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Dissertations / Theses on the topic 'Literatura postmoderna'
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1
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.
Full textAbstract:
La tesis titulada “¿Cómo haremos para desaparecer? La disolución del sujeto en la literatura postmoderna” pretende definir el concepto de Postmodernidad para colocar la figura del sujeto en su interior, objetivo que permite analizar los textos seleccionados desde un marco teórico riguroso. La tesis no se ciñe a un territorio concreto sino a una tradición, pues justamente basa gran parte de su argumento en la red de relaciones que se establecen entre los textos sin respetar fronteras. Esto ha aumentado la dificultad de elegir un corpus textual que lograse representar de manera adecuada esa tradición. Sin obviar los trabajos realizados sobre los diferentes autores analizados, el trabajo intenta “escuchar” los textos para extraer el “mensaje” o “mensajes” y para enfocarlos desde un punto de vista determinado, esto es, la certeza de la tradición postmoderna y del sujeto como principal elemento de análisis, para así aportar una visión renovada del asunto.
Aunque en principio podría dar la impresión de que el tema de la tesis es inabarcable pues podría llevar a la apertura de un sinfín de líneas argumentales, el trabajo se mantiene cohesionado gracias a un discurso interno construido con agilidad. Por una parte, se establecen los conceptos cardinales, es decir, los que llevan el peso del discurso (la postmodernidad, el sujeto y la nada o el vacío), a partir de los cuales se van desprendiendo conceptos que conectan con los principales teóricos sobre la época. Por otra parte, el discurso se fundamenta en el trinomio construcción, duplicación y disolución, lo que permite observar una consecución natural del argumento de principio a fin, manteniendo unidos los distintos hilos del discurso. El resultado de esto es un trabajo sólido a pesar del amplísimo ámbito al que pertenece.
Entre los aportes de la tesis podemos mencionar: una sistematización clarificadora de los conceptos ligados a la postmodernidad, una visión renovada del concepto y una aproximación, no definitiva, a su definición; el tratamiento de la figura del sujeto dentro de la postmodernidad y una definición de esta figura; un análisis riguroso de los textos propuestos que agrega elementos nuevos y originales para su comprensión.
Finalmente, hay que destacar la amplitud del tema tratado y las dificultades que conlleva el tratamiento de una teoría tan compleja, así como la complicada selección bibliográfica que abarca autores de muy diversos ámbitos, como la filosofía, la neurobiología, la física, la literatura y de amplísimo marco temporal, desde Descartes hasta Heidegger.The thesis entitled “How will we manage to disappear? The dissolution of the individual in postmodern literature” intends to define the concept of Postmodernity in order to place the individual in its inside, an aim which allows us to analyze the selected writings from a strict theoretical frame. The thesis does not adhere just to a concrete field but to a tradition since it is based on the network of relationships which are established between writings, beyond any borders. This has increased the difficulty of the texts choice which could accurately depict this tradition. Although there has been no intention of omitting the writers being analyzed, this work pretends to analyze the writing to extract the “message” or “messages” and to approach them from a certain point of view. In short: the certainty of postmodern tradition and the individual as the main element to be analyzed in order to give a renovated approach to the topic. Although at first it might give the impression that the subject of the thesis is too wide since it could open endless lines of argument, the work is consistent thanks to the internal discourse built with agility. On the one hand, it establishes the cardinal concepts, those which carry the weight of the discourse (Posmodernity, individual, and nothingness or the void), from which the concepts that connect with the main theorists about this period originate. On the other hand, the discourse is based on three concepts: construction, duplication and dissolution, which permit to observe the logical completion of the plot from the beginning to the end, holding together the different threads of discourse. As a result, this is a solid work despite the wide range of issues it refers to. Some of the contributions thes thesis offers are: a clarifying systematization of the concepts connected with Postmodernity, a renovated view of the concept and a non-definitive approach to its definition; the treatment of the individual inside Post modernity and its definition; a thorough analysis of the writings involved which adds new and original elements to its comprehension. Finally, it is to point out the wide range of the chosen topic and the difficulties that go with the treatment of such complex theory and the complicated bibliographical selection which, from Descartes to Heidegger, refers to writers from many different fields, such as philosophy, neurobiology, physics, literature.
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Grabara, Agnieszka. "Il concetto di citta postmoderna nella narrativa italiana dopo il 1968 a oggi." Doctoral thesis, Katowice : Uniwersytet Śląski, 2010. http://hdl.handle.net/20.500.12128/5351.
Full textAbstract:
Niniejsza rozprawa jest próbą systematyzacji wiedzy na temat miasta
ponowoczesnego, jakie wyłania się z wybranych włoskich powieści powstałych po roku
1968 aż po pierwszą dekadę nowego millenium.
Pierwszy rozdział teoretyczny tekstu stanowi szkic historii pojęcia miasta od
czasów antycznych po okres rewolucji przemysłowej (geneza miasta, jego rozwój,
rozmaite modele i realizacje). Następnie przedstawione są najważniejsze zagadnienia
określające zjawisko miejskości, zarówno z perspektywy organizacji przestrzeni, jak i
kształtowania struktury społeczeństwa oraz sytuacji jednostki. Końcowy rozdział
rozważań teoretycznych poświęcony jest definicji i problematyzacji kategorii
postmodernizmu / ponowoczesności w jej sensie ogólnym oraz w odniesieniu do
rzeczywistości miejskiej, zaistniałej po roku 1968 i nadal aktualnej.
Drugą część rozprawy stanowi analiza poszczególnych aspektów miejskości
odzwierciedlonych w wybranych dziełach współczesnych włoskich pisarzy (Roberta
Alajmo, Alessandra Baricco, Stefana Benniego, Italo Calvino, Vincenza Consolo,
Giuseppego Culicchii, Andrea De Carlo, Sergia De Santis, Danielego Del Giudice,
Umberta Eco, Peppe Lanzetty, Massima Lugli, Alda Nove, Tiziana Scarpy, Eleny
Stancanelli, Antonia Tabucchiego, Piera Vittoria Tondellego, Paola Volponiego).
Obserwacji zostają poddane określone cechy postmodernistyczego miasta oraz jego
mieszkańców w wersji przyjętej przez włoskich twórców i sprawdzonej na faktycznym
materiale literackim.
Pierwsze podrozdziały analizy koncentrują się na opisie literackich odmian
cityscape, czyli przestrzennych aspektów miast ukazanych w fabule. W badanych
powieściach można zobaczyć, że przestrzeń extra muros okazuje się konkretnym
oparciem i podstawą powstania każdego miasta, określając jego otoczenie i granice, a
ponadto stając się uosobieniem dialektycznego podziału na środowisko sztuczne
(architektura, gospodarka urbanistyczna) i naturalne (przyroda, warunki geograficzne),
w którym żyje człowiek. Autorzy włoscy upominają się w tym miejscu o historie i
legendy związane z założeniem różnych ośrodków miejskich, ponieważ widzą w nich
akty kulturotwórcze i tożsamościowe, które determinują rzeczywistość opisanych
miejsc oraz ich wymiar „mitologiczny”. Z większości powieści wynika niezbicie, iż
współczesna struktura miasta nie zaznacza wyraźnie obszarów centrum i peryferii,
kwestionując pod tym względem wielowiekową tradycję. W wyniku ciągłej ekspansji i
rozbudowy miast, a co za tym idzie zniekształcania ich pierwotnej struktury
przestrzennej, kluczowym kontekstem czasoprzestrzennym stają się kategorie
continuum i chwili obecnej, które generują nieskończone możliwości zmian i
zaskoczeń. Prowadzi to do „labiryntowości” ponowoczesnych miast, realizującej się na
wielu poziomach ich układów przestrzennych oraz bytowania i działalności
mieszkańców.
