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1
Nattiez, Jean-Jacques. "La fondation de Circuit et sa première décennie : un coup d’oeil rétrospectif et autocritique." I. Hier : il y a 20 ans 20, no. 1-2 (April 29, 2010): 13–23. http://dx.doi.org/10.7202/039639ar.
Анотація:
Le cofondateur de la revue raconte les origines et l’essor subséquent de Circuit durant la décennie (les années 1990) où il l’a pilotée. Se penchant sur le contexte intellectuel qui a vu la naissance de la revue, l’auteur souligne l’importance de Circuit en tant que forum de débats esthétiques importants. Sont discutés notamment les numéros consacrés au postmodernisme, à la musique actuelle et à l’électroacoustique.
2
Lushnikova, Galina I., and Tatiana Yu Osadchaia. "CONTAMINATION OF POSTMODERNIST AND POST-POSTMODERNIST TENDENCIES IN THE WORKS BY J. FRANZEN." Philological Class 26, no. 2 (2021): 200–211. http://dx.doi.org/10.51762/1fk-2021-26-02-17.
Анотація:
The study focuses on the manifestation of the main literary trends – postmodernism and post-postmodernism – in the novels of the contemporary American writer J. Franzen, which has determined the purpose of the paper – to identify, characterize and analyze the leading features of the new literary tendencies that have obtained original interpretation in the writer’s literary creative activity. The article gives a brief overview of philosophical, cultural and literary criticism studies of both home and foreign scholars, which describe the vectors of development of the literary process at the present stage, pose various hypotheses with reference to the definition of these vectors, characterize them and suggest new terms for their nomination. The postmodernist and post-postmodernist tendencies are explored on the concrete material of the novels The Corrections and Purity by J. Franzen, in which they receive original interpretation and serve the purpose of impersonating the author’s ideas, unfolding the main themes, creating the characters and expressing the narration modality. The key method of research used in this paper is the method of interpretive analysis, which involves identifying content and semantic dominants and interpreting a work of fiction within a certain literary context, determining the inclusion of this work in the system of current literary movements and trends. The interpretive analysis of the works under investigation revealed various tendencies typical for the literary process of the post-postmodern era on the whole, the most important of which are the following: no clear distinction between postmodernism and post-postmodernism; realization and sophisticated interaction of elements of such new trends as metamodernism, cosmodernism, digimodernism, and automodernism. The results of the study can be used in literary analysis of modern fiction, and specifically in research works of different levels and in teaching at philological faculties of universities. The study argues that the novels by J. Franzen demonstrate the specific features of postmodernism and post-postmodernism, which reject the postmodernist principles and at the same time follow them, return to the realistic traditions and actualize new literary tendencies.
3
Ershova, Iuliia. "The technique of postmodernist simulation game in the novel “Supernova: The Knight, The Princess, and The Falling Star” by Indonesian writer Dewi Lestari (2001)." Litera, no. 5 (May 2021): 88–96. http://dx.doi.org/10.25136/2409-8698.2021.5.35544.
Анотація:
This article examines the modern Indonesian women’s prose and its interaction with the elements of postmodernist paradigm. The object of this research is the novelistic writing of the prominent Indonesian author Dewi Lestari on the example of the novel "“Supernova: The Knight, The Princess, and The Falling Star” (Supernova: Ksatria, Puteri, dan Bintang Jatuh, 2001), which is part of the series “Supernova” (2001-2016). Fiction, as the “median” field in literature, embraces various codes of language art. Relying on the tested patterns of popular literature, it can also appeal to postmodernism. In the latter case, the works are characterized by the presence of deconstructive and game (including simulation) principles. The example of application of the codes of fiction and postmodernism is the novel of under review. An important role in the research is played by the literary-theoretical, typological, and descriptive methods. The work of Dewi Lestari has not yet been considered from the perspective of postmodernist game technique and involvement of the concept of simulacrum. An attempt to do this on the example of her most famous works defines the novelty of this research, as well as the noticeable place of postmodernism in Eastern literatures makes relevant it analysis based on the original Indonesian literature. Reference to the poetics of postmodernism through borrowing the simulation game technique allowed Lestari to create a commercially successful product. The perception of the text by each reader in accordance with their worldview, and engagement in the game proposed by Lestari, correspond to the ideas of the postmodernist interpretation of the literary text, as well as to the laws of the market. This is why modern Indonesian writers refer to the postmodernist paradigm.
4
Bowden, Bradley G. "Empiricism, epistemology and modern postmodernism: a critique." Qualitative Research in Organizations and Management: An International Journal 14, no. 4 (November 11, 2019): 481–97. http://dx.doi.org/10.1108/qrom-02-2019-1726.
Анотація:
Purpose The purpose of this paper is twofold: first, it seeks to trace the origins of the various strands of postmodernism within German philosophic idealism; traditions of thought which placed emphasis – like postmodernism – on a subjective understanding of evidence and a supposed capacity of human consciousness to continually move beyond the bounds imposed by social convention and being; second, this paper states that postmodernism, rooted as it is in philosophic idealism, is methodologically and conceptually constrained. Its emphasis on consciousness and will marginalize its capacity to make meaningful contributions in areas such as economics, and the wider trends in human history. Design/methodology/approach This paper is theoretical. It seeks to locate conflicting methodologies – most particularly those relating to postmodernism, positivism and philosophical realism – within the traditions of thought that have emerged since the enlightenment. Findings Postmodernism is rooted in philosophical idealism. As such, it places emphasis on consciousness, identity and being. The essential problem with postmodernism, this paper argues, is not this emphasis. These are legitimate areas of inquiry. Rather, the central problem with postmodernist-informed research is found in the limited range of methodological and conceptual tools in its kitbag. Originality/value Despite the growing influence of postmodernism in its various shades within academia, few of its proponents and critics trace its philosophic origins. In doing so this paper highlights the strengths and limitations of not only postmodernism but also its polar opposite, positivism.
5
Turbin, Carole. "Introduction to Roundtable." Social Science History 22, no. 1 (1998): 1–6. http://dx.doi.org/10.1017/s0145553200021659.
Анотація:
Like many other social science historians, since the late 1980s I have reflected on how postmodernist thinkers like Foucault and Derrida are useful for historians. In 1995 I taught a graduate course on the history of social history, and I looked back on the origins of the field through the eyes of my students who were intrigued with postmodernism. I realized that time has crept up on me. I barely noticed that this field that we developed over the years is no longer young but has come of age and is now part of the accepted canon, one of many subdisciplines. Indeed, my students thought of social science history in much the same way that social science historians viewed traditional political history, a field whose assumptions and perspectives should be critically analyzed, challenged, and revised. These students helped me to see postmodernist criticisms in a new light, not as a sharp break from social science history but rather as emerging at least in part from long-term developments within the field itself. The contributors to the debate on these pages see postmodernism in this way. In various ways, they contend that these challenges, poststructuralist and otherwise, can help us to see within social science history contradictions and tensions that result in both strengths and weaknesses. We can learn from postmodernism without accepting it uncritically; we can reevaluate materialist social history in light of new challenges without rejecting social science history's benefits.
6
Remete, George. "The origins of postmodernism." Altarul Reîntregirii, no. 3 (2017): 7–24. http://dx.doi.org/10.29302/ar.2017.3.1.
7
Duniya, Giles, and Kehinde Adewumi. "Contemporary Nigerian Artists' Response to Postmodernist Trends and Its Implications for Effective Artistic Growth." African Journal of Inter/Multidisciplinary Studies 5, no. 1 (2023): 1–11. http://dx.doi.org/10.51415/ajims.v5i1.1202.
Анотація:
The arguably retrogressive development of infrastructures, socio-political systems and technology in most African states casts a shadow of doubt on Africa’s claim to modernity and by extension, postmodernity. Within the context of the arts, the argument of this paper is premised on two questions: Why do some Nigerian artists claim to be post-modern? What is the viability of such a claim, in a country that, one is wondering whether it is even a modern society? To proffer answers to these questions, the paper enunciates a historical overview of contemporary African art and artists vis-à-vis the generalized concept of post-modernity, from the subjective view that its conceptualization and understanding, have a direct influence on contemporary artistic practice and expression. The paper then interrogates certain arts, within the context of their postmodern trend. The paper's conceptual framework is premised on Peroziosi’s (2009) postulation that artworks are reflective of their original time, place, and production circumstances. The authors conclude that contemporary artists’ responses to and their manifestation of postmodernist trends are such that can be categorised into three: Those who aspire faithfully to postmodernist principles; those who are inspired by postmodernism but want to progress their society by socio-political and economic reflections, criticism and advocacies as well as those who ordinarily would not have been artists perhaps, if not for the freedom provided by postmodernism.
