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Baofu, Peter. "After postmodernity". Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/57852.
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Drinkwater, Christopher. "Ecology and postmodernity". Thesis, University of Leeds, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268672.
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Bewes, Timothy R. T. "Cynicism and postmodernity". Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318571.
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Craven, Greg. "Foucault, modernity, and postmodernity". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0007/MQ40641.pdf.
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Ebdon, Melanie. "Remembering identity after postmodernity". Thesis, Bangor University, 2003. https://research.bangor.ac.uk/portal/en/theses/remembering-identity-after-postmodernity(c881585c-7917-405a-bcc2-77e2ce7f76a6).html.
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This study focusses on the outcomes of postmodernity with particular emphasis on memory and the reconstruction of identity after postmodern theories of the fragmented self. Chapter Two analyses Graham Swift's Waterland, lain Banks's The Crow Road and Margaret Drabble's The Peppered Moth which show the reconnection of identity to cosmological, geological, genetic and familial history, and demonstrate the necessity of the subject's connection to the formerly denounced metanarrative of history. Drabble's text also highlights a gender issue concerning representations of women and motherhood in contemporary fiction. In Chapter Three, Ian McEwan's The Child in Time and Margaret Atwood's Cat's Eye illustrate the way in which the new physics has influenced concepts of identity as being interconnected. The Child in Time shows how this model also risks creating an a-historical, de-politicised subject, particularly if existing problematic constructions of gender are not reformed. This reformative project is one of the main achievements of Cat's Eye in which Atwood revises archetypal female iconography. Chapter Four discusses three texts from postcolonial India: Salman Rushdie's Midnight's Children, Anita Desai's Clear Light of Day and Arundhati Roy's The God of mall Thin s. These novels demonstrate the specific difficulties in constructing a coherent sense of self in a fractured political situation which mourns the broken connection to the motherland. Cultural imperialism and its psychological effects are brought to the fore here, showing the ways in which imperial ideals force the postcolonial subject to accept a hybrid identity. Women are doubly oppressed in these situations by both the machinations of an Imposed Western patriarchal system and the indigenous caste hierarchy and also by association with the motherland ideal of a culturally authentic, pre-colonial India. Chapter Five brings together the themes of gender, history, memory, colonisation and the reconstruction of the self in an analysis of Toni Morrison's Beloved and Anne Michaels's Fugitive Pieces. The effects of slavery and the Holocaust, respectively, are explored in these texts and both novels conclude with the necessity of finding ways to mourn loss and go on to represent modes of subjectivity as historically and socially connected. Communal memory is reclaimed as a necessary antidote to institutionalised violence and dispossession, thereby constructing a form of identity which progresses from postmodernity.
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Zaidi, Ali Hassan. "Postmodernity and new social movements". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0022/MQ34328.pdf.
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Chiu, Cha. "European postmodernity in Asian films". Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3199.
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The works of Tsai Ming-Liang and Kim Ki-Duk, two directors in contemporary Asian cinema, qualify as postmodern films transgressing the hegemonic dominance of classic text, aesthetic and structure manifested in the blockbuster Hollywood films that are overwhelming in Asia. The characters in Tsai’s and Kim’s films are social marginal and outcast excluded from main- stream society. They seem to be disengaged from their past and future, simply floating in different presents as a carrier of desire. One difference between is that the major figures in Tsai’s films are marginal young men and women presenting a sense of alienation and solitude among the residents of the city, and their intimate behavior is portrayed in enclosed spaces. Kim’s films, the major figures are abandoned by and isolated from society, either brutal men or solitary prostitutes. Tsai and Kim always make ample use of the residual in everydayness in order to produce the incessant different present-becoming. These becoming- presents are constituted by unpredictable contingency without the association of cause and effect between event and event. Therefore, for Tsai and Kim, time depicted in the cinematic temporality is enunciated by the permanently present discourse, which is absent from its past and is still unknown for its future, but only produces the infinite moment. In other words, this temporal prolongation is ahistorical, lacking depth and merely progresses in action linking action. Thus it also becomes a fragmentary and not a linear development for its lack of commencement and an end, being an endless present-becoming. There is no connection between narrative spatiality in Tsai and Kim’s films. This has become detached from its related and logical linkage prescribed in the classical narrative structure, but randomly, coincidentally and unforeseeably merged together, imbedded with the linguistic system of scission revealing no beginning and end but only providing the characters, Taipei and Seoul residents, like nomadic tribes wandering around without indicating the direction of their coming and going. In other words, these spaces in both post-colonial cities can be regarded as temporary and transitional spaces and create the ephemeral mirage of a playground. Tsai and Kim’s cinematizations of the urban spaces of Taipei and Seoul respectively have been constituted by the present discourse, which makes the spatial marking, to which personal memory as well as collective history attaches, vanish. These are the most salient traits in the postmodern text and structure, which can be viewed from both directors’ masterful works among Asian cinema. Moreover, their non-historical discourses, non-moralistic and non-ethical and dehumanized and dystopian text in describing social life as well as non-linear and non-classical narrative structure in constituting cinematic text also make Tsai and Kim’s films catch the international gaze. Nevertheless, there is still a lack of a full postmodern exploration of both directors’ works. This has motivated me to construct a passage from European postmodernity to Asian postmodern films.
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Shagufta, Iqra. "Postmodernity and Pakistani Postmodern Literature". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707404/.