Ludzka percepcja przestrzeni miejskiej jest silnie naznaczona wpływem
czynników estetycznych, sztucznie wytworzonych. To one - mniej lub bardziej
świadomie - kształtują kontakt człowieka z istotą piękna i brzydoty, wyrafinowania i
tandety. W tym obszarze istotną rolę pełnią cztery żywioły, odpowiednio wykorzystane
przez kreatorów miast na poziomie tyleż dosłownym, co symbolicznym. W tekstach
literackich miasto ponowoczesne jawi się zatem jako mieszany produkt: żywiołu ziemi
(kształtowanie powierzchni, materiały i prefabrykaty, sfera profanum, podziemie,
piekła); powietrza (zanieczyszczenie, zapachy, dźwięki, cisza, ruch, sfera sacrum);
ognia (światło słoneczne, sztuczne iluminacje, szarzyzna, ciemność, krzykliwość barw);
wody (elementy architektoniczne o określonych kształtach i substancji, wodne formy
naturalne i sztuczne, doznania sensoryczne związane z wodą, płynność i zagęszczenie
przestrzeni, poczucie nieskończoności). Cztery żywioły tworzą specyficzny
konglomerat różnych bodźców i wrażeń, którymi miasto epatuje i bombarduje
człowieka, a które w takim nasileniu nigdy nie występują w świecie naturalnym.
Powoduje to stopniowy przesyt sensoryczny ludzi i obniżenie ich wrażliwości na
kolejne impulsy.
Kolejne podrozdziały analityczne podejmują zagadnienie mindscape, czyli
miasta rozpatrywanego z punktu widzenia społeczeństwa i jednostki w wersji
literackiej. W ponowoczesnym mieście jest względnie łatwo zdobyć wykształcenie i
pracę, zaangażować się w sprawy ekonomiczne czy polityczne, a nawet zaspokoić
potrzeby religijne. Pisarze nie dają się jednak zwodzić pozornemu bogactwu szans i
możliwości miejskich, ponieważ wyraźnie pokazują ich ambiwalentne konsekwencje:
nierówność ekonomiczną, brutalizację postaw i reakcji, przyspieszone lub chaotyczne
rytmy życia, nadprodukcję i nadkonsumpcję dóbr materialnych przy jednoczesnej
pauperyzacji wielu grup lub jednostek, które nieraz prowadzi do ich wyobcowania,
osamotnienia, dezyntegracji albo marginalizacji.
Nieodłącznym elementem ponowoczesnego życia miejskiego są jego rozliczne
oferty ludyczne. W badanej prozie ważne miejsce zajmuje więc kult przyjemności i
rozrywki oraz korzystanie ze spektakli i gier, które miasto proponuje swoim
mieszkańcom dla wypełnienia „wolnego czasu”. Szczególnie ostro obnażana jest przez
twórców wszechobecność i manipulacyjność mediów, promujących kulturę
„efekciarską” i przesadnie konsumpcyjną. Podkreślone są też zagrożenia płynące z
nowego zjawiska kulturowego, jakim jest powszechne korzystanie z telefonów
komórkowych, sieci internetowej i technik komputerowych w celu kreowania
wirtualnych światów i „naskórkowych” relacji z ludźmi opartymi na złudzeniach i
namiastkach.
Analizowane powieści stają się owocnym źródłem wiedzy na temat kondycji
społeczeństwa żyjącego na przełomie dwóch ostatnich tysiącleci, które musi
zaakceptować i pozytywnie rozwiązać problem wieloetniczności i wielokulturowości
ponowoczesnych miast. Wyniki lektury odsłaniają obraz zbiorowości niestabilnej pod
tym względem, z trudem usiłującej poradzić sobie z narastającą przemocą i
przestępczością, a także z różnego rodzaju innymi (obcokrajowcami, turystami,
włóczęgami). Literatura przedstawia całe spektrum bohaterów anonimowych,
stanowiących nieodłączną część ponowoczesnej społeczności miejskiej i
odgrywających fundamentalną rolę w kształtowaniu jej życia na różnych poziomach.
Ostatni podrozdział części analitycznej rozprawy skupia się na egzystencjalnych
przypadkach poszczególnych bohaterów, starając się uwydatnić pewne ich wspólne
tendecje, poszukiwania, pytania i problemy. Wynika z tego swoista reguła ciągłej
konfrontacji jednostki ze zbiorowością, niełatwe poszukiwanie własnej tożsamości oraz
konieczność ciągłych wyborów między bezpieczeństwem tradycji a dryfowaniem w
płynności zmian i możliwości.
Postmodernistyczne miasto włoskich pisarzy to synonim sztucznej i zamkniętej
przestrzeni labiryntu i więzienia, wielopoziomowa ‘zagracona’ struktura z obfitością
efektów różnego typu, przeludnieniem i mnogością rzeczy, między którymi porusza się
i żyje społeczeństwo różnorodne i słabo zintegrowane. Ulega ono sprzecznym uczuciom
fascynacji i zagubienia, zachwytu i grozy, konformizmu i buntu, apatii i
nadpobudliwości. Cechują je relacje międzyludzkie z konieczności oparte na
chwilowości, powierzchowności, obojętności i konieczności maskowania. To miasto,
obrazowane retorycznie jako cebula, żywe ciało, dom, byi, wzmacniacz emocji, a także
wykorzystywane realistycznie jako tło i scena wydarzeń fabularnych, otrzymuje różne
oceny od włoskich mistrzów ponowoczesności. Niemniej wszyscy oni zachęcają swych
odbiorców do uwagi, czujności i krytycyzmu, szczególnie w przypadku, kiedy stawką
jest rozpoznawanie i zbudowanie własnej tożsamości.
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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.
Full textAbstract:
La tesis es un estudio analítico de la obra literaria y teórica de la escritora afrocaribeña afincada en Canadá Marlene Nourbese Philip según teorías postcoloniales y posmodernas. Tras algunas consideraciones sobre la estructuración y enfoque del estudio, y una primera aproximación al contexto actual de la literatura y la comunidad canadiense afrocaribeña, el texto elabora una sucinta arqueología de la posmodernidad y establece unos principios para una "literatura posmoderna" que se aplicarán al corpus literario analizado. El análisis posterior pone de manifiesto la pertinencia de combinar etiquetas relacionadas con lo posmoderno con una literatura aparentemente minoritaria como es la de Philip, una literatura, por lo demás, marcada por el deseo de combatir el endémico racismo de que adolece la sociedad canadiense, y consagrada a hallar caminos de representación de la subjetividad de todo un colectivo: el de las mujeres afrospóricas de origen caribeño que viven en Canadá.
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Fabregat, Aguiló Laura. "Les tendències de la novel·la catalana del segle XXI." Doctoral thesis, Universitat Rovira i Virgili, 2020. http://hdl.handle.net/10803/669415.