8
Shaukat, Fakhr ul Munir, and Muhammad Hamza. "Anarchism: A Legacy of Postmodernism." Global Political Review VI, no. IV (December 30, 2021): 14–20. http://dx.doi.org/10.31703/gpr.2021(vi-iv).02.
Анотація:
This study has made the implicit links betweenpostmodernism and anarchism explicit in order to uncoverthe philosophical origins of terrorism in the postmodern society. This studydeals with the Anarchists' philosophical background and howPostmodernism fanned it. Anarchists' approach mainly whirls around asingle point agenda, and that is, they are against the state or existence ofstates' borders. I mention again what Researcher has already mentioned,the state and all other international institutions emerged after a rationalapproach as stated by Hegel. Postmodernism denied that reality in everycontour, whether those are institutions or anything else. Anarchism broughtthis concept into a broader paradigm and started denying the existence ofthe state. So, both postmodernists and anarchists have denied the realityin their own capacities, but the grounds and arguments are the same.Anarchism paved the way for multiple active terrors based centrifugalmovements throughout the world.
9
Герасимов, Илья. "Гипермодерн “инженера” Гарина и преодоление постмодернизма Владимиром Сорокиным". Ab Imperio 2024, № 1 (2024): 150–84. http://dx.doi.org/10.1353/imp.2024.a927447.
Анотація:
SUMMARY: The article discusses the two latest novels by the modern Russian classic writer Vladimir Sorokin: Legacy (2023) and especially Doctor Garin (2021). Based on his interpretation of Sorokin’s aesthetical and philosophical program developed elsewhere, Ilya Gerasimov reads Doctor Garin as a literary work that did not go as planned. Dismayed by the unexpected result, Sorokin wrote Legacy as a follow-up meant to explicate Doctor Garin ’s message and explain it to himself and his readers. Therefore, Legacy develops to the extreme only one aspect of the 2021 novel. According to Gerasimov, Doctor Garin was planned as a postmodernist satire on the Russian intelligentsia, modernist literature, and the very society of modernity that produced them. Doctor Garin and his miraculous method of hypermodernism is an obvious reference to Aleksey Tolstoy’s The Hyperboloid of Engineer Garin (1926–1927) about an impostor and adventurist seeking world domination. Sorokin mocks the modernist belief in “certain schemes to improve the human condition” (to quote this belief’s famous academic critic, James C. Scott) and Russian modernist literature, from Vladimir Mayakovsky to Vasily Aksenov, as well as modern governments’ failed political leadership. For over half of the book, Sorokin sustains his original rational design, channeling all his trademark spontaneous prose into “subtexts” – more or less extensive citations of imagined books or diaries introduced in the main text every 20–30 pages of the book. However, at some point, these subtexts disappear, and the protagonist fully immerses himself in Sorokin’s irrational narrative driven by the logic of language rather than ideological considerations. This change of narrative mode transforms everything – from the protagonist’s personality to the novel’s central message. Gerasimov argues that Sorokin chose time as a central argument of his antimodernist criticism, vindicating postmodernism as a condition of multiple isolated chronotopes, with each subculture or identity group living in a unique temporality of its own – contrary to modernism’s belief in progress and the normative universality of time. However, the spontaneous narrative of the novel’s second half produces a different effect. It models social reality as multidimensional and yet fundamentally interconnected. In any of the very distinctive chronotopes, social reality acquires its stable characteristics only situationally in the eyes of an active subject rather than by some preset, anonymous and objective factors, such as temporality or identity. This message is communicated by the narrative independently of its author, who attempted to produce a different conclusion in the follow-up novel Legacy . Inadvertently, instead of affirming a postmodernist worldview – relativist but static – and mocking the old modernism and some hypothetical “metamodernism” anticipated since the late 2010s, Sorokin outlined a program for a truly new, “post-postmodernist” modernism. It combines postmodernism’s multifaceted, multidimensional view of reality with modernism’s ability to produce a coherent narrative anchored in an unequivocal moral position. It embraces multiple temporalities, but also the idea of the future as a condition radically different from the past and present. Gerasimov uses the difference in conceptualizing temporality as the main criterion differentiating the modernist and postmodernist epistemes, in any of their aesthetic versions, as well as the hypothetical new modernism as spontaneously outlined in Sorokin’s Doctor Garin .
10
Suárez Müller, Fernando. "Gaia and Religious Pluralism in Bruno Latour’s ‘New-Materialism’." Religions 14, no. 8 (July 25, 2023): 960. http://dx.doi.org/10.3390/rel14080960.
Анотація:
In his works on ecological philosophy, Bruno Latour develops an interesting perspective on religion and pluralism. He proposes a new worldview, in which religion is reinterpreted in view of a Gaian philosophy. He extends ‘pluralism’ beyond the anthropocentrism that dominates modern humanism. In his book Facing Gaia Latour includes nonhuman beings in a larger community and works towards a larger concept of eco-humanism. In this paper, I try to reconstruct his position by showing that the philosophical foundation for his interpretation of religion could be called ‘terrarism’ and is to be classified as a form of new materialism. This new interpretation of materialism has postmodernist origins (inspired by Gilles Deleuze), but it is not identical to it, because Latour distances himself from ‘postmodernism’. He wants to positively contribute to a new ontology. My point is that Latour’s ‘terrarist’ grounding of religious pluralism obstructs any foundation of transcendence and, finally, congests a really pluralistic ecumene because he still adheres to the postmodernist idea that we should renounce to a unitary principle of being. His ideas on eco-humanism and pluralistic ecumene could gain momentum if we opened ourselves to a more holistic and spiritual way of thinking, retaking Lovelock’s conception of Gaia. However, Latour’s new-materialistic interpretation of ‘animism’ can be seen as a positive contribution to a new perspective of the world that definitively sets ‘materialism’ aside.
11
Gilmour, John C. "Original Representation and Anselm Kiefer's Postmodernism." Journal of Aesthetics and Art Criticism 46, no. 3 (1988): 341. http://dx.doi.org/10.2307/431105.
12
GILMOUR, JOHN C. "Original Representation and Anselm Kiefer's Postmodernism." Journal of Aesthetics and Art Criticism 46, no. 3 (March 1, 1988): 341–50. http://dx.doi.org/10.1111/1540_6245.jaac46.3.0341.
13
Johnson, James, and Dana R. Villa. "Public Sphere, Postmodernism and Polemic." American Political Science Review 88, no. 2 (June 1994): 427–33. http://dx.doi.org/10.2307/2944714.
Анотація:
Theories of the public sphere, as standardly formulated, aim to specify the minimal, necessary conditions for a discursive realm free of coercion or manipulation. In his article in this Review in September 1992, Dana Villa urged us to reconsider this standard account. He argued that when read in light of postmodernist theory, Hannah Arendt provides the basis for a revised conception of the public sphere that privileges plurality and difference over consensus. Jim Johnson suggests that Villa's analysis is a thinly veiled polemic against critical theory. Johnson argues that, as critique, Villa's argument is neither decisive nor encompassing, and that as polemic it blinds Villa to potentially fruitful disagreements with critical theorists. Villa replies that Johnson misses the synthetic thrust of the original article because he identified public realm theory too narrowly with Habermas. Thus, he misconstrues the dialogue Villa sought to facilitate between Arendt and postmodernism.
14
Bochkarev, Sergey A. "The origins of postmodernism about the true meaning and purpose of post-law." Gosudarstvo i pravo, no. 11 (2021): 24. http://dx.doi.org/10.31857/s102694520016773-1.
Анотація:
The article examines the cultural origins of postmodernism in order to establish the true meaning and purpose of the post-law developed on its basis. According to the results of the study, there is no evidence that postmodernism belongs to the general cultural phenomena of modernity, the argument about which is often used as a strong argument for the development of post-law and its introduction into scientific and practical circulation. The attitude of postmodernism to the subculture of protest is revealed. The analysis of the prerequisites that form postmodernism convinced him that he does not have a positive agenda for society, and the post-right has something new and anti-crisis. Postmodernity and the post-law derived from it are forms of nihilism and can only be used terminologically to emphasize the nature of the gap between certain groups of society and the meanings and traditions operating in it. The study of the consequences of the adaptation of postclassical ideas in jurisprudence has revealed that they affirm in the legal consciousness the ideas of the classical antipodes of law as its newest values, and law enforcement returns to the times when objective imputation prevailed in justice.
15
Tarasov, Aleksei Nikolaevich. "The origins of postmodernism as a sociocultural transformation: counterculture of the 1960s – early 1970s." Философская мысль, no. 2 (February 2021): 53–62. http://dx.doi.org/10.25136/2409-8728.2021.2.32871.