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Though scholars have discussed postmodernism in Islam and South Asia before, they tend to (i) assume Muslims as a monolithic group, bypassing the diversity of different cultures and the interaction of these cultures with indigenous practices of Islam; (ii) study postmodernity synchronically, thereby eliding histor(ies) and the possibility of multiple temporalities; and (iii) compare postmodernity in non-Western countries with Western standards, and when these countries fail this test, declare them not-yet-postmodern, or even modern. Negligible and scant discussions of postmodernity that do take place inside Pakistan, most of which are published in newspaper articles, tend to focus on Western postmodernity and its evolution and contemporary position. There is no book-length discussion of postmodernity and postmodernist literary texts from Pakistan and its curious sociopolitical blend of Indo-Muslim and Anglo-Indian influences and interaction with the Islamic political foundations of the country. This project discusses postmodernity and postmodern literature in Pakistan. I argue that, because of a different political, cultural, and literary climate, postmodernity and postmodern literature in Pakistan are distinct from their Western counterparts. Because of technological advancement and neoliberal globalization, Pakistan experiences a different kind of postmodernity resulting in the production of a different kind of postmodern literature. I trace the historical employment of postmodern literary tropes from Indo-Islamic genres, i.e. dastan, to contextualize this conversation. Then I discuss experimental works of fiction like Sultana's Dream (1908), Bina Shah's Before She Sleeps (2018), and Soniah Kamal's Unmarriageable (2019). The last chapter explores the relationship of postmodernity, postmodern politics, and Pakistani and Muslim historiographic metafictional literary texts: The Satanic Verses (1988) and A Case of Exploding Mangoes (2008). Hence, the work is regional and national, as well as comparative and transnational.
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Higgins, Jennifer R. 1952. "Vanguards of postmodernity : rethinking midlife women". Monash University, School of Political and Social Inquiry, 2001. http://arrow.monash.edu.au/hdl/1959.1/8896.
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Surrency, Donald. "The proliferating sacred : secularization and postmodernity". [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002283.
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Chan, Kim-mui Eileen, i 陳劍梅. "Postmodernity and recent Hong Kong cinema". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B3121390X.
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Chan, Kim-mui Eileen. "Postmodernity and recent Hong Kong cinema /". Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18539191.
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Gordon, Alex. "Zwischenmensch : contradiction, postmodernity and American-Jewish identity". Thesis, University of East Anglia, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246952.
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Dudenhoeffer, Larrie. "Corruptions of the Flesh: The Body, Subjectivity, Postmodernity". Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/communication_diss/20.
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This study will embrace certain features of postmodern experience so as to underline subjective embodiment as the condition, corollary, and appropriate focus of textual, rhetorical, and sociopolitical criticism. It will theorize somantics as a conceptual toolkit for mapping the structural correspondence of embodiment to the symbolic order, each thus emerging as the other’s non-foundational “efficient reason.” This study will argue that the flesh mediates the theoretic divisions of structuralism, deconstruction, psychoanalysis, and existentialism, although not in a priori or essentialist ways. It will draw from their vocabularies, combining them into a vocabulary of its own while retexturing their relation to one another. It thus aspires to reduce all rhetorics and metaphysics to the somantic, so as to sabotage conservative fundamentalisms and to establish the terms for an argument with enthusiasts of transhumanism. Moreover, this study will suggest that theoretic systems, cultural messages, and sociopolitical speech-acts inattentive to the condition of embodiment—whether that of their agents, interlocutors, or material mediums of expression— must then seem at once suspicious, maladaptive to the sense contingencies of the moment, and deserving of somantic reduction. In correcting these faults, it will also resist systematizing or universalizing sense-experience; it will function rather as a corpus of maps that rechart the volatile, moment-to-moment interimplication of the somatic and the symbolic. Thus this study takes axiomatically Frederic Jameson’s claim that intertextuality replaces history in the era of transnational capital, seeing in this argument the strategic advantage of taking a theoretic standpoint against diachronic modalities of time. Arguing for the reconstruction of certain narratives as distortions, if not outright falsifications, of the simultaneation of needs, impressions, and changes in a subject’s sense-experience, this study will redirect attention to the relation of certain discourses to the bodies of their interlocutors.
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Brown, Derek. "Decisions: Political Theology and the Challenges of Postmodernity". Thesis, Boston College, 2020. http://hdl.handle.net/2345/bc-ir:109127.
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Thesis advisor: Andrew PrevotDecisions: Political Theology and the Challenges of Postmodernity, argues that political theologies are both partially responsible for and responsive to the intrinsically related problems of racism, capitalism, and essentialist metaphysical thinking. Relying on dialectical materialist and post-structuralist theories, Decisions critically engages a wide range of classical and contemporary figures such as Karl Marx, Søren Kierkegaard, Carl Schmitt, Jacques Derrida, James Cone, Chantal Mouffe, Cornel West, Martin Hågglund, and Karl ove Knausgaard. These engagements are attentive to not only the particular theoretical and political decisions any one thinker makes, but also to the ways in which “decision” is itself understood as an important theoretical and political category. Although “decisionism” has become a popular motif in contemporary political theology, the concept remains under theorized. This is unfortunate, because contemporary ontological racisms and exploitative market structures aim to prevent political decisions: ontological racism decides in advance the essential “racial” characteristics of a person and market economies ensure that the distribution of goods is “decided” by the so- called invisible hand of the market. Moreover, both racisms and capitalism can imply an underlying modern metaphysics of substance and essence. While the postmodern critique of metaphysics is often read as a challenge to religion, this reading suggests that postmodernity presents an opportunity for the reemergence of an historical and politically engaged form of religion. Such an emancipatory and non-metaphysical approach can be found throughout various religious traditions, but is especially prominent amongst black political theologians working out of the Christian tradition
Thesis (PhD) — Boston College, 2020
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Theology
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Bertozzi, Alberto. "The language of subjectivity postmodernity, Lacan, Levinas, theology /". Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.