Full textAbstract:
Aquest estudi extreu les tendències literàries que sobresurten en el panorama novel·lístic en llengua catalana del segle XXI a partir de l’anàlisi de set eixos definidors i característics d'aquesta narrativa: la relació temàtica amb la crisi identitària, la incertesa i la manca de sentit general; la plasmació de la quotidianitat i el context immediat per mitjà de personatges amb actituds i patologies molt properes als individus coetanis; la inclusió normalitzada del fantàstic en textos de temàtica i ambientació realistes a través del gènere del realisme màgic o el neofantàstic; l’auge del mètode de la fragmentació discursiva mitjançant diverses tècniques que trenquen amb la coherència, la lògica i la uniformitat; l’increment en l’ús de la pràctica metaliterària, és a dir, aquella narrativa que es refereix a ella mateixa; la tendència creixent a l'elaboració de narracions d’autoficció, en què l'autor s'introdueix de manera parcial dintre de la història, generalment a partir de la primera persona narrativa, i la forta instauració del formalisme literari, que es fa visible en obres que avantatgen la forma (el com) al contingut (el què).Este estudio extrae las tendencias literarias que sobresalen en el panorama novelístico en lengua catalana del siglo XXI a partir del análisis de siete ejes definidores y característicos de esta narrativa: la relación temática con la crisis identitaria, la incertidumbre y la falta de sentido general; la plasmación de la cotidianidad y el contexto inmediato por medio de personajes con actitudes y patologías muy cercanas a los individuos coetáneos; la inclusión normalizada del fantástico en textos de temática y ambientación realistas a través del género del realismo mágico o el neofantástico; el auge del método de la fragmentación discursiva mediante diversas técnicas que rompen con la coherencia, la lógica y la uniformidad; el incremento en el uso de la práctica metaliteraria, es decir, aquella narrativa que se refiere a ella misma; la tendencia creciente a la elaboración de narraciones de autoficción, en que el autor se introduce de forma parcial dentro de la historia, generalmente a partir de la primera persona narrativa, y la fuerte instauración del formalismo literario, que se hace visible en obras que aventajan la forma (el cómo) al contenido (el qué).
This study extracts the literary trends that emerge in the 21st century Catalan-language novel scene from an analysis of seven defining and characteristic axes of this narrative: the thematic relation with the identity crisis, the uncertainty and the lack of general sense; the expression of everyday life and immediate context through characters with attitudes and pathologies which are very close to contemporary individuals; the normalized inclusion of the fantastic in texts of realistic topic and setting by the genre of magical realism or neofantastic; the rise of the method of discursive fragmentation through various techniques that break with consistency, logic and uniformity; the increase in the use of metaliterary practice, that is to say, the narrative that refers to itself; the growing tendency to elaborate autofiction narratives, in which the author is partially introduced into the story, usually from the first narrative person, and the strong implementing of literary formalism, which becomes visible in works that put the form (the how) before the content (the what).
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Steyn, Conrad Johan. "'n Literatuur teologiese ondersoek na die liturgie en die post-moderne senior kind/tiener." Diss., Pretoria : [S.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-06172005-094849/.
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Barra, van Treek Erika de la. "Desterritorialización y reterritorialización de Tyger de Blake y Nightingale de Keats en la obra de Jorge Luis Borges: ¿diálogo interdiscursivo e intercultural entre el romanticismo inglés y la Argentina postmoderna?" Tesis, Universidad de Chile, 2008. http://repositorio.uchile.cl/handle/2250/109054.
Full textAbstract:
Tesis para optar al grado de Doctor en Literatura Hispanoamericana y ChilenaComo es sabido y Borges (1899-1986) mismo lo señala, pasó su niñez “detrás de una verja con lanzas, y en una biblioteca de ilimitados libros ingleses. Palermo del cuchillo y de la guitarra andaba (me aseguran) por las esquinas” Esta pequeña cita instala una problemática no menor en su obra y que contiene la relación siempre en tensión entre Latinoamérica (periferia) y Europa (centro). La investigación examina especialmente el diálogo interdiscursivo e intercultural entre Borges y dos románticos ingleses: William Blake (1757-1827) y John Keats (1795-1821) a través de la desterritorialización de Tyger y Nightingale del contexto romántico inglés decimonónico y su reterritorialización en la Argentina borgeana moderna / postmoderna del siglo XX. Metodológicamente, se ha realizado un análisis del poema “The Tyger” de Blake y del poema “Ode to a Nightingale” de Keats para dilucidar su significación o significaciones románticas. Posteriormente se ha examinado la obra ensayística, cuentística, lírica de Borges en búsqueda de los significados que él atribuye a tyger y nightingale descubriéndose una polisemia compleja otorgada por sus acercamientos serios o jocosos. En otras palabras, Borges desestabiliza la relación significante /significado de tyger y nightingale y su contexto romántico. Tanto tyger como nightingale diseminan rizomáticamente por la obra de Borges a través de los principios de conexión y heterogeneidad que permiten unirlos a nuevos significados diversos sin que se llegue jamás a un significado definitivo. Borges instalaría una postergación infinita del significado que asemeja un deslizamiento, un rodar, un nomadismo con múltiples entradas y salidas entre los discursos involucrados. (Kristeva, 1980; Derrida, 1975; Deleuze/Guattari, 1997; Barthes, 1974). Aunque la investigación se encuentra aún en progreso, la recodificación que hace Borges de los significantes románticos ingleses tyger y nightingale parece tener importantes implicancias desde la perspectiva del postcolonialismo, ya que el juego literario conducido por Borges establece una relación de paridad con el centro que cuestiona la sujeción periférica de América Latina al centro Europeo.
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de, Toro Alfonso. "Arte, literatura y Teatro menor postmoderno." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-159282.
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El teatro de Eduardo Pavlovsky, en el transcurso de toda su obra, ha sido simplemente un teatro que se ha ido y se va a las orillas, a la periferia, un teatro dentro de lo que podemos llamar –parafraseando a Deleuze/Guattari– "teatro menor" (vid. Deleuze/Guattari 1975), para poder allí, libre de condicionamientos externos, producir un teatro que llamaría orgánico, esto es, un teatro en el que la representación sea al final el logro natural de una búsqueda, de una transformación, de una acto de creación que actores mismos como en los espectadores o en los lectores de esta obra. De esta forma la obra de Pavlovsky se establece como una de las manifestaciones más exitosas de la producción teatral en el concierto internacional del teatro. Pavlovsky se encuentra en Argentina en muy buena compañía y tradición: no olvidemos que Borges fue un autor de las orillas por mucho tiempo y desde allí se impuso en el centro como lo estamos experimentando cada vez más claramente. Pero profundicemos un momento esta categoría de "lo menor" y esta relación discursiva, estética y de pensamiento entre Pavlovsky y Borges. Tanto Borges como Pavlovsky trabajaban en las "orillas" para descentrar los cánones establecidos en el pensamiento, en la cultura, en la literatura y el teatro en Buenos Aires y fundar así su propia concepción literaria o teatral, lo cual es algo prácticamente típico de ambos autores en Buenos Aires.
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Slocombe, Will. "Postmodern nihilism : theory and literature." Thesis, Aberystwyth University, 2003. http://hdl.handle.net/2160/740d7998-8998-4ef7-9514-4174d05cec4a.