Анотація:
This article reviews postmodernism as a transitional stage in the dynamics of modern culture in the countries of Euro-Atlantic civilization. Such transitional stages the author defines as sociocultural transformations. Postmodernism is the finale of the current stage of sociocultural transformation, which according to the author started in the last third XIX century with the avant-garde culture. The article traces the impact of counterculture of the 1960s – early 1970s upon establishment of the postmodern paradigm. It is demonstrated that counterculture manifested as the sociocultural background that promoted the consolidation of postmodernism in culture of the countries of Euro-Atlantic civilization. The logic of studying sociocultural transformations suggests the application of interdisciplinary approach. The key research method is the philosophical interpretation. The main conclusion consists in proving the hypothesis on the background, sociocultural impact of counterculture of the 1960s – early 1970s upon the consolidation of postmodernism as the sociocultural transformation. The author offers an original approach towards periodization of the European (Euro-Atlantic) culture, which distinguishes the corresponding periods in its continuum through the prism of sociocultural transformations. A detailed analysis of the impact of counterculture upon postmodern statement is provided.
16
Holt, Robert R. "Postmodernism: Its Origins and its Threat to Psychoanalysis." International Forum of Psychoanalysis 11, no. 4 (January 2002): 264–74. http://dx.doi.org/10.1080/080370602321124740.
17
Deng, Gang. "The origins of postmodern moral relativism." Filozofia Publiczna i Edukacja Demokratyczna 8, no. 1 (June 2, 2019): 77–94. http://dx.doi.org/10.14746/fped.2018.7.2.2019.8.1.5.
Анотація:
Postmodernism, which emerged in the 1960s, involves a wide range of fields and carries out all-round critical reflections on the foundation, tradition and other aspects of the development of modern civilization. Postmodern morality came into being with the popularity of postmodernism in western countries. It features obvious “de-universality” and provides a new mirror for reflections on modern morality. Its progressive significance cannot be ignored. However, some postmodern moral concepts are becoming increasingly relativistic, even going to extremes, bringing about disturbances to society. Tracing the root of moral relativism back to ancient times based on the great history of its development, this study first sorts out the same gene of ancient Western moral relativism – using “skepticism” as a weapon against authority and dogmatism, and points out that the key of using moral relativism lies in seeking the proper limit of “skepticism”. Then it draws forth the fact that postmodern morality started with “skepticism” and prevailed because of its “relativism”, pointing out that some postmodern morality moved toward moral relativism because of persistence in “skepticism”, while some fall into a state of moral nihility by radicalising “skepticism”. If a craftsman wants to do good work, he must first sharpen his tools. This study concludes with suggestions on how to use the “skepticism” of postmodern morality.
18
Bilyk, Nataliia L. "CONTEXTUAL DIMENSIONS OF M. PRODANOVYCH`S NOVELS POETICS." Alfred Nobel University Journal of Philology 2, no. 22 (2021): 69–81. http://dx.doi.org/10.32342/2523-4463-2021-2-22-6.
Анотація:
One of the most original figures in modern Serbian literature is Mileta Prodanovic ‒ an artist, art critic, writer, winner of international awards in the field of literature. The expressive diversity of M. Prodanovich`s works draws special attention to all effective indicative aspects. The context of the activity of creative figures is traditionally considered to be a separate inalienable fruitful plan of their coverage. The contextual cultural process of the last quarter of the twentieth century, in line with which M. Prodanovich`s work developed, has acquired the definition of the postmodern era. Analytical systematization of contextual factors and their artistic reflexes in the artist's prose need additional coverage. Accordingly, it is important to express the context (marked by the manifestations of postmodernism) of the formation of the creative worldview and to determine the priorities of the figurative language of the contemporary Serbian artist. The aim of this article is to focus on the postmodern dimensions of certain types of Serbian national art and in particular literature, contextual for the prose work of M. Prodanovic, with regard to the poetics of the artist. The study is based on the performance of comparative-historical and genetic-typological methods in combination with structural analysis and cultural semiotic approach. M. Prodanovic`s work has not only a chronological connection with the era and the concept of postmodernism in Serbian literature. Already in the early stages of artistic activity, in the early eighties, when postmodernism was a new theme, the conceptual core of his work was centered precisely in connection with its landmarks. Accordingly, a special purposeful concretization of the definitive features of the national-mental adaptation of the ideology of postmodernism in Serbia acquires special significance. These are the fundamental conceptual features of postmodernism, which in the stream of postmodern philosophy demonstrate its meaning of the eclectic movement, focused on an alternative approach to the world, aimed at the concepts of methodology of phenomenology, structuralism and existentialism. A number of developmental conceptual solutions relevant to the contextual interaction of the postmodern worldview with the literary process are contained in the empirical experience of artistic creation in general. In its vein, one of the programme items for the correlation of the art poetics with the concept of postmodernism is the experience of architecture. At the same time, there has been an active figurative expansion of postmodernist solutions in the fine arts since the mid-1960s. And the literary process, particularly in the Serbian national format, was strongly influenced by the ideology of postmodernism. Thus, the defining contextual dimension of M. Prodanovic`s creative credo is formed by (thoroughly revealed in the Serbian national fine arts and in the literary process) classical conceptual principles of postmodernism, the manifestations of which are natural for the poetics of the artist's prose and testify to the writer's creative reactions to the signs of various forms of postmodern poetics. In their perspective in terms of semantics of M. Prodanovich`s novels it becomes more contrasting illustrative for the context disclosure of cognition of the world, the metaphysical basis of civilization through atypical for this context inexhaustible potential for humanistic solution of universal philosophical questions of existence, with recognition of its essential importance in explication of the special author`s experience in the art of word.
19
Morera, Lucía. "THE LESBIAN BILDUNGSROMAN: THE PROCESS OF SELF-DISCOVERY IN JEANETTE WINTERSON’S ORANGES ARE NOT THE ONLY FRUIT (1985)." RAUDEM. Revista de Estudios de las Mujeres 2 (May 22, 2017): 256. http://dx.doi.org/10.25115/raudem.v2i0.601.
Анотація:
Debido a la proliferación de editoriales de carácter feminista, a finales de los años ochenta muchos colectivos de mujeres lograron finalmente visibilidad gracias a la literatura postmoderna. Autoras feministas y lesbianas como Jeanette Winterson utilizaron la escritura como un marco artístico donde exponer sus propios procesos de identificación e individualización al rebelarse contra la feminidad heterosexual y normativa impuesta por la sociedad. El objetivo de este artículo es ilustrar como la novela de Winterson Oranges Are Not the Only Fruit (1985) reelabora el concepto original de la novela de aprendizaje y desarrolla una perspectiva lésbica de la novela de formación.Palabras clave: lésbico, Bildungsroman, identidad, homosexual, autobiográfico, autodescubrimiento, Winterson, postmodernismo. The Lesbian Bildungsroman: The Process of Self-discovery in Jeanette Winteson’s Oranges Are Not the Only Fruit (1985)Abstract: Due to the proliferation of feminist publishing houses, such as Pandora Press or Virago, during the late eighties many oppressed female groups finally achieved visibility by means of postmodern literature. Female lesbian and feminist authors, like Jeanette Winterson, used their texts as an artistic framework in which they described their own processes of identification and individuation while rebelling against normative heterosexual femininity as imposed in Western societies. The aim of this paper is to illustrate how Winterson’s novel Oranges Are Not the Only Fruit (1985) reworked the original genre of the “coming-out” novel and developed the concept and practice of the “lesbian Bildungsroman”.Keywords: lesbian, Bildungsroman, identity, homosexual, autobiographical, self-discovery, Winterson, postmodernism.
20
Ovodova, Svetlana P. "Global in the discourse of metamodernism: The problem of origins." Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 22, no. 1 (March 22, 2022): 29–33. http://dx.doi.org/10.18500/1819-7671-2022-22-1-29-33.
Анотація:
The article examines the representation of the global phenomenon in the discourses of modernity and metamodernity. In the domestic reception, metamodernism is often represented as post-postmodernism. A significant discrepancy in assessments of a fairly integral phenomenon of modern philosophy of culture, which is metamodernism, can be explained. The methodological guidelines of metamodernism are still in development. Theorists of metamodernism continue their search, the establishment of interaction between postirony, authenticity, new sincerity, depth, historicity, affect, selfhood, and superhybridity. In this regard, the analysis of the methodology of metamodernism is possible not only by studying its individual attitudes, but by referring to the foundations of the metamodern discourse. Highlighting the key models of the global in the discourses of modernity and postmodernity allowed us to assess their representation in the metamodern program. The philosophy of modernity is characterized by the idea of the global as the idea of the history taken outside of it (G. Hegel), as the idea that is formed in the process of history (K. Marx). Postmodernism reduces these models to the level of simulacra. The distinction of the local is characteristic of postmodern deconstructivism. Metamodernism in its research practice combines the discourse of the global and the local, offering options for the return of history to human life.
21
ETARYAN, Yelena. "The German View on Modernism and Postmodernism." WISDOM 15, no. 2 (August 23, 2020): 211–19. http://dx.doi.org/10.24234/wisdom.v15i2.336.
