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Статті в журналах з теми "Postmodern humanism"
Tursunova, M. "Julian Barnes as a Postmodern Humanist." Bulletin of Science and Practice 6, no. 8 (August 15, 2020): 301–3. http://dx.doi.org/10.33619/2414-2948/57/37.
Повний текст джерелаBrown, Arthur A. "Raymond Carver and Postmodern Humanism." Critique: Studies in Contemporary Fiction 31, no. 2 (January 1990): 125–36. http://dx.doi.org/10.1080/00111619.1990.9934689.
Повний текст джерелаAhmed, Sara. "Beyond Humanism and Postmodernism: Theorizing a Feminist Practice." Hypatia 11, no. 2 (1996): 71–93. http://dx.doi.org/10.1111/j.1527-2001.1996.tb00665.x.
Повний текст джерелаSzahaj, Andrzej. "Postmodern Liberalism as a New Humanism." Diogenes 52, no. 2 (May 2005): 63–70. http://dx.doi.org/10.1177/0392192105052622.
Повний текст джерелаManzo, Kate. "Critical Humanism: Postcolonialism and Postmodern Ethics." Alternatives: Global, Local, Political 22, no. 3 (July 1997): 381–408. http://dx.doi.org/10.1177/030437549702200305.
Повний текст джерелаParker, Martin. "Judgement Day: Cyborganization, Humanism and Postmodern Ethics." Organization 5, no. 4 (November 1998): 503–18. http://dx.doi.org/10.1177/135050849854004.
Повний текст джерелаAbu Jweid, Abdalhadi Nimer Abdalqader, and Omar Abdullah Al-HajEid. "Experimental Narrative Structure and the Advent of New Humanism in Cormac McCarthy's The Road." International Journal of Linguistics, Literature and Translation 4, no. 12 (December 16, 2021): 99–107. http://dx.doi.org/10.32996/ijllt.2021.4.12.11.
Повний текст джерелаHatmaker, Elizabeth, Scott Herstad, Margaret R. Nugent, Lisa Prothers, Ronald Strickland, and Jason Swarts. "Postmodern pedagogies and the death of civic humanism." Social Epistemology 11, no. 3-4 (July 1997): 339–48. http://dx.doi.org/10.1080/02691729708578852.
Повний текст джерелаKuzmenko, Grigory N. "The Principles of Scientific Humanism I.T. Frolov in the Context of the Development of Modern Humanistic Thought." Social’naya politika i sociologiya 20, no. 4 (141) (December 29, 2021): 152–59. http://dx.doi.org/10.17922/2071-3665-2021-20-4-152-159.
Повний текст джерелаFrentiu, Rodica. "Contemporary Japanese Literature in Its Transition Towards the New Postmodern Humanism: Haruki Murakami." Asian Studies, no. 3 (December 1, 2011): 59–68. http://dx.doi.org/10.4312/as.2011.15.3.59-68.
Повний текст джерелаДисертації з теми "Postmodern humanism"
Gardner, Kelly. "The emergence and development of the sentient zombie : zombie monstrosity in postmodern and posthuman Gothic." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/23901.
Повний текст джерелаKaiero, Claver Ainhoa. "Creación musical e ideologías: la estética de la postmodernidad frente a la estética moderna." Doctoral thesis, Universitat Autònoma de Barcelona, 2007. http://hdl.handle.net/10803/5197.
Повний текст джерелаLa 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.
Valenzuela, Meseguer Ollin Rafael. "¿Cómo haremos para desaparecer? La disolución del sujeto en la literatura postmoderna." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/400008.
Повний текст джерелаThe 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.
Ababou, Lyazrhi Noureddine. "Le cinéma postmoderne espagnol : Icíar Bollaín : réalisme et engagement d'une cinéaste humaniste : la libération de la femme comme dépassement des stigmates sexuels." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00802109.
Повний текст джерелаAbabou, Lyazrhi Noureddine. "Le cinéma postmoderne espagnol : Icíar Bollaín : réalisme et engagement d’une cinéaste humaniste : la libération de la femme comme dépassement des stigmates sexuels." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20083/document.
Повний текст джерелаRight 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
Berghauser, Francieli Costa. "Uma reflexão sobre a juventude a partir das noções de Michel Maffesoli." Universidade Estadual do Oeste do Paraná, 2015. http://tede.unioeste.br/handle/tede/3284.
Повний текст джерелаMade available in DSpace on 2018-02-07T17:07:22Z (GMT). No. of bitstreams: 2 Francieli Berghauser.pdf: 724576 bytes, checksum: 962bb8ee169a0eeae0fad167c3cdee0d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-08-12
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
Fernández, Quinteiro Fidel. "La disolución del sujeto moderno. De la construcción narrativa de la Modernidad al sujeto postmoderno." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/398956.
Повний текст джерелаThe 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.
Nantes, Josiane Valcarenghi Ribeiro. "Quem é que fala nos filmes de Lucrecia Martel? O olhar, a narrativa, o narrador e o ponto de vista." Universidade Estadual do Oeste do Paraná, 2018. http://tede.unioeste.br/handle/tede/3678.
Повний текст джерелаMade available in DSpace on 2018-05-22T17:35:42Z (GMT). No. of bitstreams: 2 Josiane Valcarenghi Ribeiro Nantes.pdf: 2385914 bytes, checksum: d4f61aeaaa122ceb57e096947e8c4ee7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-26
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.
Alonso, Breto Isabel. ""How many identities can dance on a maple leaf?". La escritura de Marlene Nourbese Philip en el contexto de la Postmodernidad." Doctoral thesis, Universitat de Barcelona, 2003. http://hdl.handle.net/10803/1660.