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This thesis examines the relationship between nihilism and postmodernism in relation to the sublime, and is divided into two parts: theory and literature. Beginning with histories of nihilism and the sublime, the Enlightenment is constructed as a conflict between the two. Rather than promote a simple binarism, however, nihilism is constructed as a temporally-displaced form of sublimity that is merely labelled as nihilism because of the dominant ideologies at the time. Postmodernism, as a product of the Enlightenment, is therefore implicitly related to both nihilism and the sublime, despite the fact that it is often characterised as either nihilistic or sublime. Whereas prior forms of nihilism are 'modernist' because they seek to codify reality, postmodernism creates a new formulation of nihilism – 'postmodern nihilism' – that is itself sublime. This is explored in relation to a broad survey of postmodern literature through a series of interconnected themes. These themes – apocalypse, the absurd, absence, and space – arise from the debates presented in the theoretical chapters of this thesis, and demonstrate the ways in which nihilism and the sublime interact within postmodern literature. Because of the theoretical and literary debates presented within it, this thesis concludes that it cannot be a thesis at all.
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Shagufta, Iqra. "Postmodernity and Pakistani Postmodern Literature." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707404/.
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Though scholars have discussed postmodernism in Islam and South Asia before, they tend to (i) assume Muslims as a monolithic group, bypassing the diversity of different cultures and the interaction of these cultures with indigenous practices of Islam; (ii) study postmodernity synchronically, thereby eliding histor(ies) and the possibility of multiple temporalities; and (iii) compare postmodernity in non-Western countries with Western standards, and when these countries fail this test, declare them not-yet-postmodern, or even modern. Negligible and scant discussions of postmodernity that do take place inside Pakistan, most of which are published in newspaper articles, tend to focus on Western postmodernity and its evolution and contemporary position. There is no book-length discussion of postmodernity and postmodernist literary texts from Pakistan and its curious sociopolitical blend of Indo-Muslim and Anglo-Indian influences and interaction with the Islamic political foundations of the country. This project discusses postmodernity and postmodern literature in Pakistan. I argue that, because of a different political, cultural, and literary climate, postmodernity and postmodern literature in Pakistan are distinct from their Western counterparts. Because of technological advancement and neoliberal globalization, Pakistan experiences a different kind of postmodernity resulting in the production of a different kind of postmodern literature. I trace the historical employment of postmodern literary tropes from Indo-Islamic genres, i.e. dastan, to contextualize this conversation. Then I discuss experimental works of fiction like Sultana's Dream (1908), Bina Shah's Before She Sleeps (2018), and Soniah Kamal's Unmarriageable (2019). The last chapter explores the relationship of postmodernity, postmodern politics, and Pakistani and Muslim historiographic metafictional literary texts: The Satanic Verses (1988) and A Case of Exploding Mangoes (2008). Hence, the work is regional and national, as well as comparative and transnational.
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Jaccaud, Sabine Jeanne. "The postmodern city : architecture and literature." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:90ac276d-030a-4a8f-8743-018c21c5f50f.
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This thesis explores Postmodern architecture and narrative representations of the city as an emblem for the presence of the past in a contemporary environment. The architectural theory of Aldo Rossi is a model for this perception of the city as a locus of memory. Berlin, London and Paris are the places I will consider. Part I presents examples of architectural practice of the 1980s. A project for a museum of German history in Berlin, the Sainsbury Wing of the National Gallery in London and the Place de Stalingrad in Paris re-work urban historical traces. Chapter 4 outlines the theories behind each project and how they develop notions of memory within the city. Part II pursues this thread by focusing on examples of narrative representations of cities. In relation to Germany and Berlin, Wim Wenders' film Per Himmel über Berlin, Walter Abish's novel How German Is It. Christa Wolf's Kindheitsmuster and Hugo Hamilton's Surrogate City are my main sources. I discuss London through Peter Ackroyd's novel Hawksmoor and Paris through examples of Patrick Modiano's writing. A fourth and more theoretical chapter outlines how Postmodern narrative represents history and problematises memory. Two images direct this discussion: the detective and the palimpsest. My sources rely on the model of urban inquests and portray the city as a space shaped by a lamination of traces from superimposed eras. Part III connects architecture and narrative through examples of recent developments in Postmodern museology, mainly the Holocaust Museum. They construe historical narratives by endowing building and contents with a communicative function. As a conclusion, I establish that Postmodern concerns with history focus on the importance of bearing witness to the past, however problematic its representation has become. As the city houses memory, it is a priviledged location for historical traces which define contemporary identity.
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Bahjat-Abbas, Niran. "Informatic narratives in postmodern theory and literature." Thesis, Birkbeck (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340470.
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Morgan, David Ellis. "Pulp Literature: a Re-evalutation." Murdoch University, 2003. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20040820.122551.
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The purpose of this dissertation is to redress the literary academys view of Pulp Literature as an inconsequential form, which does not merit serious contemplation, or artistic recognition. Although it is true that recent literary criticism has attempted to elevate the importance of Pulp by positing it as the natural postmodern other to high literature, the thesis demonstrates how this dichotomy has proven to be counter-productive to its aim. That is, although this theoretical approach does invite legitimate investigation of the form, many academics simply use this technique to reinforce their claims for the superiority of so-called canonic texts. Therefore, rather than continuing along this downward path, this thesis focuses more on the subversive machinations of Pulp Literature as a social, economic, political, and theoretical force with its own strategies and agendas, opening with an investigation of the history of Pulp Literature as a cultural form.
I argue that, from its very conception with the invention of the printing press in the fifteenth century, Pulp has always offered a radical alternative to the mainstream by providing a voice for the marginalised and the oppressed in the societies of the world. The thesis traces this political role as the aesthetic evolves into the new forms and technologies of a contemporary culture, where many academics still refuse to acknowledge Pulp as an important agent for the transmission of ideological views, and an impetus to instigate social change. The concluding arguments move away from the quantitative, to the more theoretically evaluative section of the thesis. This consists of a discussion of the conceptual boundaries surrounding the aesthetic of Pulp, broaching such subjects as literary evaluation, canonicity, and canon formation. This debate ultimately revolves around the question, if literary theorists cannot objectively determine what literary quality is, then how can we hope to define Pulp?
In an attempt to answer this question, the thesis juxtaposes the criteria of a number of literary theorists from this field of inquiry, namely, Thomas R. Whissen, Clive Bloom, Thomas J. Roberts, Harold Bloom, Andrew Calcutt and Richard Shephard, to formulate an aesthetic that is not only markedly different to theirs, but more significantly, one which situates Pulp Literature at the head of the literary academic table.
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de, Toro Alfonso. "Arte, literatura y Teatro menor postmoderno: Borges y Pavlovsky." Vervuert, 2004. https://ul.qucosa.de/id/qucosa%3A13099.
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El teatro de Eduardo Pavlovsky, en el transcurso de toda su obra, ha sido simplemente un teatro que se ha ido y se va a las orillas, a la periferia, un teatro dentro de lo que podemos llamar –parafraseando a Deleuze/Guattari– "teatro menor" (vid. Deleuze/Guattari 1975), para poder allí, libre de condicionamientos externos, producir un teatro que llamaría orgánico, esto es, un teatro en el que la representación sea al final el logro natural de una búsqueda, de una transformación, de una acto de creación que actores mismos como en los espectadores o en los lectores de esta obra. De esta forma la obra de Pavlovsky se establece como una de las manifestaciones más exitosas de la producción teatral en el concierto internacional del teatro. Pavlovsky se encuentra en Argentina en muy buena compañía y tradición: no olvidemos que Borges fue un autor de las orillas por mucho tiempo y desde allí se impuso en el centro como lo estamos experimentando cada vez más claramente. Pero profundicemos un momento esta categoría de "lo menor" y esta relación discursiva, estética y de pensamiento entre Pavlovsky y Borges. Tanto Borges como Pavlovsky trabajaban en las "orillas" para descentrar los cánones establecidos en el pensamiento, en la cultura, en la literatura y el teatro en Buenos Aires y fundar así su propia concepción literaria o teatral, lo cual es algo prácticamente típico de ambos autores en Buenos Aires.:La producción periférical y el "teatro menor". - Resumen
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Baxter, James. "The problem of Beckett in postmodern American literature." Thesis, University of Reading, 2018. http://centaur.reading.ac.uk/77543/.