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Arvidsson, Adam. "Marketing modernity : Italian advertising from fascism to postmodernity /". London : Routledge, 2003. http://catalogue.bnf.fr/ark:/12148/cb401228431.
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Kuhling, Carmen L. "The New Age ethic and the spirit of postmodernity". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0004/NQ40493.pdf.
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Hart, Sally. "Derrida and postmodernity : at the end(s) of history". Thesis, University of Chichester, 2007. http://eprints.chi.ac.uk/836/.
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This thesis erects and defends the proposition that Jacques Derrida's readings of 'metaphysics in deconstruction' and his raising to theoretical consciousness of the 'differential matrix', have the capacity to inaugurate a 'brave new world' in this postmodern 'age of the aporia'. Beginning with an examination of Derrida's readings of Husserl and Saussure, it is argued that the radical historicity uncovered here qua an originary synthesis of language, time and the other, opens the possibility for greatly more democratising and emancipating self-creations and human solidarities to be thought. In terms of 'self-creations', and borrowing from the work of Elizabeth Deeds Errnarth, Chapter Two follows Derrida as modernity's sovereign subject and its 'History' are dis-placed by an absolutely affirmative postmodern subjectivity whose axiom might be 'I inherit, therefore, I am ... yes, yes ... ' Construed through his deconstructive reading of Kant, Derrida shows the way in which this postmodern subjectivity without alibi, makes of us all (like it or not, know it or not) resistance fighters, so many singularities existing in constant tension with all normalising/totalising tendencies (social, economic, techno-scientific, political, legal etc ... ) which profess to know the secret. Turning to co-extensive 'human solidarities', Chapter Three subsequently demonstrates the way in which Derrida's call for a 'New International', orientated through a 'new figure of Europe', enables us to imagine new polysemic communities (local, national, international) founded on the 'aporia of the demos', a 'foundation' that construes its hyper-relativity as a positive (ethico-political) condition of decision in terms of a radical responsibility (on an individual and communal level) for the moral/aesthetic decisions we make. It is thus that I will argue that Derrida's vision for a 'new world order' is born out of an aporetic condition which is both a risk and a chance of both the best - and the worst - happening; as someone who shares Derrida's desire for a fairer, freer, more peaceful world, one respectful of difference and otherness, I believe this to be a 'poker like gamble' well worth taking. Chapter Four offers a comparative analysis between the work of Jacques Derrida and Jean Baudrillard, two theorists counter-signing differently many of the 'same' discourses/ traditions/cultures/languages, etc ... to which they are both heirs. The chapter examines their respective 'quasi-philosophies of the limit', together with their differing conceptions of the issues surrounding globalisation and universalisation, as well as Baudrillard' s elevation of America (as opposed to Europe) as the exemplary site of resistance against the dangers of totalisation in 'postmodem' societies. The central argument here, in line with my previous remarks, is that Derrida's thought arguably remains 'the best' way to navigate the postmodem condition and the challenges it produces. The originality of this thesis lies in two main areas, the first having to do with my presentation and conception of Derrida's oeuvre and the second having to do with the comparisons made in this study between Derrida and Ermarth and Derrida and Baudrillard. In terms of the former, I offer what I consider to be a unique, sustained, in-depth analysis of the 'development' (on a theoretical and practical level) of the thematics of 'radical historicity' and of 'post-historical man' - effectively the development of Derrida's quasi-philosophy of history- from his earliest works so that they can be seen to inform his later intervention(s) in what are conventionally understood as ethical and political matters; transforming this understanding in the process and, after the end of history's ends (upper case, lower case and the totalising 'history of meaning' per se), quite literally and radically changing the way we see what we call 'the world'. For while in the conventional literature Derrida's politics come late, I argue here that his indeed later political work is but an emphasis of constant political thematics acting as a leitmotif from beginning to end. Turning to the latter, in terms of the comparisons I make - first between Derrida and Ermarth in Chapter Two and more especially between Derrida and Baudrillard in Chapter Four - the claim to originality lies in the fact that there is no comparison of any note or depth in the literature between these thinkers; nothing that compares Derrida's 'affirmative postmodem subjectivity' and its 'inheritance' with Ermarth's 'rhythmic time' and 'muIti-level consciousness', and nothing comparing Derrida's corpus - specifically his optimistic emancipating and democratizing hopes for the future - with Baudrillard's more pessimistic conceptualization of 'simulation society' and the loss of our European universal values under the hegemonic, globalising movement of the 'American model'. The aim of these two comparisons is to support my claim that Derrida's historico-political position is the 'best' way of essaying the quasi-ground of an in(different) politics in such a way that it keeps the future open to what he calls a 'better world' to come, a world without ends.
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Rinaldi, Lucia. "Postmodernity, identity and representation in contemporary Italian crime fiction". Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442052.