Анотація:
This article examines the origins of modernism/postmodernism and their presentation in the light of aesthetic and philosophical treatises or literary works of Friedrich Schlegel, Heinrich Kleist, Friedrich Schiller, as well as in the triad model of the world history and the biblical story of the fall of the man. The common idea which lies at the basis of the works presented is the contrast between the principles of nature and reason and the search for opportunities for their synthesis. The main thesis of the article is to present the commonality between the maxims of modernism/ postmodernism and early German romanticism, as well as to consider postmodernism as late romanticism with its inherent manneristic features. The basic concepts of modernism and postmodernism are presented through the prism of works and theories of Friedrich Nietzsche, Wolfgang Welsch, Christoph Bode, Rolf Günter Renner, as well as Victor Žmega?. The central concept in the article is the concept of self-reflection of literature and art as the most vivid feature of modernism and postmodernism.
22
Zhang, Qianyu. "The Study of Postmodernism Tendency in Flowers for Algernon." Journal of Education and Educational Research 6, no. 1 (November 21, 2023): 175–80. http://dx.doi.org/10.54097/jeer.v6i1.14246.
Анотація:
Flowers for Algernon is a story about Charlie Gordon, a 32-year-old mentally challenged, who happens to have the opportunity to undergo a surgical procedure that will increase his mental capabilities. After the surgery, he has to face many great changes, like getting used to his high IQ. At the end of the story, the surgery reverses, and Charlie’s intelligence returns to its original level. Though it’s science fiction by Daniel Keyes, it has some postmodernism tendencies if judged from this perspective. To analyze the postmodernism tendencies in this book, the basic information of the book and postmodernism should be given. So, the first part introduces the summary of this book and its general information. Then lists some of the important features of postmodernism and postmodernism in literature, namely the loss of grand narrative, simulacrum, and language features. The next part acts on a detailed analysis based on the original text from the above-mentioned perspective. First, the disappearance of grand narratives, which in this book is the disbelieve in religion and science. The grand narrative in other words is mini-narratives, so this task then introduces three essential themes of this novel, that is the circle of life, the ethical problem of medical uses for intelligence surgery, and the psychoanalysis of the subconscious through dreams. All these aspects show diversity as a feature of postmodernism. Next, this task introduces the simulacrum in this novel, which is the distinction between authority and reality. Lastly, this task analyzes the language features of this novel.
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Peters, Helen. "Towards Canadian Postmodernism." Canadian Theatre Review 76 (September 1993): 13–17. http://dx.doi.org/10.3138/ctr.76.003.
Анотація:
Canadians today recognize ourselves as descendants of French and English colonists, immigrants, and North American Aboriginal peoples. We are becoming more aware of complex issues in the history of our country and increasingly sensitive to the interrelationship between the Aboriginal population and European settlers from the earliest stages of colonization through the process of achieving nationhood. In Canada as in other countries of colony-based origins, colonization furthered the interests of the colonizer, not the native, and subsequent historical development has paid little attention to redressing political, social, or economic imbalances. We are all still becoming aware of our legacy and future as Canadians. Theatre critics and analysts in Canada, like colleagues in other former colonial countries, are studying the recent development in theatre and theatre studies and the influence of funding and other policies of recent governments to promote Canadian theatre and culture in the latter part of this century.1 Effects of government policies have been both positive and negative; a positive effect which interests me here is the increasing capability that enables Aboriginal peoples to express themselves theatrically. A major result of this capability has been the appearance of theatre written and performed by Aboriginal people and another result has been the disappearance of European representation of Aboriginal people in “white” productions, even in established works such as Shakespeare’s The Tempest which is being restaged so that the play’s basic imperialist assumptions can be called into question.2 This change is effected by replacing the generic savage with Aboriginal people who have “a local habitation and a name” and by relocating the play from a vague unidentified protrusion of land in a Prospero-controlled sea to an identifiable period and a recognizable island.
24
Fredman, Stephen. "Form and Experience: Williams, Dewey, and the Origins of American Postmodernism." William Carlos Williams Review 32, no. 1-2 (2016): 33–52. http://dx.doi.org/10.1353/wcw.2016.0003.
25
Sağıroğlu, Rana. "A Compact Embodiment of Pluralities and Denial of Origins: Atwood’s The Year of The Flood." European Journal of Multidisciplinary Studies 1, no. 3 (April 30, 2016): 141. http://dx.doi.org/10.26417/ejms.v1i3.p141-146.
Анотація:
Margaret Atwood, one of the most spectacular authors of postmodern movement, achieved to unite debatable and in demand critical points of 21st century such as science fiction, postmodernism and ecocriticism in the novel The Year of The Flood written in 2009. The novel could be regarded as an ecocritical manifesto and a dystopic mirror against today’s degenerated world, tending to a superficial base to keep the already order in use, by moving away from the fundamental solution of all humanity: nature. Although Atwood does not want her works to be called science fiction, it is obvious that science fiction plays an introductory role and gives the novel a ground explaining all ‘why’ questions of the novel. However, Atwood is not unjust while claiming that her works are not science fiction because of the inevitable rapid change of 21st century world becoming addicted to technology, especially Internet. It is easily observed by the reader that what she fictionalises throughout the novel is quite close to possibility, and the world may witness in the near future what she creates in the novel as science fiction. Additionally, postmodernism serves to the novel as the answerer of ‘how’ questions: How the world embraces pluralities, how heterogeneous social order is needed, and how impossible to run the world by dichotomies of patriarchal social order anymore. And lastly, ecocriticism gives the answers of ‘why’ questions of the novel: Why humanity is in chaos, why humanity has organized the world according to its own needs as if there were no living creatures apart from humanity. Therefore, The Year of The Flood meets the reader as a compact embodiment of science fiction, postmodernism and ecocriticism not only with its theme, but also with its narrative techniques.
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Wöll, Steffen. "Shuffling Narratives: Apocalypticism, Postmodernism, and Zombies." Anglica. An International Journal of English Studies, no. 29/1 (2020): 87–107. http://dx.doi.org/10.7311/0860-5734.29.1.06.
Анотація:
Zombies and the tropes that surround them have become a staple of popular culture and a familiar presence in movies, television series, graphic novels, and video games. From their Caribbean folklore origins, the undead are palimpsestic metaphors for social issues and cultural anxieties. This article examines the rarely studied tensions between apocalyptic desires to resurrect narrative stability through monstrous bodies and postmodern voices that utilize zombies to decompose societal conventions. Despite this supposed antagonism, the article suggests that zombies amalgamate these contrasting mindsets by assuming a role of pop-cultural mediators that bridge the gap between increasingly divisive cultural epistemologies.
27
Klotz, Günther. "Howard Barker: Paradigm of Postmodernism." New Theatre Quarterly 7, no. 25 (February 1991): 20–26. http://dx.doi.org/10.1017/s0266464x00005157.
Анотація:
The plays of Howard Barker are probably more fervently admired and resolutely disliked than those of any other British dramatist of his generation. Although we have twice published interviews with the playwright about his life and work – first in the original Theatre Quarterly, TQ40 (1981), and more recently in NTQ8 (1986) – subsequent articles in NTQ have tended to be critical of his achievements: we are therefore pleased to present here a view of two of his latest plays, The Last Supper and The Bite of the Night, which, while recognizing precisely those qualities for which Barker has often been attacked, suggests that there is a social as well as a highly theatrical purpose behind the ‘postmodern’ approach to theatricality here identified. Th e author, Günther Klotz, teaches and researches in English studies in Berlin, where he has published numerous critical studies and editions of British dramatists and other writers.
28
Filina, Irina. "Schelling – Classic, Postmodernist and Contemporary." Sententiae 3, no. 1 (June 25, 2001): 141–58. http://dx.doi.org/10.31649/sent03.01.141.
Анотація:
The author considers Schelling`s personality: German philosophy classic and its first historian. She demonstrates postmodern nature of Schelling`s philosophy. As she think, Schelling has been affirming nature`s autonomy and its perpetual interaction with history of philosophy. By criticizing Hegel`s panlogism Schelling has stimulated development of postclassic philosophy core ideas: accidental, auto-important, original, unique, irrational, genius. The author demonstrates, that Schelling`s concept of open system, which perpetually changes, makes him our contemporary.
29
Cunningham, Andrew, and Perry Williams. "De-centring the ‘big picture’: The Origins of Modern Science and the modern origins of science." British Journal for the History of Science 26, no. 4 (December 1993): 407–32. http://dx.doi.org/10.1017/s0007087400031447.