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In this thesis, I return to the unsettled ground of Beckett’s influence over the emergence of postmodern fiction. Taking on board Peter Boxall’s piercing assertion that ‘one of the most significant of Beckett’s legacies [...] is a conception of legacy itself,’ (2009) I provide a narrative of inheritance in which the exhaustion of literary experiment glimpsed in Beckett provides a bequest that is simultaneously energising and enervating. In particular, I connect this to the strained relationship of Beckett regarding the U.S., enshrined in his statement that this is ‘somehow not the right country for me.’ (Knowlson, 1996) The first chapter details the practicalities of Beckett’s U.S. migration via the Grove Press periodical Evergreen Review. Beckett’s 16 (1957-1973) appearances in the American periodical serve as a core vehicle of the author’s deracination, contextualising his publisher Barney Rosset’s description of Beckett’s ‘nontogetherness.’ The second chapter focuses on the work of Thomas Pynchon, in which Beckett’s poetics of exhaustion is integrated alongside the vitalism of the popular Beat avant-garde staged in Evergreen. In particular, I argue that Beckett’s influence intersects with the postmodern problem of hermeneutics, dramatized through shared images of ending, ‘Zero,’ and entropy. The final chapter reframes the Beckettian disjuncture against the work of Don DeLillo and the author’s interrogation of ‘this whole global, yet American, postmodern culture.’ (Jameson, 1991) Framed by DeLillo as the ‘last writer to shape the way we think and see,’ (Mao II, 157) Beckett’s presence is one of termination; at the same time, it discloses a means whereby fiction might ‘extend into the world.’ (Adelman, 2004) Alongside developments in DeLillo’s spatial-poetics to a fiction set ‘nowhere in particular,’ I finally provide a view of Beckett’s problematic bequest as one that is integrated into the fabric of the text over time.
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Blades, Andrew Michael. "Retroviral writings : reassessing the postmodern in American AIDS literature." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:2aa5ac09-bd75-4730-9ac0-6b448de7cbdd.
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This thesis reassesses American AIDS literature of the 1980s and 1990s by focusing on four major writers: the poets Thom Gunn (1929-2004), James Merrill (1926-1995) and Mark Doty (1953-), and the novelist Michael Cunningham (1952-). It questions the dominant critical discourse on literature of the epidemic, contending that while competing versions of the postmodern provided useful models for reading AIDS in the 1980s and 1990s, it is now necessary to adjust the critical position in line with the intellectual turn away from the cultural theories of that time. The introduction provides an overview of the most prevalent constructions of AIDS’ postmodernity through the period, arguing that critics were anxious to fit the epidemic to the theoretical models of the day, and going on to suggest that the writers under scrutiny actively question or even resist these models. Chapter One reads the later collections of Thom Gunn against his earlier work, arguing that he writes a "poetry of prophylaxis" which draws on his literary past in order to construct a defence against the uncertainties of the epidemic age. Chapter Two develops this question of self-reconstruction, examining the last two collections of James Merrill and his 1993 memoir in light of his own diagnosis with HIV. It proposes that in the renegotiation of his body, he might help the reader both remember and "re-member" him. Chapter Three turns to the work of Mark Doty, in particular the memoir Heaven’s Coast and the two collections, My Alexandria (1995) and Atlantis (1996), suggesting that Doty reclaims metaphor for palliative good at a time when AIDS theorists such as Paula Treichler registered scepticism during the "epidemic of signification". Chapter Four discusses the 1990s novels of Michael Cunningham, arguing that in order to “know” AIDS, outside of contemporaneous postmodern readings, it is necessary to "re-know" or "recognise" older literary models. The thesis ends with a brief account of post-1990s AIDS literature and theory, before concluding that each writer argues for models of literary continuity as a means of neutralising the possible creative rupture wrought by immunodeficiency.
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Caraher, Paul. "The Postmodern Improvisor." TopSCHOLAR®, 1995. http://digitalcommons.wku.edu/theses/900.
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This thesis represents a revitalization of the thesis form because it has organically blossomed from an integrated consciousness. Instead of the pre-existing thesis form for a Master of Arts Degree in English bending, limiting, and shaping the content, I have shaped the form according to my own synthetic ambition, resulting in a fusion of elements from both a researched and a creative thesis. This strategy is justified since the very subject of the thesis stresses the improviser's ongoing urge to create as the spontaneous moment/impulse requires while simultaneously creating an organic frame or unique inner logic. Above all, this project is a translation of autobiographical reflections which have crystalized years of intense struggle, culminating with my hard fought liberation from the hollow shell of garage band mediocrity.
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Wilson, Melissa Beth. "Constructions of Childhood Found in Award-winning Children's Literature." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195174.
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This study explores the connections between childhood and children's literature. In this connection there is an inherent tension between writing and reading "real" childhood, as it is being lived by children now, and interacting with an adult-normative, adult-reconstructed childhood that may or may not have existed in the past. The purpose of this study was to address this tension by analyzing fifteen recently published award-winning children's novels, from the United States, The United Kingdom, and Australia, in order to ferret out how present-day childhood is constructed within this text set. Using a hybrid methodology called critical discourse analysis, buttressed by the frameworks of postmodern childhood studies and critical children's literature studies, the novels were analyzed in a hermeneutic, reader-response oriented approach in order to excavate themes that addressed childhood in the narratives. Findings are presented as a meta-plot, wherein the child protagonists leave a failed home, set out on a journey of knowledge and experience gaining a sense of agency, and, at the end of the novel, construct a new home replete with the child protagonists' personal meaning. This meta-plot includes instances of the child protagonist performing parrhesiatic acts (Foucault) as well as developing non-hierarchical relationships as conceptualized by an I/You relationship (Buber). Other findings include the construction of childhood as a time of "becoming" and a time of "is-ness," childhood as a time of resilience, and childhood as a time of difficult decisions. Conclusions of the analysis speak to the idea of the child serving as a Modern bringer of hope, who manages to create moral order from within an adult-created postmodern milieu. Implications relate to the fields of literacy education, replications of the study with an interpretative community of children, and continuing to define the burgeoning methodology of critical content analysis.
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Kelty, Mark J. "Jesusa Rodriguez : Mexico City's postmodern/permanent revolutionary /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901247.
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Franco, Marie. "SM in Postmodern America." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1532004486477585.
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Muhlstock, Rae Leigh. "Literature in the labyrinth| Classical myth and postmodern multicursal fiction." Thesis, State University of New York at Buffalo, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3640823.