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Cheeseman, Colin. "Globalization, postmodernity, culture shift and the Church of England". Thesis, University of Kent, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327441.
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Postle, Karen Margaret. "Care managers' responses to working under conditions of postmodernity". Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310558.
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Sierra, Nicole Marquita. "Literature, architecture, and postmodernity : Donald Barthelme and J.G. Ballard". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:909bff3c-6eea-46a6-9c7f-72d52b9d43ee.
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Focusing on works between the 1960s and the early ’80s, this thesis sets the literature of Donald Barthelme (1931–1989) and J.G. Ballard (1930–2009) within the context of twentieth-century architectural theory and history (written), design (drawn), productions (built), professional practice (managed), and pedagogy (taught). The primary aim of this study is to explore the discursive exchange between literature and architecture, while probing the putative association between postmodernity and architecture. By introducing a broader set of social phenomena into debates about postmodernity, my thesis enables a revaluation of how the architectural idiom is interpreted in literature. Using textual and visual analysis, this thesis argues that Barthelme’s and Ballard’s literary works operate at an intersection of the visual arts and mass media. Responding to American and European twentieth-century visual avant-gardes and socio-cultural transformations, architecture participates in the formulation of avant-garde conceptual frameworks. Critically, architecture is not only an aesthetic discipline; it is also a social discourse. Through the discipline’s alignment with ‘new’ and ‘old’ avant-gardes, Barthelme and Ballard use architecture as a point of creative departure to undertake formal and thematic literary experiments. For both authors, contact with the architectural avant-garde has literary consequences. This thesis considers four interconnecting ways literature and architecture ‘speak’ to each other: representation, discourse, formal comparisons, and influence or inspiration. Within my study these topics are examined through critical meditations on architecture from geographical (Fredric Jameson, David Harvey), architectural (Robert Venturi, Charles Jencks) and visual cultural (W. J. T. Mitchell, Marshall McLuhan) sources. Also figuring prominently are epitextual materials, especially archival documentation from the Donald Barthelme Literary Papers at the University of Houston and the Papers of J. G. Ballard collection at the British Library. This thesis opens up new ways of understanding the interart pluralism that characterises the postmodern.
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Suzuki, Ayumi. "Animating the chaos : contemporary Japanese anime, cinema, and postmodernity /". Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1559858781&sid=9&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Jaboro, Reed Edmond. "Preaching for discipleship in postmodernity the problem of authority /". Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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Gossett, Neeley. "Puppets, politics, and postmodernity : Paula Vogel speaks through theater history /". Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/gossettn/neeleygossett.html.
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Parfitt, Clare. "Capturing the Cancan : body politics from the Enlightenment to Postmodernity". Thesis, University of Roehampton, 2008. https://pure.roehampton.ac.uk/portal/en/studentthesis/capturing-the-cancan(1150cbac-e8fc-49f0-8ed7-eb62fe298e3b).html.
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The subject of this thesis is the cancan – a dance form that emerged in Paris in the 1820s, and that has undergone a number of transformations in its continued performance, both live and onscreen, over the last two hundred years. The thesis focuses on particular historical moments during which the cancan’s embodiment of social tensions caused it to gain visibility as a site of both desire and moral panic, often centring on the supposedly uncontrollable bodies that it creates and performs. These moments are characterised by the employment of various legal, mechanical, digital and critical technologies to capture the cancan’s disorderly performance. The complex relationship between the cancan, these technologies and the shifting historical, cultural and political contexts which animate them, form the crux of the discussion. The cancan’s emergence and development as a live dance form in the nineteenth century, its relation to the invention of cinema in the 1890s, its popularity in narrative cinema of the 1920s and 1950s, and its revival in Baz Luhrmann’s film Moulin Rouge! (2001), are analysed from a postmodern perspective, in which modernist hierarchies of high and low, elite and popular, mind and body, are reinterpreted as structures of power. It is argued that at these moments the cancan becomes a particularly salient mediator of the conflict between rational and irrational body politics that had its origins in the Enlightenment. By embodying irrationality, and later, various intersections of rationality and irrationality, cancan performers and spectators make manifest alternative constructions of the body and society that may be utopian, dystopian, or both. In doing so, they participate corporeally in the ongoing negotiation of post-Enlightenment body politics. The thesis thus seeks to demonstrate the importance of popular cultural forms such as the cancan for reconstructing cultural histories in postmodernity.
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Park, Sunhee. "Development and validation of a measure of postmodernity in dress". [Ames, Iowa : Iowa State University], 2007.
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Lohmann, Andreas Martin. "The pleasure of the ambiguous gaze: visual texts in postmodernity". Thesis, University of Canterbury. German, 2001. http://hdl.handle.net/10092/6651.
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This thesis provides a philosophical and media-theoretical enquiry about postmodern art-photography in the context of our current visual episteme. The aim of my argumentation is to show in what way both spheres are inextricably connected and influenced by each other. The theoretical tools for analysing contemporary photography are mainly drawn from French poststructuralism, psychoanalysis and feminism which have become standard features in cultural criticism and media studies. However, it seems important to pay attention to the question to what extent the theory (i.e. language) can explain the visual (i.e. photographic images), and vice versa how the visual takes effect on our language, e.g. as the lightmetaphoric of reason.