Повний текст джерелаTras 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.
Deitos, Juliano Marcelino. "AGENDA PÓS-MODERNA E EDUCAÇÃO: INFLUÊNCIAS NAS DIRETRIZES CURRICULARES NACIONAIS GERAIS PARA A EDUCAÇÃO BÁSICA- DCNs/10." UNIVERSIDADE ESTADUAL DE PONTA GROSSA, 2014. http://tede2.uepg.br/jspui/handle/prefix/1371.
Повний текст джерелаCoordenação 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.
Книги з теми "Postmodern humanism"
Deliberate criticism: Toward a postmodern humanism. Athens: University of Georgia Press, 1992.
Знайти повний текст джерелаThe postmodern humanism of Philip K. Dick. Lanham, Md: Scarecrow Press, 2009.
Знайти повний текст джерелаDavis, Todd F., and Kenneth Womack. Postmodern Humanism in Contemporary Literature and Culture. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230599505.
Повний текст джерелаMiernowski, Jan, ed. Early Modern Humanism and Postmodern Antihumanism in Dialogue. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32276-6.
Повний текст джерелаVico's uncanny humanism: Reading the New science between modern and postmodern. Ithaca, NY: Cornell University Press, 2003.
Знайти повний текст джерелаDavis, Todd F. Kurt Vonnegut's crusade: Or, how a postmodern harlequin preached a new kind of humanism. Albany, NY: State University of New York Press, 2006.
Знайти повний текст джерелаKurt Vonnegut's crusade, or, How a postmodern harlequin preached a new kind of humanism. Albany: State University of New York Press, 2006.
Знайти повний текст джерелаBöhme, Günther. Humanismus zwischen Aufklärung und Postmoderne. Idstein: Schulz-Kirchner, 1994.
Знайти повний текст джерелаSteichen, Edward. The family of man, 1955-2001: Humanismus und Postmoderne : eine Revision von Edward Steichens Fotoausstellung = Humanism and postmodernism : a reappraisal of the photo exhibition by Edward Steichen. Marburg: Jonas Verlag, 2004.
Знайти повний текст джерелаPangarsa, Galih Widjil. Arsitektur untuk kemanusiaan: Teropong visual culture atas karya-karya Eko Prawoto. Surabaya: Wastu Lanas Grafika, 2008.
Знайти повний текст джерелаЧастини книг з теми "Postmodern humanism"
Davis, Todd F., and Kenneth Womack. "Conclusion: Postmodern Humanism and the Ethical Future." In Postmodern Humanism in Contemporary Literature and Culture, 161–65. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230599505_12.
Повний текст джерелаDavis, Todd F., and Kenneth Womack. "Embracing the Fall: Reconfiguring Redemption in Jim Harrison’s The Woman Lit by Fireflies, Dalva and The Road Home." In Postmodern Humanism in Contemporary Literature and Culture, 3–19. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230599505_1.
Повний текст джерелаDavis, Todd F., and Kenneth Womack. "Performing Empowerment: Revisiting Liberation Pedagogy in Eve Ensler’s The Vagina Monologues." In Postmodern Humanism in Contemporary Literature and Culture, 138–49. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230599505_10.
Повний текст джерелаDavis, Todd F., and Kenneth Womack. "How Do You Solve a Problem Like Magnolia?" In Postmodern Humanism in Contemporary Literature and Culture, 150–60. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230599505_11.
Повний текст джерелаDavis, Todd F., and Kenneth Womack. "Writing Back through the Body: The Communion of Flesh and Spirit in the Work of Mary Swander." In Postmodern Humanism in Contemporary Literature and Culture, 20–36. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230599505_2.
Повний текст джерелаDavis, Todd F., and Kenneth Womack. "Always Becoming: The Nature of Transcendence in the Poetry of Mary Oliver." In Postmodern Humanism in Contemporary Literature and Culture, 37–49. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230599505_3.
Повний текст джерелаDavis, Todd F., and Kenneth Womack. "Saints, Sinners, and the Dickensian Novel: The Ethics of Storytelling in John Irving’s The Cider House Rules." In Postmodern Humanism in Contemporary Literature and Culture, 53–69. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230599505_4.
Повний текст джерелаDavis, Todd F., and Kenneth Womack. "Curses and Blessings: Identity and Essentialism in the Work of Sherman Alexie." In Postmodern Humanism in Contemporary Literature and Culture, 70–83. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230599505_5.
Повний текст джерелаDavis, Todd F., and Kenneth Womack. "“Our long national nightmare is over”: Moral Repair and Jeffrey Eugenides’s The Virgin Suicides." In Postmodern Humanism in Contemporary Literature and Culture, 84–100. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230599505_6.
Повний текст джерелаDavis, Todd F., and Kenneth Womack. "“What’s Filipino? What’s authentic? What’s in the blood?”: Alterity and Ethics in the Novels of Jessica Hagedorn." In Postmodern Humanism in Contemporary Literature and Culture, 101–14. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230599505_7.
Повний текст джерелаТези доповідей конференцій з теми "Postmodern humanism"
Khitruk, Ekaterina. "Публичное и частное в философии религии Ричарда Рорти". У The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-14.
Повний текст джерелаWidjaja, Fransiskus Irwan, Fredy Simanjuntak, and Noh Ibrahim Boiliu. "Repositioning Mission in Postmodern Culture." In 1st International Conference on Education, Society, Economy, Humanity and Environment (ICESHE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200311.038.
Повний текст джерелаLAGE VELOSO, CARMEN. "EL RAPTO DE LO SUBLIME." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9593.
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