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The labyrinth is a powerful image, turning up throughout the twentieth and twenty-first centuries in modernist, high modernist, postmodern, experimental, and digital fictions. Some authors taking up the image of the labyrinth in the latter half of the twentieth century and the beginning of the twenty-first consider it more than a mere metaphor or a setting before which plots and characters unfold; it offers instead a poetics, a way to discover, explore, and conquer labyrinths constructed of the experiences of everyday life—the city, the home, the library, the computer, the mind, even the book itself. Throughout this thesis I examine a small selection of their fictions—Michael Ayrton's The Maze Maker, Alain Robbe-Grillet's In the Labyrinth, Mark Z. Danielewski's House of Leaves, Umberto Eco's The Name of the Rose, Shelley Jackson's Patchwork Girl, Steve Tomasula's TOC, and selections by Jorge Luis Borges and Ovid—each of whom deploys the labyrinth simultaneously in the diegesis and discourse of their texts in order to discover the shifting boundaries of the page and narrative form. Non-sequential narrative techniques in the spatial, formal, linguistic, and typological structures of these fictions implicitly propose the labyrinth as a model for the unique complexities of writing and reading in the modern world, one that in fact demonstrates the very labyrinth that it describes.
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Chandarlapaty, Raj. "Kerouac, Ginsberg, Snyder: The beat generation reconsidered as postmodern literature." FIU Digital Commons, 2000. http://digitalcommons.fiu.edu/etd/2105.
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The purpose of this thesis paper is to uncover how the major writers of the Beat Generation-Kerouac, Ginsberg, and Snyder-reflect the coming of postmodern literary theory and aesthetic principles and values. The Beats, far from being the sole territory of modernist discourse, are indications of the dismantling of cultural barriers and the introduction of postmodern commercial and visual culture into literary reality.
The paper considers and establishes the writing of the Beats within eight ideals that are found in postmodern literature, visual arts, and theory: the concept of culture as a commodity, the deterritorialization of culture, historicizing the past into the present, decentering American hegemony, deconstructing the “bourgeois ego”, deconstructing “otherness”, muti-imagistic qualities, and “schizophrenia”.
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Hawley, Brad Kendall. "The architecture of ethics in postmodern fiction /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9977904.
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Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 308-319). Also available for download via the World Wide Web; free to University of Oregon users.
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Sung, Mei-yee, and 沈美怡. "Likeness and unlikeness in postmodern fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B26791973.
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Grassegger, Hannes. "Toward an Ethics of Postmodernism Plurality and Sense-Seeking in Siri Hustvedt's The Blindfold and Paul Auster's Moon Palace /." St. Gallen, 2006. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/02607802001/$FILE/02607802001.pdf.
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Efron, Corey. "Televisual Aesthetics in Postmodern Novels 1969-2006." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618733401371798.
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Rodriguez, Cabral Cristina. "La narrativa postmoderna y postcolonial de Manuel Zapata Olivella /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3137741.
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Lea, Daniel Owen. "J. G. Farrell : towards a postmodern fiction." Thesis, Royal Holloway, University of London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243812.
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J. G. Farrell's 'Empire trilogy' is perhaps the most sustained and innovative achievement of post-1947 British imperial discourse. However, despite almost universal critical acclaim his work has remained on the fringes of academic study, as a result of readings which confine his importance solely to the field of postcolonial critiques of imperialism. It is the contention of this thesis that Farrell's work can also be read as a postmodern undermining of both historiography and the fictional recreation of history. Through a chronological study of his early and mature fictions, my work argues that Farrell developed from a realist social commentator, influenced by modernism and existentialism, into an accomplished postmodern novelist, inquiring into the validity and ideological commitment of historical representations of British imperialism. Following an introductory chapter, which establishes the principal codes through which Farrell's novels have been traditionally interpreted, chapter two examines the three early novels, suggesting their influences and highlighting the themes and motifs which are relevant to the trilogy. Chapter three interprets Troubles as a transitional novel, evincing a dependency on the stylistic techniques of modernism, but also evidencing a movement towards postmodern parody and narrative self-consciousness. The next chapter concentrates on The Siege of Krishnapur and the intertwining of history and fiction in contemporary conceptions of the colonial adventure-tale. Centred around the Indian Mutiny, the novel draws upon historical documentation as well as fictional renditions, to expose their similar roots in narrative construction and ideological partiality. Finally my thesis examines The Singapore Gri Farrell's monumental synthesis of style and content. This, his last completed novel, re-creates Singapore shortly before its fall in 1942, using a wide range of inter-discursive referents, from fiction, the cinema, drama and conventional historical documentation. Farrell underscores the artificiality of British imperialism in the tropics, paralleling it with a highly-metafictional textual self-consciousness. By freeing Farrell from the constraints of postcolonial labelling, this thesis suggests that his fiction is indicative of an intellectual and cultural zeitgeist of the 1970s, and simultaneously positions him as one of the pioneers of British historiographic metafiction.
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Greenspan, Brian. "Postmodern menippeas, the literature of ideas in the age of information." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ45816.pdf.
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Murphet, Julian Sean. "Literature and the postmodern city : the contemporary writing of Los Angeles." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624797.
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Hill, Jonathan. "Composing the Postmodern Self in Three Works of 1980s British Literature." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3247.
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This thesis utilizes Foucault’s concept of “technologies of the self” to examine three texts from 1980s British literature for the ways that postmodern writers compose the self. The first chapter “Liminality and the Art of Self-Composition” explores the ways in which liminal space and time contributes to the self-composition in J.L. Carr’s hybrid Victorian/postmodern novel A Month in the Country (1980). The chapter on Jeanette Winterson’s novel Oranges Are Not the Only Fruit (1985) titled “Intertextuality and the Art of Self-Composition” argues that Winterson’s intertextual play enables her protagonist Jeanette to resist the dominance of religious discipline and discourse and compose a more autonomous, artistically oriented self. The third chapter, titled “Spatial Experimentation and the Art of Self-Composition,” examines R.S. Thomas’s collection The Echoes Return Slow (1988), a hybrid text of prose and poetry, arguing that Thomas explores spatial gaps in the text as generative spaces for self-composition.
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Farronato, Cristina. "Eco's chaosmos : medieval models for a postmodern world /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9975887.
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Ferreira, Sidnéa Nunes. "Semiotic change in modern and postmodern Time advertisements." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/95373.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2011Made available in DSpace on 2012-10-26T00:47:45Z (GMT). No. of bitstreams: 1 296807.pdf: 19051024 bytes, checksum: c72f4fdfa419209b6b8f73c93c7ed428 (MD5)
O presente trabalho investiga mudanças semióticas no contexto da transição moderna/pós-moderna sob a perspectiva da Semiótica Sistêmico-Funcional e da Teoria Social. Através da comparação de propagandas de uma página publicadas em duas edições da revista americana TIME, uma de janeiro de 1929 e a outra de janeiro de 2009, são três os objetivos desta pesquisa: 1) identificar e descrever possíveis mudanças semióticas em termos de composição, moldura e significados funcionais; 2) interpretar estas mudanças de acordo com alguns dos principais temas do debate moderno/pós-moderno; e 3) refletir sobre possíveis contribuições teóricas. Num nível mais descritivo, os resultados apontam uma disposição para mudanças semióticas sutis. A maior parte das características das propagandas de 1929 ainda estão presentes nas de 2009, com a exceção de cinco pequenas mudanças: 1) duas composições topo-base com a imagem na posição superior ao invés de uma; 2) um maior grau de conexão; 3) um maior número de representações conceituais; 4) uma presença mais forte do modo imperativo; e 5) mais imagens com uma composição centro-margem. Estas mudanças, num nível mais interpretativo, são lidas como a duplicação do padrão moderno, as diferentes maneiras que tempo e espaço são experienciados na modernidade e na pós-modernidade, e o fim do processo de modernização e/ou a emergência de um novo tipo de espaço. Também, em sua totalidade, estas mudanças são lidas como um processo de radicalização da modernidade. Por último, num nível mais reflexivo, este trabalho traz a possibilidade de se rever três pontos na categorização dos tipos de processos proposta por Halliday em seu sistema de transitividade a partir da perspectiva dos quadrantes de Wilber: 1) que a gramática estabelece uma nítida diferenciação não somente entre experiências exteriores e interiores mas também entre experiências individuais e coletivas; 2) que os processos verbais não são subsidiários mas prototípicos da dimensão coletiva de significados interiores, o mundo da interconsciência; e 3) que os processos comportamentais e existenciais são intermediários, não em relação a três principais tipos de processo, mas em relação às dimensões interna/externa e individual/coletiva, respectivamente.