Part one of the thesis contains an analysis of the writings of Jacques Lacan, Jacques Derrida and Michel Foucault, regarding their relevance for a ‘theory’ of visuality. Part two is dedicated to feminist theories, with special consideration of the much debated issue of pornography. Pornography is such an important battleground for the different strands of feminism because, for some, it represents patriarchal domination and abusive sexism whereas for others, it means freedom of speech and the right to control one's own fantasies.
Part three contains a close reading of Roland Barthes' famous text on photography Camera Lucida. To understand the deeper meaning of this fragmentary and 'unscientific' text it needs to be put in context with his former structuralist phase. Much contemporary photo-criticism uses certain elements from Camera Lucida without considering that it is not a photo theory as such. For them certain of his ideas have become standard jargon even though in Barthes' text they are transient and ambiguous concepts.
In part four I put the discussed theoretical concepts in context with some contemporary artphotographers. The aim is to present a broad variety of different photographic aesthetics which all relate to the current visual episteme. This, then, is the point where it makes sense to speak of a heuristic value of the discussed theory for an understanding of contemporary artphotography.
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Smyth, Edmund Joseph. "The nouveau Roman and the aesthetics of modernity and postmodernity". Thesis, University of Glasgow, 1993. http://theses.gla.ac.uk/4834/.
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Paterson, Alexis. "Minimal kaleidoscope : exploring minimal music through the lens of postmodernity". Thesis, Cardiff University, 2011. http://orca.cf.ac.uk/54427/.
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Both minimal(ism) and postmodern(ism/ity) are terms that occupy a peculiar space in contemporary discourse: in academic circles their characterisation is contested and debated in everyday life they have become so ubiquitous that everyone associates them with something, but not necessarily with any degree of consensus. Both become widely recognised terms during the latter half of the twentieth century: decades characterised by unprecedented globalisation of culture and communication. This thesis seeks to explore the emergence of these terms, and the events they sought to describe, but it does not attempt to impose a 'correct' definition on either term. Instead, the thesis investigates the discourse that surrounds each concept, assembling a network of ideas that characterise those terms. I will demonstrate that each label acts as a signpost to a flexible collection of theories and characteristics, and argue that minimalism can be seen as a significant cultural response to an emerging postmodernity. The structure of this thesis has been informed by the philosophy of Deleuze and Guattari, particularly their writings on rhizomatic thought. Their thinking is not the subject of this research, but is the inspiration for a particular attitude to ideas that has been used as a structuring device for the text: that is, a structure that hopes to demonstrate the interconnectedness of contemporary experience. The image of the kaleidoscope is used as a metaphor for this rhizomatic approach. While the physical object represents the 'totality that many regard postmodernity to be, the experience of viewing a kaleidoscope the constantly shifting parts and the resultant patterns that we recognise is imagined as an illustration of the way that postmodernity and minimalism can be understood. Three parts magnify these terms in increasing detail. The first explores postmodern discourse and its relationship to culture. The second examines the development of, and critical response to, minimalism. The third takes a single composer, Louis Andriessen, and attempts to show how the postmodern condition frames his creativity, and his particular response to minimalism. All of these parts contain connections within and between, each part. While these connections will often be alluded to, I have tried to avoid solidifying these relationships in a way that might appear too 'linear' so as to invite the reader to participate in the interpretive process, and to retain the openness so characteristic of Deleuzian thought.
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Blackshaw, Tony. "The postmodernity of the leisure life-world of 'the lads'". Thesis, Leeds Beckett University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511515.
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This thesis is based on research using a postmodern cultural studies approach, which was carried out in the South Leeds area of Beeston. It focuses on the social networks and leisure lifestyles of a particular group of working-class men described as 'the lads'. The associated works of Baudrillard, Foucault, Giddens, Maffesoli, and Rojek, but particularly Bauman, provide the intellectual reference point for the theoretical orientation of the thesis, which argues that the demands and opportunities required by postmodern conditions disperse and fragment collectivities, such as community and class, to form expressions of belonging, within which the liberty of the reflexive individual, not the collective, is now the overriding value. The work focuses on the extent to which these 'lads' seek to preserve existing (modern) lifestyles and (modem) conceptions of self-identity and community. Making reference to research carried out in the pubs and clubs in Beeston and Leeds city centre, the work elucidates the extent to which this self-constitution of community is constructed around existing modem discourses. The research shows that 'the lads" leisure is key, as it provides them with the time and space (the pub and the club) for the making and the articulation of a spurious sense of belonging and certainty. The thesis argues also that this imagined community is a site of resistance which allows men to assert their masculinities. Making reference to the research, the cultural studies approach shows that masculine behaviour is a key way of expressing the norms and values of the imagined community, which provides a form of ontological security for resisting the cultural and material practices of recent gender change, where it is no longer enough to be a 'hard' man. The thesis is located in a postmodem research genre that rejects empirical sociology - which places emphasis on the collection and systematic analysis of 'data'- in favour of a mystical and pragmatical cultural studies approach. In the writing of the thesis, the author utilises the rhetorical strategies of popular fiction, which makes for an ethnographic account that is more engaging and effective than 'traditional' ethnographic approaches. The thesis combines this cultural studies approach with a historico-sociological analysis, which takes into account both the elaborate and related social, cultural, political and economic structures of modernity and postmodernity. In this way the thesis offers a more diverse and thoroughgoing analysis, making for a synthetic approach that both advances the key theoretical ideas and underpins the academic rigour of the thesis.
