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1
Akers, Laura, and Laura Akers. "Patterns in Individual Endorsement of Societal Metanarratives." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12522.
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Culturally shared beliefs about societies and humanity play a prominent part in world events, from beliefs about the histories and destinies of nations to beliefs about the appropriate relationship between humanity and the natural world. Many of these beliefs are "metanarratives," simplified representations of past and future societal trends, which often have narrative elements, such as goals, dramatic features, a sense of suspense for group members, and affective judgments about the passage of events over time.
In this exploratory study, lifelong residents of the United States (N = 299 undergraduate students and 88 members of a web sample of older adults) indicated their degree of agreement with 73 metanarrative statements. Factor analysis of the students' personal belief scores for the 73 metanarratives revealed a pattern of clustering into six factors, indicating that people tend to believe in families of metanarratives. The six factors were Traditional Religion, American Secular Values, International Cooperation, Eco-Romanticism, Anti-Government Cynicism, and Rational Progress. The web sample largely replicated this structure, but with only four factors. The factors were highly correlated with political party affiliation and other psychosocial and demographic variables, including religiousness, Saucier "isms" factors, and MFQ moral foundations.
Participants were also asked about the extent to which some of their strongest beliefs were reflected in their personal activities: career choice, leisure time, spending money, voting, joining groups, reading and viewing, and discussion. The 73 metanarratives were coded for several narrative features: evaluative schema (such as Progress or Looming Catastrophe), presence of standard story elements (context, problem, outcome), presence of goals, and presence of references to cognitively exceptional elements (circumstances beyond the ordinary), such as the sacred, transcendental, unique, or extreme. For both samples, metanarratives with an evaluative schema indicating two possible paths were more motivating than those with only one outcome (e.g., stability or a cycle of recurring ups-and-downs). Further, those with goals were more motivating than those without, and for the web sample, those with cognitively exceptional elements were more motivating than those without. Further study of metanarratives should help to better illuminate the factors leading to individuals' decisions to participate in their larger societies.
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Gasiorek, Andrew B. P. (Andrew Boguslaw Peter). "A crisis of metanarratives : realism and innovation in the contemporary English novel." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74280.
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Critics of the English novel, arguing that it is underpinned by liberalism, frequently claim that the crisis of realism disclosed in the work of many contemporary writers derives from a concomitant crisis of liberalism. Liberalism's dissolution is thus seen to prefigure the death of the novel. This dissertation contends that realism cannot be equated with liberalism and that the contemporary crisis of representation signals a broader crisis of metanarratives.<br>Focussing on selected novels of five post-war English novelists--B. S. Johnson, Doris Lessing, John Berger, Iris Murdoch, and Angus Wilson--I argue that their different responses to the crisis of representation show that it is not a crisis of liberalism alone. Johnson rejects realism for epistemological reasons; Lessing and Berger question it on political grounds; Murdoch and Wilson combine its strengths with a self-reflexive awareness of its weaknesses. I suggest that Murdoch's and Wilson's novels, which argue that fiction does not reflect reality but endows it with meaning and which are at once representational and metafictional, offer the most fruitful ways of acknowledging the crisis of representation while refusing to be paralyzed by it.
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Tamm, Kaidi [Verfasser]. "Metanarratives of change : civil society and governance approaches to sustainable development in Europe / Kaidi Tamm." Gießen : Universitätsbibliothek, 2019. http://d-nb.info/1188563661/34.
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Solomon, Kelsey Alannah. "New Appalachians of the Twenty-First Century: Reinventing Metanarratives and Master-Images of Southern Appalachian Literature." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3022.
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The Appalachian studies tradition ascertains that Appalachian people politically, socially, and academically represent a heterogeneous minority group of our own. In post-capitalistic America, however, the Appalachian region serves as a hotspot for media misrepresentation and tourism that perpetuate through works of fiction, nonfiction, and scholarship both negative and positive stereotypes in the overall American consciousness. Twenty-first-century Appalachian authors, I contend, are reinventing Appalachia from its postmodern rubble through fictionalized reconceptualizations of our region’s history, shifts in our collective consciousness from anthropocentric to ecocentric, and subversions of the heteronormative discourse of our internal colony through explorations of the psychosexual. The contemporary Appalachian texts that exemplify these abilities are Ron Rash’s The Cove, Barbara Kingsolver’s Prodigal Summer and Jeff Mann’s Loving Mountains, Loving Men because each represents a paradigm shift within their own aesthetic metanarratives in Appalachian literary history.
