo maior destaque está sob os vieses da dinâmica familiar e do processo de institucionalização. A linha de pesquisa adotada foi baseada na teoria da fragilidade das relações humanas discorrida por importantes pensadores contemporâneos. Para maior compreensão do estudo, se fez necessário utilizar como processo de investigação, revisões e análises bibliográficas e busca em sites que referenciam questões sobre o tema, assim como a observação e descrição empírica, este com o método quanti- qualitativo. Em ênfase a segunda abordagem, é importante destacar que a referida pesquisa foi realizada, através de entrevistas semiestruturadas, com 20 (vinte) idosos, entre 65 (sessenta e cinco) a 85 (oitenta e cinco) anos, de ambos os sexos que residem em uma Instituição de Longa Permanência para Idosos (ILPI), situada no Município de Salvador, Bahia. Permite-se afirmar que tais análises foram pertinentes para o entendimento tanto da vida cotidiana do idoso que reside num local dessa natureza, levando em consideração o diagnóstico da sua condição social atual, quanto da dinâmica familiar em que está inserido. A partir dessa visão vem a seguinte indagação: residir em um abrigo para idosos é uma opção ou resultado de um processo em que se agrega à falta de opção? O que está nas entrelinhas dessa realidade? Quais foram as principais causas que levaram esses indivíduos a decidirem por essa maneira de viver, a se permitir estar nesta condição? Nas reflexões conclusivas, foi possível perceber que a situação atual desses idosos caracteriza uma realidade desafiadora, principalmente quando parte para a visão de que a institucionalização está sob bases complexas e que a família está no pilar desse processo, expressamente colidente. Foi possível perceber, em alguns momentos, a fragilidade desses vínculos, logo, a institucionalização muitas vezes representa uma alternativa para lidar com os reflexos dessa situação, tendo como consequência uma vertente desse fato relativamente aceitável e cheio de contradições. Estes questionamentos foram analisados no decorrer do processo da pesquisa, apontando assim, os limites e as vertentes dessa problemática, merecendo destaque o contexto social contemporâneo vivenciado por esses sujeitos, mais precisamente os que estão inseridos nessa condição, a de idoso abrigado.
The discussion that involves issues of human life and the rupture of some concepts in postmodern society it discusses issues that transcend analyzes holders of ambiguity and / or contradictions to be reflected and discussed, which lead to reviews of the condition of man inserted into the center of social relations. Dealing on this axis, "My life, my time, my condition" aims to conduct a study on the situation of the elderly in contemporary society in times of social change increasingly accelerated and the alternatives for dealing with such matters, whose most prominent is under the biases of family dynamics and the process of institutionalization. The adopted research line was based on the theory of the fragility of human relationships studied by important contemporary thinkers. For better understanding of the study, it was necessary to use as the research process, reviews and bibliographic analysis and search on sites referring to questions on the subject, as well as observation and empirical description, this quantity with the qualitative method. An emphasis on the second approach, it is important to note that this research was conducted through semi-structured interviews with twenty (20) old, between 65 (sixty-five) to 85 (eighty-five) years, of both sexes residing in an institution of for the Aged (LTCF), located in the city of Salvador, Bahia. Lets say that such analyzes were relevant to understanding both the everyday life of the elderly who reside in a place of this nature, taking into account the diagnosis of your current social condition, as the family dynamics in which it appears. From this vision comes the next question: living in a nursing home is an option or result of a process in which adds to the lack of choice? What's between the lines of this reality? What were the main causes that led these individuals to decide for this way of life, to allow to be in this condition? In the concluding reflections, it is noted that the current situation of the elderly features a challenging reality, especially when part to the view that the institutionalization is under complex bases and that the family is the pillar of this process, specifically colliding. It could be observed, at times, the fragility of these bonds, so the institutionalization often represents an alternative to deal with the consequences of this situation, resulting in a shed that fact relatively acceptable and full of contradictions. These questions were analyzed during the research process, pointing thus the limits and dimensions of this problem, a special focus contemporary social situation experienced by these subjects, specifically those that are inserted in this condition, the elderly housed.

Yeung, Yang.
"August 2004."
Thesis (Ph.D.)--Chinese University of Hong Kong, 2004.
Includes bibliographical references (p. 314-321).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in English and Chinese.

This Old Man is comprised of a childhood section from a larger novel that interweaves the experiences of a group of childhood friends who, as adults, are compelled to return to their home town to face an evil they were haunted by as children. Due to word count constraints, the chapters submitted for the Thesis are from the ‘childhood section’ of the novel only. The novel in its entirety explores how adult selves are shaped by their past experiences. This first thematic drive is explored alongside another, which focusses on ideas of agency and humanity in the face of these deterministic forces. The larger work responds to Stephen King’s IT. It employs the tropes of the Horror genre to tell a story about manhood, boyhood, and what happens in between; a story about the summer when, as kids, the characters were hunted by The Farmer and his Doberman, and the summer nearly twenty years later when they return to finish the battle as adults: adults with inner demons that may prove to be stronger than the Farmer himself; adults who are facing the traumas of their past and attempting to find the capacity to forge and maintain relationships; adults who must finally grow up and accept responsibility for their actions and the fate of their lives. ‘An Act of Reading and Writing’ Why am I drawn to heroic genre fiction? Why did I choose it as a mode to explore agency? And why did Horror end up being the mode in which to do it? What is it about the reinvention of these familiar structures that on the one hand fills a deep need for stability, but on the other challenges the way I think about the world? Why do reading and writing act as a meditative process? What is it about fiction that evades essentialism, and how do prescriptive structures like the Hero’s Journey act as a meditative space that open themselves up to interpret the world around us? This exegesis explores these questions through a framework of discussions with texts that informed my work. Using a humanist framework centred on the agency of the individual to affect change, as argued for by Edward Said, I explore how literature acts as a kind of humanist theology in the post-modern world, as envisaged by Andy Mousley. I then explore how heroic structures in genre fiction might be a meditation on agency.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2017.