Анотація:
Like it or not, a big picture of the history of science is something which we cannot avoid. Big pictures are, of course, thoroughly out of fashion at the moment; those committed to specialist research find them simplistic and insufficiently complex and nuanced, while postmodernists regard them as simply impossible. But however specialist we may be in our research, however scornful of the immaturity of grand narratives, it is not so easy to escape from dependence – acknowledged or not – on a big picture. When we define our research as part of the history of science, we implicitly invoke a big picture of that history to give identity and meaning to our specialism. When we teach the history of science, even if we do not present a big picture explicitly, our students already have a big picture of that history which they bring to our classes and into which they fit whatever we say, no matter how many complications and refinements and contradictions we put before them – unless we offer them an alternative big picture.
30
Gunawan, Elizabeth, Helena Calista, and Alfiansyah Zulkarnain. "ADAPTASI TANPA ISI: PENGARUH DESAIN “UNTITLED - I SHOP THEREFORE I AM” KARYA BARBARA KRUGER TERHADAP DESAIN LOGO BRAND SUPREME." Jurnal Dimensi Seni Rupa dan Desain 18, no. 1 (October 1, 2021): 1–12. http://dx.doi.org/10.25105/dim.v18i1.10599.
Анотація:
AbstractOne of the conceptual artists of postmodernism, Barbara Kruger, is known for her work that combines visual images with text to convey criticism of social issues directly to society. One of the most famous works that she has is "Untitled - I Shop Therefore I am (1987)" which is a form of criticism of the issue of consumerism. In 1994, Supreme arrived, which had a logo in the exact same style as Kruger. Ironically, the brand actually had ideas that ran counter to the original purpose of Kruger's work. Therefore, this paper aims to deepen the knowledge of how to properly adapt a reference work in a new work based on analytical methods; especially to explore a work that has a considerable influence on society. The analysis method used in this paper is qualitative analysis through literature sources. There are three steps of analysis used in this paper. First, a study of postmodernism design style is done as the theoritical viewpoint. Then, qualitative investigations of form, content, and context were conducted on “I Shop Therefore I Am” artwork and Supreme brand logo design. Lastly, a comparison of creative process between both design was done to formulate results. The analysis result shows that there were critical views of how the Supreme logo designer adapt Barbara Kruger’s design. The conclusion reveals directions for graphic designers in doing design references. Keywords: Post-Modernism, Barbara Kruger, Consumerism, Supreme Brand AbstrakSalah satu seniman konseptual pada zaman postmodernisme, Barbara Kruger, dikenal dengan karyanya yang menggabungkan gambar visual dengan teks untuk menyampaikan kritik terhadap isu sosial secara langsung pada masyarakat. Salah satu karyanya yang paling terkenal adalah “Untitled - I Shop Therefore I am (1987)” yang merupakan sebuah bentuk kritik terhadap isu konsumerisme. Pada tahun 1994, hadirlah muncul brand fesyen Supreme yang memiliki logo dengan style yang identik dengan gaya Kruger. Ironisnya, merek tersebut justru memiliki gagasan yang betentangan dengan tujuan awal dari karya Kruger. Oleh karena itu, makalah ini bertujuan untuk memperdalam pengetahuan tentang bagaimana cara yang benar saat mengadaptasi karya referensi dalam sebuah karya desain. Metodologi analisa yang digunakan adalah dengan menggunakan analisa kualitatif berdasarkan sumber literatur. Untuk mencapai tujuan tersebut, pembahasan akan dilakukan dengan beberapa tahapan. Pertama, dilakukan kajian gaya desain post-modernisme sebagai sudut pandang konteks sejarah yang diambil. Lalu dilakukan investigasi form, konten, dan konteks atas karya “I Shop Therefore I Am” serta logo brand Supreme. Terakhir, dilakukan perbandingan antara kedua pendekatan proses kreatif. Hasil kajian menunjukkan adanya pandangan kritis terhadap bagaimana desainer logo Supreme mengadaptasi desain karya Kruger. Kesimpulan kajian menghasilkan arahan-arahan bagi desainer grafis dalam proses referensi karya desain. Kata Kunci: Post-Modernisme, Barbara Kruger, Konsumerisme, Brand Supreme
31
Ishutin, A. "Postmodernism vs wholeness: socio-political discourse." Journal of Political Research 4, no. 3 (October 6, 2020): 70–79. http://dx.doi.org/10.12737/2587-6295-2020-70-79.
Анотація:
The purpose of the article is to examine the ideological origins and political consequences of postmodernism in the contemporary world. The article uses such methods of scientific research as the comparative method, the retrospective method, and the hermeneutical method. The author of the article claims that in the context of the collapse of the project «Modern» and the idea of a mechanistic man, postmodernism becomes the ideology of Western civilization. At first, postmodernism identified itself only in the narrow world of philosophical circles, but even then it declared itself as a worldview of radical completion of the era of wholeness, «Big projects», «metanarratives» and universality. Prominent representatives of this ideology were the philosopher Gilles Deleuze and the psychoanalyst Felix Guattari, who proclaimed «rhizome» as a new social ideal, in which, as in a mushroom, there are no roots, centers and supports. In the same way, a contemporary man, according to their worldview, should not take root anywhere or in anything: neither in value, nor in culture, nor in spatial terms. A person in society becomes an unrooted nomad who is not able to cognize the world or transform it. As a result, the world is rapidly divided into a nomadic paradise of nomadic Hedonists and a nomadic hell for most of the world's population. According to a European representative of the elite, Jacques Attali, this situation is becoming an irrevocable socio-political reality.
32
Pillay, G. J. "Postmodernism and the hermeneutical challenge: some theological reflections." Verbum et Ecclesia 20, no. 2 (August 10, 1999): 399–413. http://dx.doi.org/10.4102/ve.v20i2.609.
Анотація:
How can one achieve the critical tension between contextual relevance in a post-modem world and "responsibility before history"? What is the justification for theological method as critical reflection within a tradition? What is the relation between ground texts that have historical authority (Scripture), the infonning tradition of interpretation of these texts (Church History), and the interpretive communities that read them (context)? Raising these questions, the article argues that for all its useful insights, postmodemism fundamentally challenges theological (and historical) reflection. Theology has always contextualised itself ever since its origins. What is different in this encounter is that we are dealing with an intractable ideology that not only undercuts the fundamentals but disallows the "long view" (the infonning and continually renewing tradition) and the communicativeness of theology (proclamation).
33
Ross, Reuben Connolly. "Learning from Lisbon Or, how postmodernism conquered Portugal." Interações: Sociedade e as novas modernidades, no. 40 (June 30, 2021): 107–15. http://dx.doi.org/10.31211/interacoes.n40.2021.a5.
Анотація:
The Amoreiras shopping centre in Lisbon is an icon of Portuguese postmodernism. When it first opened in 1985, its kitsch design stood out conspicuously amidst a landscape of smart Pombaline shopping streets, social housing tower blocks and tourist-friendly houses clad in “traditional” azulejo tiles. But it also reflected a pivotal moment in Portuguese history and still stands today as a reminder of the consumerist aspirations of post-revolutionary Portugal, the neoliberal policies that have come to dominate life in many Western nations and the stark contradictions of global capitalism. Departing from an initial discussion of Amoreiras, this short essay critically explores recent transformations to Lisbon’s urban and architectural landscape and traces their political and economic origins. In so doing, it suggests ways in which postmodernism might be considered a relevant concept for describing contemporary Portuguese society.
34
Costea, Ionuț. "Medievalism. Historiographic Markers." Studia Universitatis Babeș-Bolyai Historia 68, no. 1 (June 30, 2023): 131–60. http://dx.doi.org/10.24193/subbhist.2023.1.07.
Анотація:
The present study aims to shed light on the intellectual origins of medievalism studies, on the evolution of this historical research approach and the primary directions of inquiry employed in this field at the end of the 20th century and over the first two decades of the 21st century. The main focus of the present article is placed on the institutionalization of the research on medievalism (conferences, journals, editorial collections, university courses) and on the formation of several scholarly groups around the special research programs in this field (Kalamazoo, Yale, Medieval Electronic Multimedia Organization). Moreover, the present paper approaches the debates circling the contemporary historiography, particularly regarding the terminology (medievalism, neo/medievalism) and the establishment of medievalism as a research field (the relations with medieval studies, with literary and cultural studies, as well as with postmodernism and post-postmodernism).
35
Ciobanu, Liliana. "POSTMODERNIST PRACTICES IN CONTEMPORARY OPERA." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(42) (September 2022): 158–63. http://dx.doi.org/10.55383/amtap.2022.1.29.
Анотація:
Opera, an important link of contemporary culture, has a considerable influence on the individual and society, directing and enriching the cognitive, affective and attitudinal universe of the audience. Postmodernist ideology projects opera into a crisis, stimulating the development of controversial artistic forms. But, at the same time, the information environment gives Opera the possibility of transiting the closed spaces of the halls, propagating and broadcasting the lyrical performances in front of an impressive audience. The social and cultural-artistic context of the last decades has favored the rise of postmodern directorial opera, which invented multiple methods of interpretation, becoming a real challenge for many reviewers, but especially for the conservative opera audience. Without having negative connotations at its beginnings, the New postmodernist concept Regietheater/Regieoper surmounted the stage interpretations with aesthetic character of classical works, reaching today a maximum level of speculative excesses, radically distanced from the original content.