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Padwicki, Robyn Sharlene. "Intertextual echoes : violence, terror, and narrative in the novels of Ian McEwan and Graham Swift." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2800.
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Numerous studies have pointed to the historiographic and metafictional aspects of Ian McEwan’s and Graham Swift’s fiction, although few have examined the connections between McEwan and Swift. This study develops from that work by proposing that McEwan’s and Swift’s fictions explore similar themes, beyond those of just history and metafiction. By situating McEwan and Swift as postmodern writers who are strikingly intertextual, in the sense initially coined by Julia Kristeva, this study will show that both authors are deeply concerned with the violence of the twentieth and early twenty-first centuries, and the role that violence has played in the failure of metanarratives, as well as the resulting terror subjects face as they seek replacements for the personal authenticity, legitimacy, and meaning once provided by totalizing metanarratives. This study also illustrates that McEwan and Swift recognize the persistence of the metanarrative of science, as well as the psychic violence inherent in trying to replace metanarratives with received literary traditions. By developing on these ideas, this thesis argues that McEwan and Swift are actively engaged not only in exploring the anxiety subjects face as they realize there is nothing left upon which they can base their personal legitimacy, but also that the authors are suggesting there is no easy replacement for the lost, albeit fictitious, authenticity once situated in metanarratives and received genres. Finally, this paper will demonstrate that while these two contemporary novelists significantly problematize narrative and narrative frameworks, McEwan and Swift ultimately convey only one sure method to cope with the mourning and terror of the postmodern condition: continue writing.
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Nascimento, João Paulo Costa do [UNESP]. "Abordagens do pós-moderno em música: a incredulidade nas metanarrativas e o saber musical contemporâneo." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/95146.
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nascimento_jpc_me_ia.pdf: 2213686 bytes, checksum: eb26aeb40885b6d66423313764243eb0 (MD5)<br>Universidade Estadual Paulista (UNESP)<br>Em 1979, Jean-Fraçois Lyotard publica A Condição Pós-Moderna: Relatório Sobre o Saber sob a encomenda do Conselho da Universidades do estado de Québec. Tal publicação influenciou grande parte do debate sobre pós-modernismo em diversas áreas da pesquisa acadêmica em Humanidades. Tendo em vista tal influência, o presente trabalho tem por objetivo a observação desta influência de A Condição Pós-Moderna sobre as abordagens do pósmoderno em música realizadas posteriormente a década de 1980. Para tal tarefa, será utilizada a noção lyotardiana de pós-moderno como incredulidade nas metanarrativas de legitimação do saber. Esta influência será observada perante importantes textos relativos ao pós-moderno musical e na maneira como algumas obras da música clássica de concerto realizada na década de 1990 e 2000 se relacionam com tal incredulidade.<br>In 1979, Jean-Fraçois Lyotard published The Postmodern Condition: Report on Knowing made to order by the Council of Universities of the Provincial Government of Québec. Such publication influenced significant part of the debate on postmodernism in different areas of the humanity academical research. In view of such influence, the present work has for objective the comment of this influence of The Postmodern Condition on the approaches of the postmodern in music carried through after the decade of 1980. For such task, the lyotardian notion of postmodern will be used as incredulity toward metanarratives of legitimation of knowing. This influence will be observed in important writings concerned to the musical postmodern and in the way as some works of the concert classical music composed in the decades of 1990 and 2000 relate with such incredulity.
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Nascimento, João Paulo Costa do. "Abordagens do pós-moderno em música : a incredulidade nas metanarrativas e o saber musical contemporâneo /." São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/95146.