This study in philosophical-theology investigates the problems and prospects of theological non-realism, as proposed and developed by the Cambridge philosopher of religion Don Cupitt. After contextualising non-realism within the worldview, epistemology and theology of pre-modernity, modernity and postmodernity, the study appraises the prospects of non-realism as a new philosophical and theologica default position for Christianity and how it relates to what has been referred to as the New Reformation. The study hypothesises and contends that, although radical in orientation and multifarious in prospect, it is a viable and valid basis for Christian reformation. After contextualising, considering some religious and theological content, as well as critique and contrapuntal positions, the study delineates theoretical and practical reformatory options. By and large concurring with Cupitt, the study also deviates from him, particularly with respect to the prospect of ecclesiastical post-Christianity. Although this is not a study in practical theology, this study nevertheless aims to move the debate about the New Reformation forward by proposing non-realism as a basis for a new Church
Biblical and Ancient Studies
Thesis (D. Th. (Religious Studies))

RESUMÉ The purpose of this thesis was to outline the current state of catechesis in the Czechoslovak Hussite Church and basic regularities of the andragogic discipline as the science of adult education. We put these findings in the context of adult life, which is based in the postmodern era and secularized society. The first chapter dealt with the specifics of contemporary life and the needs of the post-modern man living in a secularized world. In the second chapter we entered the path of God's Word. We interpret the Word of God in the theology of the Czechoslovak Hussite Church and pointed out the personal / personalistics dimension of the relationship between man and God In the third chapter, we introduce catechesis as a theological discipline. We captured its mission and emphasis from theoretical and practical point of view, and we have followed with the fourth chapter and the specific concept of catechesis in the Czechoslovak Hussite Church. We focused on its development, legislative basis and especially methods of catechesis. The fifth chapter describes andragogy as a scientific discipline. We were interested in the process of adult education and the elements that enter it. We also attempted to show the process of basic methodological preparation for the educational activity. The description of the...

in English My thesis follows up a potential influence of transhumanism on reflexive planning of people according to a Czech transhumanist community in regard of Person-In-Enviroment theory and postmodern changes in the society. A conceptual part contains chapters about transhumanism, areas that transhumanism focuses on, H+ technologies, potential, community and reflexive planning. In a framework of a qualitative research, my data were gathered using semi-structured interviews on topics reflexivity of an human actor, decision making, work with information, power, existential dimension of life and sorrow and anxiety related to life changes and loses. According to the obtained tata the biggest potential for reflexive planning can be found in examining possibilities of using artificial inteligence, collective consciousness and virtual hedonism, all that with regart to necessity of fight for human rights and democracy and economical breakthrough, wich could result in removal of social inequality.

The present work examines the crossroads of social transformation from the contextual standpoint of the "Second World" - a political and socioeconomic term descriptively pointing to the unique location of the Former Eastern-European Block countries - in between worlds. The work involves in a dialogue some of the major trends within the contemporary Eastern-European philosophical environment: dichotomized between Neo-Marxism and Neo-Freudianism on the one hand, and Postmodernism on the other. While examining the most significant elements between the dialectical paradigms for social change of the above theories (and their ethical foundations), the text strives towards a theological paradigmatic formulation for an authentic social transformation that draws its dialectical content and passion from the hopeful eschatological vision of Christ and the Kingdom as an embodiment of the Christian alternative for human emancipation and liberation. In light of this, the work attempts to establish the following thesis: the radical Christian praxis of the eschatological reality of the Kingdom in light of the Cross is the Church’s alternative to contemporary philosophies and initiatives for social transformation. This praxis affirms the revolutionary, history-shaping force which makes Christianity relevant to the problems of Modernity and Postmodernity through its self-identification with the Crucified God. It marks the moment of conception of an authentic, liberating, life giving, transforming hope as a source of humanization and redemption of social order. Christianity is concerned with the birth and formation of a new socio-political reality - the Kingdom of God, and its embodiment on earth (through the Holy Spirit) in a new ethnos: the Church, the Body of Christ, the communion of the saints. Therefore, it is the Church's calling and obligation to exemplify the reality of the Kingdom, being a living extension of the living Christ and thus, the incarnation of the eschatological future of the world and its hopeful horizon in the midst of the present. Recognizing the vital need for a relevant Christian response to the spiritual demands of the Post-modern human being and his/her desacralized, pluralistic socio­ political context, the work concludes with a conceptual outline offering a strategy for the Church in the Postmodern setting.
Philosophy, Practical & Systematic Theology
D.Th. (Theological Ethics)