36
Гончарова, Ю. "TRANSGRESSIVE LANGUAGE OF POSTMODERNIST AUTOBIOGRAPHICAL WRITING: INTERTEXT AND METALEPSIS." Journal “Ukrainian sense”, no. 2 (December 1, 2023): 32–37. http://dx.doi.org/10.15421//462213.
Анотація:
Background. Intertext and metalepsis in the proposed study are considered as the phenomena of transgressive poetics, means of creating the ontological dimension of an artistic text and tools for textualization of life. Transgressive language contributes to the correction of preconceived notions about postmodernism, facilitate the disclosure of changing nature of autobiography by revealing and analyzing internal contradictions − the amphibology of meaning. Self-generated paradoxes are revealed in the pluralized text due to metalepsis that registered dissolving borders between the levels of narration − author (reality), narrator (extra-diegetic), narratee (intra-diegetic) and intertextuality that creates an ambivalent space for co-existing multilayered experiences . The pronouns «I», «he», «they», constantly alternating, refer to each other, preventing the re-creation of an unambiguous original signified, i.e. a real biographical author who created an autobiographical text − the basis of the genre of autobiography.
The purpose of the article is to analyze the role of intertext and metalepsis in creating an autobiographically transgressive text on the example of a novel by the postmodernist writer Stephen Dixon.
Methods. The poststructuralist approach in the context of literary theory along with elements of intertextual, narrative, stylistic analysis was used.
Results. The study of the peculiarities of transgressive language in the autobiographical postmodernist writing shows that Dixon's I-texts are sustained in the parameters of a classic novel: there is neither hypertextuality nor open polemical intertextuality. However, the transformation of the artistic matter of literature and the nature of autobiography is multifaceted and noted at all levels of the text.
Discussion. Dixon’s innovations lie in the further transformation of the modus of the author's presence, begun by Modernists. The artistic strategy of transgression of the experience of classical autobiography, applied by Dixon, is embodied in using the reconceptualized stylistic devices. One of them is ontological metalepsis that reveals transgressive dynamics on all levels of artistic conventions and, above all, the boundaries of fiction and reality in the act of creativity. The representative texts of the American writer reveal the growing sense of the thinning line between language and reality in the autobiographical prose of recent decades. This is accompanied by the development of innovative breakthroughs to reflect one's life experience, dictated by the existential need to restore ties with the material, which runs into the ambivalence of language structures.
37
Asimakopoulos, John. "Postmodernism: The Evolution of Symbolic Interactionism and Critical Theory." Theory in Action 15, no. 3 (July 31, 2022): 50–71. http://dx.doi.org/10.3798/tia.1937-0237.2217.
Анотація:
Symbolic interactionism has not stalled with the works of major figures such as Goffman. Rather, there is a continuity from symbolic interactionism to post-structuralism / postmodern theory and sociological conflict theory. The paper shows that there has always been an overlap between micro and macro theory, often by intellectuals considered early founders of theoretical approaches at both levels. Furthermore, this evolution demonstrates the viability of symbolic interactionism as critical theory and its applicability for the analysis of inequality from its origins in interactions to the macrostructures that institutionalize stratification. [Article copies available for a fee from The Transformative Studies Institute. E-mail address: journal@transformativestudies.org Website: http://www.transformativestudies.org ©2022 by The Transformative Studies Institute. All rights reserved.] KEYWORDS: Critical Theory, Postmodern, Social Exchange Theory, Castoriadis, Debord, Baudrillard
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Manzoor, Fahmida, Hina Naz, and Shamim Ara Shams. "Challenging the Archetypes: Re-visitation of Fairy Tales." Global Language Review V, no. III (September 30, 2020): 232–43. http://dx.doi.org/10.31703/glr.2020(v-iii).24.
Анотація:
This study aims to highlight how the revisited American fairytale movies shun the archetypal symbols, characters and situations of the previous fairy tales. The researcher analyzes the new set of norms that are proposed by the postmodernists, which are positioned to shun the metanarratives and work against totality by waging war against it (Lyotard 71-82). The perspective in doing so is to find out the changes in the original stories which have challenged the collective unconsciousness. Collective Unconscious, according to Jung, are the unconscious feelings present among human beings as species. They are universally present in every man's psyche, and the unconscious of man has some primal images, which are depicted through symbols. These symbols are not limited to any particular culture or history (Four Archetypes 4). Jung calls the contents of the collective unconscious the "archetypes" (4). Postmodernists have challenged the archetypal patterns stated by the philosophers of archetypes, and they have attempted to break these archetypal patterns, or according to the postmodernists, the "metanarratives".
39
Новосадова, Анна, and Наталія Задачина. "Olexandr Kozarenko's creativity in the context of postmodernism." Мистецтво в культурі сучасності: теорія та практика навчання, no. 1 (October 30, 2023): 69–74. http://dx.doi.org/10.31652/3041-1009-2023(1)-09.
Анотація:
The article is devoted to the issue of the peculiarities of the embodiment of postmodern features in the musical space of Ukraine in the late twentieth and early twenty-first centuries. This period is characterized by the rejection of the generally accepted laws of musical art in favor of individualization of composers' creativity. The synthesis of styles, genres, and techniques becomes postmodern poetics and a new cultural tradition. Among the well-known national artists of the late twentieth and early twenty-first centuries, a prominent place belongs to the figure of O. Kozarenko. The relevance of the study is related to constructive changes in art, the dynamism of the musical sphere, and the original composer's creativity, which require art historical analysis. The purpose of the article is to determine the characteristic features of postmodernism and their embodiment in the works of O. Kozarenko. The question of the peculiarities of O. Kozarenko's creative method has repeatedly been the subject of research by such national musicologists as O. Komenda, N. Shvets-Savytska, S. Pavlyshyn, Y. Chekan and others. However, in our opinion, the analysis of the composer's creative style in the context of postmodernism requires a more thorough study. In O. Kozarenko's works, we can observe an original synthesis of postmodern aesthetics and national language, genre and style synthesis, search for new intonation colours, orchestral combinations, use of allusion, aleatorics, and sonority. These and other features that are revealed in the author's instrumental, symphonic, and spiritual works are evidence of a postmodern personality. Having examined the peculiarities of O. Kozarenko's musical language on the example of the compositions «Five Wedding Ladkani from Pokuttya» «Concerto Rutheno», «Pierrot is Dead», we can conclude that the author's postmodern style is characteristic of both these works and other works by O. Kozarenko. The prospect of further research, in our opinion, is the analysis of traditional and innovative compositional solutions of O. Kozarenko's sacred music.
40
Gaczoł, Tomasz. "The promise of a new cultural periodization: Realism, Modernism, Postmodernism." Studia Philosophica Wratislaviensia 13, no. 4 (January 24, 2019): 55–69. http://dx.doi.org/10.19195/1895-8001.13.4.4.
Анотація:
The promise of a new cultural periodization:Realism, Modernism, PostmodernismThis article discusses the problem of a possibility of finding a comprehensive narrative encompassing the entire course of history and forming an interpretive framework for cultural studies. The author presents Fredric Jameson’s original concept of the history of aesthetic forms: realism, modernism, postmodernism and argues that if offers a promising interpretative framework for Polish studies.
41
Eldin, Mikhail A., and Anastasia A. Raslova. "The Specifics of the Economic Tradition of Russian Society: from Byzantine Origins to Postindustrialism and Postmodernism." Economic History 19, no. 2 (June 30, 2023): 177–87. http://dx.doi.org/10.15507/2409-630x.061.019.202302.177-187.
Анотація:
Introduction. In the history of Russian public thought, the issues of human economic activity have been considered from time immemorial through the prism of ethics of justice. Many things have been borrowed from the practice of Byzantine religious morality of economic taxonomism. In the Byzantine patristic paradigm, economy-house-building was analyzed as a field for spiritual growth in the field of Orthodox obedience. Wealth and success were not condemned, but evaluated as a challenge to the test. At the same time, from John Chrysostom to the thinkers of Moscow Russia, the theme of economic activity was presented as serving the highest social ideals of spiritual service. In the imperial period, the problems of economic life were analyzed from the standpoint of service to the state from S. N. Bulgakov to P. B. Struve. The Soviet model of state regulation turned out to be unique and did not reproduce much the previous experience of Rus – Russia in terms of the complexity of the national economy. Material and Methods. An integrative approach combined with historical-methodological and philosophical-historical analysis is considered as a theoretical and methodological research strategy. The solution of research tasks was provided by a complex of complementary theoretical (analysis of scientific, historical literature, journalistic research on the studied problem, comparative analysis of texts, comparison, generalization) and empirical (study and generalization of normative legal documents in the concepts of caesarepapism and secularism) methods. Results. The considered model of postmodernism in terms of its understanding in the Russian economic tradition and the specifics of the national economic structure in the realities of Russian history testifies to the secondary, borrowed nature of postmodern concepts. Discussion and Conclusion. The expected effect of the actual understanding of the processes can be a properly constructed model of state-public relations, which can appear only with a balanced factor of diverse interests of actors of modern state-economic policy of Russia.