This investigation addresses semiotic change in the context of the modern/postmodern transition from the perspective of Systemic Functional Semiotics and Social Theory. By comparing one page print ads from two TIME magazine issues (US edition), one dated January 1929 and the other one January 2009, its three-fold objective is: 1) to identify and describe possible semiotic changes in terms of composition, framing and functional meanings; 2) to interpret these changes according to some of the main themes in the modern/postmodern debate; and 3) to reflect on possible theoretical contributions. At the more descriptive level, results seem to indicate a disposition to fine-grained semiotic changes. Most of the 1929 characteristics are still present in the 2009 data group, with only five slight changes: 1) two top-bottom compositions with image in top leading position instead of one; 2) some degree of connection; 3) more conceptual representations; 4) a stronger presence of the imperative mood; and 5) more images organized in centre-margin compositions. These slight changes, at the more interpretative level, have been read as the duplication of the modern pattern, the distinct ways time and space are experienced in modernity and postmodernity, and the end of the modernizing process and/or the emergence of a new kind of space. Also, in their totality, these changes have been read as a process of modern radicalisation. Lastly, at a more reflective level, this work has shown the possibility of three revisions to Halliday's categorization of process types within the transitity system from the perspective of Wilber's quadrants: 1) that the grammar sets up a clear discontinuity not only between outer and inner experience by also between individual and collective experience; 2) that verbal processes are not subsidiary but prototypical of the collective dimension of interior meanings, the world of interconsciousness; and 3) that behavioural and existential processes are borderline processes, not in relation to three main process types, but in relation to the interior/exterior dimensions and the individual/collective dimensions, respectively. This investigation addresses semiotic change in the context of the modern/postmodern transition from the perspective of Systemic Functional Semiotics and Social Theory. By comparing one page print ads from two TIME magazine issues (US edition), one dated January 1929 and the other one January 2009, its three-fold objective is: 1) to identify and describe possible semiotic changes in terms of composition, framing and functional meanings; 2) to interpret these changes according to some of the main themes in the modern/postmodern debate; and 3) to reflect on possible theoretical contributions. At the more descriptive level, results seem to indicate a disposition to fine-grained semiotic changes. Most of the 1929 characteristics are still present in the 2009 data group, with only five slight changes: 1) two top-bottom compositions with image in top leading position instead of one; 2) some degree of connection; 3) more conceptual representations; 4) a stronger presence of the imperative mood; and 5) more images organized in centre-margin compositions. These slight changes, at the more interpretative level, have been read as the duplication of the modern pattern, the distinct ways time and space are experienced in modernity and postmodernity, and the end of the modernizing process and/or the emergence of a new kind of space. Also, in their totality, these changes have been read as a process of modern radicalisation. Lastly, at a more reflective level, this work has shown the possibility of three revisions to Halliday's categorization of process types within the transitity system from the perspective of Wilber's quadrants: 1) that the grammar sets up a clear discontinuity not only between outer and inner experience by also between individual and collective experience; 2) that verbal processes are not subsidiary but prototypical of the collective dimension of interior meanings, the world of interconsciousness; and 3) that behavioural and existential processes are borderline processes, not in relation to three main process types, but in relation to the interior/exterior dimensions and the individual/collective dimensions, respectively. This investigation addresses semiotic change in the context of the modern/postmodern transition from the perspective of Systemic Functional Semiotics and Social Theory. By comparing one page print ads from two TIME magazine issues (US edition), one dated January 1929 and the other one January 2009, its three-fold objective is: 1) to identify and describe possible semiotic changes in terms of composition, framing and functional meanings; 2) to interpret these changes according to some of the main themes in the modern/postmodern debate; and 3) to reflect on possible theoretical contributions. At the more descriptive level, results seem to indicate a disposition to fine-grained semiotic changes. Most of the 1929 characteristics are still present in the 2009 data group, with only five slight changes: 1) two top-bottom compositions with image in top leading position instead of one; 2) some degree of connection; 3) more conceptual representations; 4) a stronger presence of the imperative mood; and 5) more images organized in centre-margin compositions. These slight changes, at the more interpretative level, have been read as the duplication of the modern pattern, the distinct ways time and space are experienced in modernity and postmodernity, and the end of the modernizing process and/or the emergence of a new kind of space. Also, in their totality, these changes have been read as a process of modern radicalisation. Lastly, at a more reflective level, this work has shown the possibility of three revisions to Halliday's categorization of process types within the transitity system from the perspective of Wilber's quadrants: 1) that the grammar sets up a clear discontinuity not only between outer and inner experience by also between individual and collective experience; 2) that verbal processes are not subsidiary but prototypical of the collective dimension of interior meanings, the world of interconsciousness; and 3) that behavioural and existential processes are borderline processes, not in relation to three main process types, but in relation to the interior/exterior dimensions and the individual/collective dimensions, respectively.
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Leung, Ching-man, and 梁靜雯. "Autism: narrative and representation in postmodern fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48334686.
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This dissertation investigates autism as a form of disability in the literary and filmic worlds. It closely examines the narrative and representation of autism in two popular fictions, Mark Haddon’s The Curious Incident of the Dog in the Night-time and Jonathan Safran Foer’s Extremely Loud and Incredibly Close. I propose to employ a postmodern framework in reading Haddon’s and Foer’s works, and argue the texts manifest the influence of postmodernism in contemporary writings through exhibiting inter-disciplinary knowledge and transcending the boundary between textual and visual narrative. This dissertation demonstrates how the two novels, by constructing the imagined autistic narrators, and giving them the narrative voice, offer neurotypical readers new perspectives to perceive an alienated world in autistic lens, such that the autistic narrative contributes to a distinct reading experience.
The two chosen novels are significant texts in constructing the popular perception about autism in view of their worldwide popularities. This dissertation investigates how the autistic subject is being constantly imagined, represented, misrepresented and fantasized as otherness in the two fictions, by drawing comparisons with the Hollywood cinema. I find that the characterization and plot formulation in the two novels largely conform to and further reinforce the conventional, stereotypical and monolithic representations of autism in the popular culture, in which people with autism are either victimized as tragic characters, or in contrast, spectacularized and romanticized as extraordinary savants.
Through a critical review of autism in a broad cultural discourse, this dissertation further illustrates how autism emerges as a “transient disability” of the twenty-first century and functions as a cultural metaphor. People with autism are consistently portrayed as lonely aliens or emotionless computer cyborgs. Autism thus serves as a metaphorical and self-referential device to express the fear, anxiety and confusion towards the growing influence of computer technology and consumerism in postmodernity.published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
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Lau, King, and 劉兢. "Postmodern performance in Tom Stoppard's Travesties and Arcadia." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26832501.