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Deiser, Andrew J. "Barcelones/as : from dictatorship to democracy, from modernity to postmodernity /". [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3202895.
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Banister, Doug. "The word and power church facing the challenge of postmodernity /". Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Wollitz, Michael Gibson. "Figurant society post-postmodernity and David Foster Wallace's Infinite Jest /". Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457041328/viewonline.
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Cooley, Daniel W. "The relevance of an Edwardsean critique of Enlightenment epistemology for postmodernity". Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p001-1162.
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Houston, Graham Richard. "Virtual morality : virtual reality, human values and christian ethics in postmodernity". Thesis, Heriot-Watt University, 1996. http://hdl.handle.net/10399/1280.
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McClean, Stuart David. ""We're all individuals" : postmodernity and alternative health practices in Northern England". Thesis, University of Hull, 2003. http://hydra.hull.ac.uk/resources/hull:5590.
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This thesis explores the use and practice of crystal and spiritual healing - therapies located on the fringe of complementary and alternative medicine (CAM) - and what these 'represent' in the context of a profound socio-cultural transformation, characterised by the shift in Western societies from modernity to postmodernity. I explore this theme in relation to the empirical example of a healing centre in the North of England. The methodological stance I took was that of ethnography; data was largely gathered using participant observation. A central theme is that healing practice and ideas which emerge at the Centre reflect individual concerns and therefore healing practices themselves are often highly personalised. In addition, I explore how, from a Centre that celebrates highly personalised practices, healing knowledge becomes institutionalised and consensuses emerge. Furthermore, I explain that the Centre collectively sanctions this personal expression. This tension between individual expression and the formalisation of group practice is, I argue, indicative of our times. Therefore. what emerges from this study is that the Centre fosters an ethos of the individual, but it is a collective ethos. In addition, crystal and spiritual healing usage and practice reflects levels of dissatisfaction with biomedicine. the medicine of modernity. Though challenged by these healing practices, biomedicine has not been significantly weakened by this emergence. Even within the more esoteric healing practices, I point to the continuing influence of materiality, science and biomedicine. The appropriation of biomedicine can be witnessed in the Centre's attempts to professionalise and systematise practices, but it can also be seen in less obvious ways, in that healers seemingly infuse their practice with some of the language and science of biomedicine. This throws into question the conventional biomedicine/alternative medicine interface and offers some insight both into the common metaphorical basis of healing and medicine. and biomedicine's continued hegemony.
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Quist, Thomas. "American Thought, Culture, and Neo-Noir in the Era of Postmodernity". Thesis, North Dakota State University, 2017. https://hdl.handle.net/10365/28426.
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The rise of postmodernism, following the fall of modernism after WWII, brought about new modes of thinking, understanding, and living in America. Postmodernity is often neglected or glanced over by historians. Those who mention it do it either in passing or use it as a pejorative, yet it has had huge effects and ramifications on American culture during the second half of the 20th century. By exploring the thought, culture, and film of a postmodern America a deeper connection between history and postmodernism is formed. The transitions from noir to neo-noir films (which mirrors the transition from modernity to postmodernity) offers an avenue into understanding postmodern thought and culture. By using film as an intermediary it becomes apparent how neo-noir films were postmodern artifacts being watched and absorbed by a postmodern society. By linking the changing postmodern thought to culture and film a greater understanding of historical postmodernity becomes apparent.
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Dawkins, Sabrina Y. "Postmodernity and the history of African American religious representations a Foucauldian approach /". Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1505Dawkins/umi-uncg-1505.pdf.
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Thesis (M.A.)--University of North Carolina at Greensboro, 2007.Title from PDF t.p. (viewed Mar. 11, 2008). Directed by Steven R. Cureton; submitted to the Dept. of Sociology. Includes bibliographical references (p. 103-115).
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Carr, P. "The utopian impulse in American modernity and postmodernity : Cuban and Californian perspectives". Thesis, Swansea University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.636210.
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Using for illustration texts by Jack Kerouac, Richard Brautigan, Guillermo Cabrera Infante, Thomas Pynchon, and Severo Sarduy, published between 1953 and 1974, this thesis investigates the role of Utopia - as the ideal 'best state' of subjective or national identity - in American modernity and postmodernity. Beginning with readings of Thomas More's Utopia, this thesis notes how the dualism intrinsic to the modern Cartesian consciousness contributes to a sociopolitical polarization in the Americas: a dialectic which is exacerbated by the Reformation and Counter-Reformation, continues into the Age of Independence, and crystallizes in the era of the Cuban Revolution. The work of theorists such as Sartre, Barthes, Derrida and Foucault is addressed in tracing the evolution of utopianism in the fiction studied. In considering modernity an ideology the exploits 'utopia' as a transcendent signified in order to legitimise a master-discourse, the texts are analysed as to whether they subvert or subscribe to this discursive and philosophical edifice, that is, to what extent these fictions can be described as postmodern inasmuch as they are post-utopian.
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Salehi, Fariba. "Postmodernity and the decline of the nation-state : a British case-study". Thesis, London School of Economics and Political Science (University of London), 1999. http://etheses.lse.ac.uk/2781/.