42
Okorokova, V. V. "The theoretical aspect of transhumanism within the framework of historiosophical discourse." Актуальні проблеми філософії та соціології, no. 27 (April 6, 2021): 38–42. http://dx.doi.org/10.32837/apfs.v0i27.918.
Анотація:
The article is devoted to the consideration of theoretical aspects of transhumanism in the course of historiosophical discourse. Emphasis is placed on the digitalization of society, which feeds the main issues of transhumanism, especially in the anthropological sphere. In this sense, transhumanism is the theoretical approach that proposes a futurological digression into the future of man, so to speak, from the man of the present physical type to the posthuman. Man is understood here as an object of experimentation to apply to him innovative biotechnologies aimed at artificially improving his physical capabilities. It is about solving one of the main problems – immortalism (immortality). The article presents the opinions of scientists from two poles of transhumanism research – positive and debatable. In particular, based on the works of wellknown ideologues of this scientific trend (N. Bostrom, R. Kurzweil, J. Huxley) points to a pronounced projective feature of transhumanism, which in turn contributed to the debate among scientists about the impossibility or danger of implementing a transhumanist program of transformation. The article reveals the origins of transhumanism, and most importantly the views of scholars on this issue.There was some bipolarity in the study of transhumanism in relation to humanism and postmodernism. On the one hand, transhumanism is seen as the embodiment of some humanistic and postmodernist elements. On the other hand, there are fundamental differences, such as the understanding of the human race is not the end of our evolution, but its beginning. Hence such concepts as “transhuman” and “posthuman”, where the first type is understood as a transitional stage to the decisive stage – post-human. Anthropotechnological factor permeates transhumanism, creating a futurological program of transformation of all spheres of life, taking into account the cosmic level. The article notes that these theoretical characteristics of transhumanism lead some scholars (A. Shcherbina) to the idea of its propensity for utopia, and a utopia of global scale.
43
Greetham, D. C. "Textual Forensics." PMLA/Publications of the Modern Language Association of America 111, no. 1 (January 1996): 32–51. http://dx.doi.org/10.2307/463132.
Анотація:
Because textual scholarship, having no definable Fach, or subject matter, is an exemplary postmodernist antidiscipline, it can serve as a site for testing the epistemological assumptions and protocols of the current debate over the status of evidence and the nature of proof. Since text is “authority” and “original” and yet also “network” and “tissue” and since forensics encompasses both hard physical “facts” and the rhetorical formulation that gives such data interpretive meaning, a textual forensics will codify and test the interaction of the phenomenological world and the hermeneutic analysis of its evidence. With procedural and conceptual links both to scientific empiricism and to rhetorical strategies for persuasion, textual scholarship becomes a vehicle for anatomizing the postmodernist breakdown of the master narratives, including that of evidence and proof.
44
Rusin, R. M. "POSTMODERNISM: AESTHETICS AND THE ART OF VIRTUALITY." UKRAINIAN CULTURAL STUDIES, no. 1 (4) (2019): 67–69. http://dx.doi.org/10.17721/ucs.2019.1(4).13.
Анотація:
At the end of the 20 and the beginning of the 21 century as a result of the changes that took place in art, there was a need for a theoretical re- thinking of artistic practices. This task was assumed by artists, art critics, art critics and other agents of the artistic world, trying to clarify the pos- sibility of a new vision of art, give it an objective assessment. Obviously, understanding the specifics of contemporary art is not so much in the assessment itself, but in clarifying the fundamentals of a different understanding of such concepts as "classical art", "contemporary art," "virtual art." If classical art received a thorough understanding of the history of art, art history and aesthetics for centuries, virtual art, as a specific form of contemporary art, needs to be thoroughly investigated. Contemporary art is experiencing significant transformations in the context of post-industrial culture. Increasingly important are computational methods for the production of virtual artefacts. The report notes that contemporary virtual art is a new space dynamically captured by the postmod- ernist practices of contemporary art. In modern practices of postmodernism in the field of virtual art with the rapid development of computer tech- nology sharply decreases the fate of human presence in the process of creativity. Machine modelling as a product of collective creativity allows you to create a new virtual image, regardless of its existence in the real world. In modern practices in the field of virtual art, the idea of artificial ("synthetic imagination") is used, which is a machine imagination with the use of artificial modelling of man's imagination. Artificial imagination with the help of interactive search allows you to synthesize images from the data- base and create a new virtual image, regardless of its existence in the real world. Thus, the rapid development of computer technology is increasingly reducing the fate of human presence in the field of virtual art. Postmodern experiments stimulate the erosion of the boundaries between traditional forms and genres of art. The perfection and availability of technical means of production, the development of computer technology practically led to the disappearance of original creativity as an act of indi- vidual creation.
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Kasparova, Armine Vladimirovna. "Postmodernism in the Literature of the North Caucasus: Based on Dina Damian’s Novel “In your World I am a Passer-by”." Polylinguality and Transcultural Practices 19, no. 2 (December 15, 2022): 237–51. http://dx.doi.org/10.22363/2618-897x-2022-19-2-237-251.
Анотація:
The Russian academician G.D. Gachev in the middle of the 20th century put forward the theory of “accelerated development”, according to which the literary systems of minority peoples, which for a number of different reasons were delayed in their development, are able at one moment to join in a single world process and in a short time to catch up and overtake highly developed literature. In the presented article, the legitimacy of the Gachev theory is proved on the example of the North Caucasian postmodern literature, which has developed into a single school. Based on the novel by Dina Damian (a pseudonym of Madina Tlostanova) “I am a passer-by in your world”, it is shown how one “stormy genius” in the person of a Kabardian writer performs a dual task: it raises regional postmodernism to an unprecedented height, and at the same time enriches world literature with innovative poetics and a whole series of original philosophical ideas. The novel solves a number of other tasks related to clarifying the philosophical, historical, social, and aesthetic roots of postmodernism.
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Miller, Malcolm. "From Liszt to Adams: the ‘Wiegenlied’ transcription." Tempo, no. 175 (December 1990): 23–26. http://dx.doi.org/10.1017/s0040298200012584.
Анотація:
Modernism and postmodernism are characterized by their heightened consciousness of the influence of the past on the present. Modernist arrangements of older music, such as those by Schoenberg, Webern, Berg and Stravinsky, frequently display an unconscious tension between composer and arranger in the often veiled interpretation of the past in the light of the present. Postmodern arrangements, on the other hand, are often more overt in their allusiveness to the original: hence it is possible clearly to discern, within arrangements by such composers as Henze and Berio, Maxwell Davies and Birtwistle, an explicitly individual balance of past and present, an attitude which preserves the spirit of the original by means of a consciously creative interpretation.
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PECHERSKYH, Lubov. "THE ORIGINS OF THE CINEMATIC NATURE OF THE UKRAINIAN POSTMODERN NOVEL." Astraea 4, no. 2 (2024): 45–69. http://dx.doi.org/10.34142/astraea.2023.4.2.03.
Анотація:
The article is devoted to the search for the origins of cinematicity as one of the components of the postmodern novel’s poetics. Intermediality is recognised as one of the mechanisms of genre originality of the postmodern novel, and the influence of cinema and cinematic poetics is the most powerful. The cinematic perception of reality is identified as characteristic of Ukrainian postmodernists. The article puts forward a hypothesis about the rootedness of the experimental nature of the postmodern novel as one of the important aspects of poetics in the plane of futurism aesthetics. The author reviews the aspects of cinema’s influence on the futurist novel. The techniques borrowed from film poetics and used in Ukrainian postmodern novelism are singled out and compared with similar techniques used in futurist novelism. The object of the analysis is the novels “Arche” by L. Deresch and “Depesh Mod” by S. Zhadan. On the basis of the novels “The Censor of Dreams” by Yuriy Vynnychuk, “Mesopotamia” by S. Zhadan, and “Perversia” by Yuri Andrukhovych, the mechanisms of literary adaptation of cinematic techniques and methods are traced. The author examines such aspects of cinematic poetics as screenwriting, editing, use of titles, images of light and illumination, colours and their combinations, use of interior and portrait descriptions, artistic detail and frame thinking
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Nikolenko, R. V. "M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 168–80. http://dx.doi.org/10.34064/khnum2-14.12.