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Smethurst, Paul. "Space, time and place in the postmodern novel." Thesis, Birkbeck (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309297.
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Houston, Andrew. "Postmodern dramaturgy in contemporary British theatre : three companies." Thesis, University of Kent, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264631.
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Busato, Cristiane de Oliveira. "John Fowles's "The Magus" as a postmodern romance." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24518.
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Löser, Philipp. "Mediensimulation als Schreibstrategie : Film, Mündlichkeit und Hypertext in postmoderner Literatur /." Göttingen : Vandenhoeck & Ruprecht, 1999. http://catalogue.bnf.fr/ark:/12148/cb39908958w.
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Lynd, Margaret Robinson. "Tragic story, tragic discourse : modern and postmodern narrative tragedies /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487683049378218.
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Kwan, Wing-ki Koren. "Experiments in subjectivity a study of postmodern science fiction /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B3681250X.
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Sainsbury, Lisa Anne. "The postmodern carnival of children's literature : necessary playgrounds and subversive space in the protean body of children's literature." Thesis, University of Surrey, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246056.
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Gardner, Matthew N. "Oh no!! It's Pomo : a case for postmodern discourse /." Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/gardnerm/matthewgardner.pdf.
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Crockett, Andrew Philip 1956. "An essay on the rhetoric of the postmodern essay." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290677.
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Beginning with an inquiry into the tension between modernism and postmodernism, the dissertation claims that the essay is and always has been postmodern in its uncanniness--its refusal of generic and disciplinary boundaries, its capacity to bring together multiple voices and discourses, its skepticism, and its personal, experiential epistemology. Part I concludes with rhetorical analyses of late modern (in content and residual formal attributes) and postmodern essays. The affinities and contradictions between the normalized essay originating with Montaigne and feminist essays focuses the three chapters of Part II, "Gender and the Essay." In the first chapter, "Logos, Montaigne, and Feminism," I explore the tensions between the essay as Montaigne created it and the appeal of that form to contemporary feminist writers. In the second chapter, "The Essay's (Feminine?) Form," I show how the essay has functioned as both a vehicle for the oppressive logocentrism of its traditionally male, genteel authors and as a vehicle for women writers striving to disrupt or overthrow that tradition. In the third chapter, "Rhetoric and the Practice of Style: A Gathering of Essays by Women," I pursue the rhetoric of the other aesthetic into the realm of psychoanalytic theory, where the foundation of Lacanian symbolic order troubles the "other" aesthetic's claim to an alternative discourse. To close this extensive chapter I provide an array of essays written by women that are particularly innovative. My own creative nonfiction is the subject of Part III. "What Rhetoric Means" brings postmodern elements into an academic essay. On the other hand, "Life Drawing" does not address an academic subject or employ academic conventions. Instead it offers charcoal drawing as an analog to writing, with both acting as ways to revise and reclaim my life from my father's troubled legacy. Finally, in "Reflection," the third chapter of Part III and the dissertation's closing chapter, I claim that the essay, postmodernism, and rhetoric share a deep affinity for one another. In that the three terms signify freedom from absolutes, they also force us to contend with ethical responsibilities.
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Deters, Joseph Michael 1967. "Love and the postmodern: The poetry of Angel Gonzalez." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289422.
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This dissertation considers the discourse of love in Angel Gonzalez's poetry and the affinity that the poet's amorous verse has with a postmodern aesthetic. Beginning with his first collection and continuing through his last, the study focuses on how the amorous sentiments of the poet are manifested in his work. The evocation of love is quite varied throughout Gonzalez's poetic trajectory. In chapter one, the foundation of the study is set as the poetry of Aspero mundo (1956) is revealed to exhibit some early signs of a postmodern bent. The theoretical works of Julia Kristeva, Roland Barthes and Catherine Belsey are used in order to illustrate and support the relationship of the poetry with postmodernism. Chapter two examines Sin esperanza con convencimiento (1962) and Palabra sobre palabra (1965). Here, the manifestation of a markedly postmodern irony and the apparent fusion of love, language and poetic creation is studied. Among the critical references employed in this chapter are the ideas of Ihab Hassan, Jean Francois Lyotard, and others. Tratado de urbanismo (1967) is the focus of chapter three. Specifically, this chapter considers the use of intertextual elements and their manifestation in the love poetry of this work. The critical ideas of Kristeva, Barthes, Jonathan Culler and Mikhail Baktin form the theoretical underpinnings of this chapter. In addition, the revelation of the manner in which Gonzalez uses love poetry as a tool for social commentary is also explored as the poet assumes a more public voice within the discourse of love. Chapter four studies the next three books of the poet, Breves acotaciones (1967), Procedimientos narrativos (1972) and Muestra (1977). Here, the poet examines his ability to control the linguistic medium, parodies traditional love poetry and many times employs what Michael Riffaterre has termed "ungrammaticalities." In the fifth and final chapter of this dissertation, Prosemas o menos (1985) and Deixis en fantasma (1992) are studied. The importance of poetic ordering as well as the poet's retrospective views on his own mortality and the immortality of his amorous verse are investigated in these final works.
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Milardi, Ester. "Embodiment and spectrality in modern and postmodern autobiographical representation." Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271364.
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Hammond, Julia Leanne. "Homelessness and the postmodern home: narratives of cultural change /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192191901&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2006.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 224-233). Also available for download via the World Wide Web; free to University of Oregon users.
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Yule, Jeffrey V. "Science, the supernatural, and the postmodern impulse in contemporary fiction /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487952208107624.
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Ross, Simon David. "Nostalgia in postmodern science fiction film." Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23472741.
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Kocela, Christopher. "Fetishism as historical practice in postmodern American fiction." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38213.
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This study contends that postmodern American fiction dramatizes an important shift of philosophical perspective on the fetish in keeping with recent theories of fetishism as a cultural practice. This shift is defined by the refusal to accept the traditional Western condemnation of the fetishist as primitive or perverse, and by the effort to affirm more productive uses for fetishism as a theoretical concept spanning the disciplines of psychoanalysis, Marxian social theory, and anthropology. Analyzing the depiction of fetishistic practices in selected contemporary American novels, the dissertation utilizes fetish theory in order to clarify the unique textual and historiographic features of postmodernist fiction. It also emphasizes the way in which conventional ideas about history and teleology are necessarily challenged by an affirmative orientation toward the fetish. Part One of the dissertation, comprising the first two chapters, traces the lineage of Western thinking about fetishism from Hegel, Marx, and Freud to Derrida, Baudrillard, and Jameson, among others. Recognizing that traditional theories attribute the symbolic power of the fetish to its mystification of historical origins, Part One posits that poststructuralist and postmodernist contributions to the subject enable, but do not develop, an alternative concept of fetishism as a practice with constructive historical potential. Part Two of the study seeks to develop this historical potential with reference to prominent descriptive models of postmodernist fiction, and through close readings of five contemporary American authors: Thomas Pynchon, Kathy Acker, Robert Coover, John Hawkes, and Don DeLillo. The four chapters of Part Two each examine the fictional representation of fetishism within a different theoretical framework, focusing on, respectively: temporality and objectivity in postmodern fiction theory; the interrelation between psychoanalytic theory and female fetishism in novels by Pynchon and Acker
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Mathews, Peter David 1975. "Strategies of realism : realist fiction and postmodern theory." Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8656.
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