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Orientador: Lia Vera Tomás<br>Banca: Alberto Tsuyoshi Ikeda<br>Banca: Paulo de Tarso Salles<br>Resumo: Em 1979, Jean-Fraçois Lyotard publica A Condição Pós-Moderna: Relatório Sobre o Saber sob a encomenda do Conselho da Universidades do estado de Québec. Tal publicação influenciou grande parte do debate sobre pós-modernismo em diversas áreas da pesquisa acadêmica em Humanidades. Tendo em vista tal influência, o presente trabalho tem por objetivo a observação desta influência de A Condição Pós-Moderna sobre as abordagens do pósmoderno em música realizadas posteriormente a década de 1980. Para tal tarefa, será utilizada a noção lyotardiana de pós-moderno como incredulidade nas metanarrativas de legitimação do saber. Esta influência será observada perante importantes textos relativos ao pós-moderno musical e na maneira como algumas obras da música clássica de concerto realizada na década de 1990 e 2000 se relacionam com tal incredulidade.<br>Abstract: In 1979, Jean-Fraçois Lyotard published The Postmodern Condition: Report on Knowing made to order by the Council of Universities of the Provincial Government of Québec. Such publication influenced significant part of the debate on postmodernism in different areas of the humanity academical research. In view of such influence, the present work has for objective the comment of this influence of The Postmodern Condition on the approaches of the postmodern in music carried through after the decade of 1980. For such task, the lyotardian notion of postmodern will be used as incredulity toward metanarratives of legitimation of knowing. This influence will be observed in important writings concerned to the musical postmodern and in the way as some works of the concert classical music composed in the decades of 1990 and 2000 relate with such incredulity.<br>Mestre
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Cavalcante, Ana Maria. "O narrador-espectador de José Saramago: a relativização da distância espaço-temporal e os diálogos narrativo-dramáticos." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-17072018-110615/.
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Memorial do convento (1982), História do cerco de Lisboa (1989) e O homem duplicado (2002) são as obras de José Saramago (1922 - 2010) sobre as quais se debruça esta tese. Os romances pertencem a dois diferentes momentos da produção literária do autor, e a eleição deles se justifica pela tentativa, empreendida por este estudo, de estabelecer um panorama comparativo que permita analisar as diferenças e as semelhanças de recursos que compõem a retórica narrativa empregada por Saramago. A metanarratividade e as inserções dramáticas, exercitadas por um narrador todo poderoso e pluralizado, são observadas e analisadas, durante o desenvolvimento desta pesquisa, como dois dos principais estratagemas que são comuns aos romances de Saramago e que contribuem para o estabelecimento temático-estrutural de um conflito constantemente explorado nos romances do autor: aquele entre Eu/Outro/Mesmo. Utilizando-se da metanarratividade, o narrador de Saramago se insere e se posiciona criticamente em uma tradição narrativa frequentemente evocada e deteriorada. Os romances do escritor português não se constituem senão em um diálogo crítico contínuo com as narrativas que os precederam, sejam elas historiográficas ou ficcionais. Ao mesmo tempo em que onisciente, uma vez que passeia pela cabeça das personagens e pelo passado/presente/futuro narrativos, o narrador saramaguiano se corporifica dentro do universo ficcional, simulando, já que cerceado pelo sensível, a sua própria limitação diante de um encadeamento de acontecimentos mais largos do que aqueles que o narrador é capaz de acompanhar por meio da visão/audição. A observação e a analise das manifestações metanarrativas e das inserções dramáticas são demonstradas, durante o desenvolvimento deste estudo, como os estratagemas pelos quais se confrontam: Vida e Narrativa, História e Ficção, Passado e Presente. As fricções entre essas categorias e a identificação crítica de suas semelhanças revelam a sombra do Mesmo, da impossibilidade de serem singulares e, por esse motivo, principalmente no que diz respeito à História, da impossibilidade de serem apreendidas como veiculadoras de verdade única e incontestável. A retórica de persuasão impressa nos romances de José Saramago, fundada em um narrador consciente do papel de sua narrativa e paradoxalmente onisciente e limitado, fabrica e sugere a sua própria retórica de leitura, em que se absorve para o universo crítico-ficcional o seu Outro: o leitor.