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This thesis is a critical examination of the fundamental transformations that late capitalist societies have undergone in the last few decades and their impact on the modern institution of the nation-state. With the subsumption of industrial capitalism by a digital and informational capitalism; with the advent of global computerised network systems, software packages, satellite telecommunications, the internet, the website, and the simultaneous decline of national industries, 'national' societies have visibly changed in the last few decades. Their borders are more salient; their 'national' governments are less in charge of the dynamics of their 'national' economies; their sovereignties are threatened by 'the euro' and 'the global'; their cultures are exposed to the uninterrupted bombardment of adverts, images, signs and suggestive strategies of multinational companies for a higher level of disposable consumption; their distinctive 'national' commonalties are confronted by the media-led hyperreal culture of global consumerism and their distinct sense of time and place in history is blurred. These transformations are conceptualised and analysed as a paradigmatic shift from Modernity to postmodernity. Furthermore the institution of the nation-state is proposed and reasoned to be perceived as an institution of Modernity in which the primordial need for bonding and belonging is crystallised. The conjunction of the conditions of Modernity with the primordial need for belonging allowed the modern ideology of state nationalism to masterfully claim eternity for the nation-state itself. This thesis argues for the temporality of the nation-state while preserving the notion of a primordial and transverse mode of collective being based on vernacular cultures and ethnicities. The temporality of the nation-state is empirically substantiated in this thesis in reference to the twin postmodern forces of 'globalisation' and 'localisation' which work to denationalise collective identities by rendering their 'national' borders obsolete.
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Budgeon, Shelley. "Locating the subject : towards a reading of young women, identity and postmodernity". Thesis, University of Leeds, 2000. http://etheses.whiterose.ac.uk/551/.
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The aim of this research project is to examine theories of identity formation within the context of individualisation processes and the shift of social formations from modernity to postmodernity. The form and content of identity narratives being constructed by young women aged 16 to 21 are used as the empirical basis for addressing this research problem. Interviews were conducted with 33 young women and 5 practitioners across five different sites to explore what kinds of identities were under construction. The project is organised around the relationship between theory and the empirical such that data generated through interviews are utilised for the purposes of interrogating the ontological assumptions of theories of reflexive modernisation, particularly the work of Anthony Giddens. Working from within a poststructuralist framework a move is made beyond a deconstructive critique through to the development of alternate strategies for reading the identities under construction. It is this kind of integration between theory and the empirical that is central to sociological analysis and the furthering of theoretical projects. It is suggested that these young women were constructing a relation to the self where the self is defined as independent and autonomous. A Foucauldian approach is used to theorise this relation to the self and to critique the assumptions of reflexive modernisation. Emergent themes that are explored in relation to this construction of the self include technologies and narratives of the self; the organisation of identity and difference; embodiment and representational practices; intimacy and individualisation; and the emergence of 'micro politicised' identities.
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CONTINO, JOANA MARTINS. "FAST FASHION: NOTES ABOUT THE TRANSFORMATIONS IN FASHION IN CONDITION OF POSTMODERNITY". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25683@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Este trabalho trata das recentes transformações ocorridas na indústria da moda através da investigação das estratégias utilizadas pelas empresas para implementação do sistema fast fashion. Fenômeno em expansão na indústria do vestuário, o fast fashion tem como principal traço a aceleração da produção através da multiplicação da quantidade de coleções, e seu objetivo é estimular o aumento da velocidade do consumo de modo a escoar a produção crescente, garantindo assim a lucratividade das empresas. As alterações de cunho produtivo e estratégico desencadeadas pela implementação do sistema respondem a mudanças na configuração do modo de produção capitalista. Com base na crítica da economia política marxiana, buscamos compreender o fenômeno fast fashion relacionando-o às características-chave do capitalismo tardio, atual momento do desenvolvimento do modo de produção. O capitalismo tardio se expressa culturalmente no que David Harvey (2007) chamou de condição pós-moderna e tem a acumulação flexível como padrão de acumulação. Partindo da hipótese central segundo a qual o surgimento e expansão do sistema se dá a partir de demandas postas na esfera da produção e não do consumo, consideramos o fast fashion a apresentação da moda na condição pós-moderna. Buscamos definir de que maneira mudanças no processo produtivo para aceleração do giro de capital, a precarização do trabalho, a desterritorialização da produção e a tendência à concentração e centralização do capital – traços marcantes do capitalismo tardio – se apresentam no fast fashion. Além disso, através da análise de uma importante estratégia utilizada por grandes redes varejistas de roupas, as coleções assinadas, procuramos investigar a produção do valor simbólico do produto de moda.
This research points out the recent transformations in the fashion industry through the analyses of the strategies used by companies to implement the fast fashion system. Growing phenomenon in the clothing industry, fast fashion has as its main feature the acceleration of production by multiplying the amount of collections. Its purpose is to stimulate the speed of consumption in order to dispose the rising production, thus ensuring profitability of companies. The changes in production and strategies triggered by the implementation of the system respond to changes in the configuration of the capitalist mode of production. Based on the Marxian critique of political economy, we seek to understand the fast fashion phenomenon relating it to key features of late capitalism, the current moment of development of the mode of production. Late capitalism is culturally expressed in what David Harvey (2007) called condition of postmodernity and has the flexible accumulation as accumulation pattern. Starting from the central hypothesis that the emergence and expansion of the system result from demands imposed in the sphere of production and not of consumption, we consider fast fashion the fashion presentation in the condition of postmodernity. We seek to define how changes in the production process to accelerate of capital turnover, precarious employment, the deterritorialization of production and the trend towards concentration and centralization of capital - striking features of late capitalism - perform at fast fashion. In addition, through the analysis of an important strategy used by large clothing retailers, the signed collections, we investigate the production of the symbolic value of fashion product.