Анотація:
Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural positive state» [2], and defined Postmodernism as «the general direction of modern European culture, formed in 1970–80-es» [2]. Now there is no single definition of «postmodern», probably, due to the incompleteness, continuity of formation of this phenomenon. Some philosophers, in particular, J. Habermas, D. Bell and Z. Bauman, consider postmodernism as the result of politics and ideology of neo-conservatism, which is characterized by aesthetic eclecticism [3]. Italian philosopher and writer U. Eco understands postmodernism as a process of changing one cultural era to another, perceiving it as «... the answer to modernism: since the past cannot be destroyed, because its destruction leads to dumbness, it needs to be rethought, ironically, without naivety» [5: 77]. This approach most accurately reveals the essence of postmodern art. In the field of aesthetics, the work of F. Jameson, «Postmodernism or The cultural logic of late capitalism», where postmodernism is represented as a «cultural dominant» is quite indicative. The philosopher defines such typical phenomenon of postmodern culture as a simulacrum, weakening of affects, the consequence of which is «the replacement of alienation of the subject by its fragmentation» [1: 105], the disappearance of the individual subject and the emergence on this basis of the practice of pastiche [1: 108], the loss of historicity. In musicology, the question of the essence of postmodernism has not yet received a sufficient scientific basis. From the latest works of Ukrainian researchers, in our opinion, it is disclosed most complete in the D. Ruzhinsky’s article “Specificity of the manifestation of postmodernism in musical creativity” [4]. The object of presented research is the specificity of postmodernism manifestations in an art; the subject of research are the postmodern landmarks in the individual style of outstanding Canadian pianist and composer M.-A Hamelin. The purpose of the article is to reveal the interrelation of the composer’ and performing style by M.-A. Hamelin with the aesthetic paradigms of Postmodernism. The methodological basis of the research consists of the concepts of postmodern philosophy and aesthetics presented in the works of J. Habermas, D. Bell, Z. Bauman. U. Eco, F. Jameson. For more full understanding of specificity of the postmodern traits implementation in M.-A. Hamelin’s activity, the “creative portrait” genre as well as analyses of some fragments of his music was used. Presenting the main material. The art of postmodernism reflects a fundamentally new attitude to the process of creativity, which includes of such typical features as 1) quoting or using famous plots, which are the realities of the culture of previous eras; 2) intertextuality; 3) the prevalence of the audience interpretation over the composer’s idea, when the author’s position is not decisive (according to M. Foucault, “the death of the author”); 4) syncretism; 5) the irony and the parody-game designing of works. The creativity of Marc-André Hamelin (b.1961) – the world-renowned Canadian virtuoso pianist and composer – is one of the brightest personifications of these principles, as well as their individual understanding. In 1985, he won the First prize at the competition at Carnegie hall, with which he began his ascent to the musical Olympus as a performer. To date, M.-A. Hamelin, an outstanding pianist and soloist, performs with many leading world orchestras, and his discography total more than 60 albums, including both his own works and the works of many composers of different genres and eras. In addition to intensive performance and interpretation activities, the Canadian artist is also engaged in composition, and his artistic search is concentrated mainly within the framework of piano music, which is quite natural. Among the works for piano solo the transcriptions can be identified, such as the “Etude-fantasy ‘Flight of the bumblebee’” by Rimsky-Korsakov (1987), “Waltz-minute, in seconds” (transcription of Chopin’s waltz). Another group of works ‒ miniatures are, for example, the “Little Nocturne” (2007), “Preamble to the imaginary piano Symphony” (1989), “My impressions about chocolate” (2014); the cycles of miniatures – “Con intimissimo sentimento” (1986–2000); the larger-scale pieces – “Barcarolle” (2013), “Chaconne” (2013). The composer wrote the three cycles of variations and the cadenzas for piano concertos by Mozart (K453 and 491), for the Fourth piano Concerto by Beethoven, the Third and Fourth Concertos by Haydn and The second Hungarian Rhapsody by Liszt. In addition to the solo piano music, the composer turned to the chamber genre (“Fanfare” for three trumpets, “Passacaglia”» for piano quintet, «Four perspectives» for cello and piano). His style is characterized by the frequent using of thematic material from the works by other composers of different eras. From the very beginning, Hamelin rethinks this material, not introducing it in its original form, but transforming it. For example, in the “Variations on The theme of Paganini” the theme of the Twenty-fourth Caprice is already “modernized”: maintaining the harmonic basis of it, the author adds the non-chords sounds and the remark to tempo, which notes that the theme should be played “with a groove”, as it is typical for salsa, rock and fusion style. Interpretations of the quoted material are not in the original, but in its creative processing can see although in the Seventh variation with the theme of the Third variation of Sonata No. 30 by Beethoven. Another typical feature of postmodernism of the Canadian artist’s work is manifested in a certain game with the listener, because to catch all the allusions, to understand the quotes and styles of different eras, he must be intellectually well prepared. Some of the noted features of the composer’s creation find their direct projection in the performing pianistic style of M.-A. Hamelin. For example, virtuosity, which is present in his works in both explicit and veiled form, fully manifests itself in the interpretation of the works of other composers. Another characteristic feature of the performing style of M.-A. Hamelin is his aspiring to end-to-end development and cyclicity. In his discography, there are many different cycles, sometimes quite voluminous, performed by him as a whole. In practice of composition this is manifested at the level of the musical form (cycles, parts of which often follow directly one after another, and sometimes even the final harmony of one of the parts becomes the beginning of the next part). Conclusion. The results of the research confirm the idea of the relationship of Hamelin’s individual creative style with the basic ideas of postmodernism aesthetics. Quite typical for the manner of writing of the Canadian artist is the attraction to the throughness of development, to the creation of micro-cycles (as well as to the performing of cyclic works of other composers); the combination of ironic rethinking of thematic material with virtuosity; the playing with the listener on the basis of the introduction of quotation material and work with it; the combination of different styles within one work. Such manner requires a prepared, meaningful perception, that is, to paraphrase U. Eco, the «ideal listener».
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Худин, Алексей Александрович, Нина Анатольевна Коновалова, and Игорь Андреевич Бондаренко. "PROBLEMATICS OF «TRANSLATION» IN POSTMODERNIST ARCHITECTURE THEORY." СОВРЕМЕННАЯ АРХИТЕКТУРА МИРА, no. 1(12) (June 22, 2020): 23–33. http://dx.doi.org/10.25995/niitiag.2019.12.1.017.
Анотація:
Статья содержит изложение семиотических теорий в применении к теории архитектуры, а именно концепцию «перевода» как коммуникативного процесса в рамках межкультурного и межисторического процесса, проявленного в условиях эпохи постмодерна. Рассматривается взаимосоотнесение между архитектурой и языком в рамках теорий М. Фуко с акцентом на логику познания, сформированную в период 1970-1980-х годов. Затрагиваются вопросы концепта, текста, цитирования в архитектуре, адресования, интерпретаций, отношений между оригиналом и переводом, нового эклектизма, соотнесений между структурализмом и постструктурализмом. Анализируются воззрения М. Вигли и Ж. Деррида как ключевых для теорий постмодернизма и деконструктивной архитектуры. Определяются основные проблемы межязыковых связей на основании идей В. Беньямина. The article contains a presentation of semiotic theories as applied to the theory of architecture, namely the concept of “translation” as a communicative process in the framework of the intercultural and inter-historical process, manifested in the postmodern era. The interrelationship between architecture and language is considered within the framework of M. Fuko's theories, with an emphasis on the logic of cognition formed in the 1970-1980s. The concept, text, citation in architecture, addressing, interpretations, relations between the original and the translation, eclecticism, correlations are affected. between structuralism and poststructuralism. Analyzed are the views of M. Wigley and J. Derrida, as key to the theories of postmodernism and deconstructive architecture. The main problems of interlingual relations are determined on the basis of the ideas of V. Benjamin.
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Aydanova, Yu F. "THE STRATEGY OF DECONSTRUCTION OF THE SOVIET PROTOTEXT IN V. PELEVIN’S PROSE." Review of Omsk State Pedagogical University. Humanitarian research, no. 29 (2020): 53–56. http://dx.doi.org/10.36809/2309-9380-2020-29-53-56.
Анотація:
The article deals with the problem of reconstruction of the Soviet picture of the world in V. Pelevin’s prose. The researcher focuses on the author’s strategy for the deconstruction of the Soviet prototext, defined as destruction of the conventional linguistic structures of the ideological language of the Soviet era and stereotypes of their perception, which is characteristic of postmodernism and V. Pelevin’s idiostyle. The author proposes an original methodology for describing the strategy of deconstruction of the Soviet prototext, systematizes the methods used by the writer for de-stereotyping the signs of Soviet discourse.