<br>Memorial do convento (1982), História do cerco de Lisboa (1989) and O homem duplicado (2002) are José Saramagos (1922 - 2010) works on which this thesis focuses. The novels are from two different moments of the authors literary production and their choice is justified by this study attempt to establish a comparative panorama that allows an analysis of the differences and similarities of resources that compose Saramagos rhetoric narrative. The metanarrativity and dramatic insertions, exerted by a powerful and pluralized narrator, are observed and analyzed, throughout this research development, as two of the main stratagems common to Saramagos novels and which contribute to the thematic-structural establishment of a conflict constantly exploited in the authors novels: the one among I/Other/Same. By using metanarrativity, Saramagos narrator inserts and positions himself critically in a narrative tradition frequently evoked and deteriorated. The Portuguese writers novels constitute a continuous critical dialogue with the narratives that preceded them, whether they are historiographic or fictional. While omniscient, once he is aware of the innermost thoughts and feelings of all characters as well as the past/present/future narratives, Saramagos narrator embodies himself in the fictional universe simulating, since he is curtailed by the sensitive, his own limitation in the face of a chain of events broader than those the narrator is able to follow through vision/hearing. Both the observation and the analysis of the metanarrative manifestations and of the dramatic insertions are demonstrated over this study as the stratagems by which they confront themselves: Life and Narrative, History and Fiction, Past and Present. The frictions between these categories and the critical identification of their similarities reveal the shadow of the Same as the impossibility of being singular and for this reason, especially with regard to History, the impossibility of being apprehended as carriers of a single and undeniable truth. The rhetoric of persuasion imprinted in José Saramagos novels, based on a narrator who is aware of his narrative role and is paradoxically omniscient and limited, makes and suggests his own reading rhetoric in which the critical-fictional universe absorbs the Other: the reader.
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Nissen, A. M. "The metanarrative paradigm." Thesis, Nissen, A.M. (2017) The metanarrative paradigm. PhD thesis, Murdoch University, 2017. https://researchrepository.murdoch.edu.au/id/eprint/36759/.
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The original contribution of this thesis is an examination of how the concept of metanarrative can be used to illuminate shifts in popular thought in the Information Age. There is disagreement over what Information Age paradigms signify, and whether a metanarrative can exist. The postmodern dismissal of metanarrative requires re-examination in the face of understandings that have accompanied contemporary technological advancements. Information technology will be used in this study to explain the movement in globalised culture towards metanarrative understandings as technology is the most broadly visible indicator of human advancement. Branching out from a core literature of media and cultural theorists and internet researchers, I also employ analogous understandings of such a phenomenon from tangential theory including philosophy, psychology and natural science.
Observations have been made of a pattern of increased self-referral over recent decades occurring in various disciplines, indicating shifts in the contextualisation of understandings. Our paradigms are becoming more selfconscious as narratives. As humankind’s ideas and capacity to harness understandings of the world continue to develop, we are increasingly engaging with further levels of self-awareness that provide us with the
perspective needed for epistemological shifts. This thesis explores the way in which our advancement brings us closer to a meta-textual awareness. I will argue that this constitutes a shift in our perception towards an initial oneness of cultural narratives. An examination of convergence paradigms in the Information Age can be demonstrated to speak of an underlying metanarrative that fundamentally shapes our constructed narratives.
The institutions constructed by our conscious theorisations are becoming seen as conceits, as the Information Age is illustrating for the public that our notions of discrete concepts are constructed from narratives. The dream world offered by the virtual is ingraining us with the idea of a potential for any narrative to emerge and shape the collective consciousness. I conclude from this investigation that we increasingly have a self-awareness of the narratives we inhabit as constructions, creating a popular conceptualisation of everyday interactions as narratives being acted out.
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Alves, Frederick Gomes. "A constituição disciplinar da história global e a superação de uma dicotomia no debate entre modernidade e pósmodernidade (1990-2010)." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7398.