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Moore, Ryan M. "Anarchy in the USA : capitalism, postmodernity, and punk subculture since the 1970s /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9992382.
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Caldwell, Nicholas Peter. "How civilized! : discourses in modernity and postmodernity in the computer strategy game /". St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16691.pdf.
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Mosconi, Léa. "Emergence du récit écologiste dans le milieu de l'architecture 1989-2015 : de la réglementation à la thèse de l'anthropocène". Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC1104.
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Novembre 1988, la création du GIEC médiatise, institutionnalise, légitimise l’idée d’une « crise environnementale » et se propose d’en prendre la mesure. Les années 1990 et 2000 sont ponctuées d’événements politiques souvent mondiaux, qui participent à faire, de ce que l’on appellera alors le développement durable, une question sociétale majeure. Comment ce récit sur l’écologie pénètre-t-il le milieu de l’architecture ? Quel champ lexical convoque-t-il ? Quels acteurs s’emparent-ils de ce sujet ? Quelles institutions portent ces thèmes et vers quelles directions ? Quelle influence a-t-il sur la production architecturale française ?L’ambition de cette recherche est de comprendre la généalogie du récit écologiste dans le milieu de l’architecture, des questions réglementaires et énergétiques des années 1990 au changement de paradigme qui s’opère à la fin des années 2000, notamment avec l’émergence de la thèse de l’anthropocèneNovember 1988 the establishment of the IPCC mediates, institutionalized, legitimized the idea of an "environmental crisis" and intends to take the measurement. The 1990s and 2000s are often punctuated by global political events, participating to do, what we then called sustainable development, a major societal issue. How he gets this story on ecology the architectural environment? What lexical field he summons? Which actors do they seize it? What institutions are these themes and to which directions? What influence he has on the French architectural?The aim of this research is to understand the genealogy of the environmental story in the architectural environment, regulatory and energy issues in the 1990s paradigm shift taking place in the late 2000s, especially with the emergence the thesis of the Anthropocene
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Gordon, Angus. "The nuclear threat : family, ideology and postmodernity in Don DeLillo and David Leavitt /". Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09arg662.pdf.
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Bracken, Pat. "Trauma and the age of postmodernity : a hermemeutic approach to post traumatic anxiety". Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/3101/.
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FREIRE, LUCIANA DE ABREU. "WINE CONSUMPTION IN POSTMODERNITY: AN ANALYSIS BASED ON THE ANTHROPOLOGY OF CONSUMPTION APPROACH". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=17112@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA sensação de súbita popularidade do vinho no Rio de Janeiro é comum. De uns tempos para cá, multiplicou-se o número de revistas especializadas, blogs, sites na Internet, colunas em jornais de grande circulação, cursos e grupos de degustações, lojas, livros e guias de compra de vinho. Uma das conseqüências que pode ser notada em números é o aumento do consumo da bebida no Brasil. De acordo com dados da IBRAVIN – Instituto Brasileiro do Vinho – de 2004 para 2009, a importação de vinhos finos aumentou em 58%. O objetivo desse estudo é lançar um olhar para as significações e representações do vinho por meio de uma abordagem baseada na antropologia do consumo para se entender o aumento de interesse por esse produto nas classes altas do Rio de Janeiro. Compreender a atratividade do vinho para esse público é de grande relevância tanto para academia como para as empresas do setor. Foi realizada uma revisão de literatura sobre a sociedade pós-moderna e suas transformações mais recentes, assim como uma pesquisa de campo qualitativa, que contou com entrevistas em profundidade e com observação participante, para se entender o lugar do vinho no imaginário do consumidor. Ao final, se relacionou essas mudanças da dinâmica social e as significações desse produto para o consumidor pós-moderno para decifrar o aumento da atratividade do vinho. Os resultados sugerem que o vinho representa e significa aspirações que, segundo as teorias sociais, o sujeito pós-moderno tem: a imagem do vinho está associada à sofisticação, ao status, à tradição, à experiência, ao prazer, à cultura e à sociabilidade.
The feeling that the wine has gained sudden popularity in Rio de Janeiro is common. For some time, the number of specialized magazines, blogs, websites, articles in major newspapers, courses and groups of tastings, stores, books and guides has multiplied. One of the consequences that can be noticed in figures is the increase of drink consumption in Brazil. According to data from IBRAVIN – Brazilian Wine Institute – from 2004 to 2009 – the import of wine has increased by 58%. The goal of this study is to take a look at the meanings and representations of the wine through an approach based on the anthropology of consumption, to understand the increase of interest in this product by the upper classes in Rio de Janeiro. To understand why this product is so attractive to this public is of great relevance to the academy and to the companies. There has been a literary review on post-modern society and on its most recent transformations, as well as a qualitative field research which included in-depth interviews and participant observation, to understand which place the wine occupies in the consumers imaginary. Ultimately, the changes in the social dynamic were related to the meanings this product has to the post-modern consumer to decipher the increased attractiveness of the wine. The results suggest that the wine represents and means aspirations that, according to social theories, the post-modern individual has: the image of the wine is associated to sophistication, status, tradition, experience, pleasure, culture and sociability.