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Previous issue date: 2017-05-26<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This work aims to present global history as a subfield of history. It constituted itself in the three
last decades incorporating the great issues of the final years of the twentieth century, and
seeking to understand also the significance of the events of the 2000s. Therefore, the object of
analysis is the global historiography produced between 1990 and 2010. The first chapter will
seek to analyze a set of works of this trend in order to present his outlines: tasks, sources,
methods, periodization and the strategies of narrative construction that capture and explain
globalization; thus exposing thematic preferences of the authors. The second chapter asks about
historiographical antecedents that led to the formation of this trend, and traces the history of the
tension between cosmopolitanism and parochialism in several historiographical traditions,
underlining the first’s suppression since the nineteenth century and its return in the second half
of the twentieth century in the current of world history, from where global history emerges. The
third chapter addresses the modernity/postmodernity debate documenting how it was present in
the formation of global studies in the 1980s and of global history itself in the 1990s. By
exposing the debate and analyzing its constitutive role in the trend of global history, it will be
possible to show how the latter overcame the dichotomies of the first, incorporating: the critique
of eurocentrism and of the nation-state – from postmodern thought; and fundamentally the
metanarrative as the mode of writing the history of humanity – from modern thought. Thus this
subfield of history recovers and actualizes a modern element through postmodern experience,
the result of which is a global metanarrative, more prepared to face the dangers of Eurocentric
and nation-state discourse, and more adequate to provide historical meaning in a globalized
world.<br>Trata-se de apresentar a história global como um subcampo da ciência histórica. Ela se
constituiu nas três últimas décadas, incorporando as grandes questões dos anos finais do século
XX, e buscando compreender também o significado dos acontecimentos dos anos 2000.
Portanto, o objeto de análise é a historiografia global produzida entre 1990 e 2010. O primeiro
capítulo buscará analisar um conjunto de obras dessa corrente a fim de apresentar seus
contornos: tarefas, fontes, métodos empregados, a periodização e as estratégias de construção
narrativa que apreendem e explicam a globalização; expondo assim as preferências temáticas
dos autores. O segundo capítulo pergunta pelos antecedentes historiográficos que levaram à
formação dessa corrente, e traça a história da tensão entre cosmopolitismo e paroquialismo em
diversas tradições historiográficas, sublinhando a supressão do primeiro desde o século XIX e
seu retorno na segunda metade do século XX na corrente da história mundial, de onde a história
global emerge. O terceiro capítulo aborda o debate modernidade/pós-modernidade,
documentando como ele esteve presente na formação dos estudos globais, na década de 1980,
e da própria história global, na década de 1990. Mediante a exposição do debate e a análise de
seu papel constitutivo na corrente da história global, será possível evidenciar o modo como esta
última superou as dicotomias do primeiro, incorporando: a crítica do eurocentrismo e do
Estado-nação – do pensamento pós-moderno; e, fundamentalmente, a metanarrativa como
modo de escrita da história da humanidade – do pensamento moderno. Assim, este subcampo
da história recupera e atualiza um elemento moderno através da experiência pós-moderna, cujo
resultado é uma metanarrativa global, mais preparada para enfrentar os perigos do discurso
eurocêntrico e do Estado-nação, e mais adequada para fornecer sentido histórico num mundo
globalizado.
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Appleton, Jack. "Hang on to the Words : Knowledge Tokens, Hierarchies, and Concurrent Narratives in Margaret Atwood’s MaddAddam Trilogy." Thesis, Stockholms universitet, Engelska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-189371.
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Margaret Atwood’s MaddAddam Trilogy has received substantial critical attention inthe fields of ecocriticism, the ethics of bioengineering, and feminist theory. However, the vast majority of this criticism has focussed on Oryx and Crake and The Year of the Flood, the first two books in the trilogy. By displacing human narrators in MaddAddam, the third and final book, Atwood re-contextualises the entire trilogy asno longer being a meticulously researched speculative fiction, and instead a type of fable, along the lines of Jean-François Lyotard’s “A Postmodern Fable.” Through this shift, Atwood asserts the need to replace the perception of a progression of metanarratives in contemporary cultural thought with concurrent, transitory micronarratives. This thesis is divided into three main sections, each examining the different communities which Atwood depicts. The first section uses the work of Zygmunt Bauman and Jean-François Lyotard on the state of knowledge in the postmodern habitat to explore how Atwood presents a fracture between scientific and narrative knowledge, which the Compounds in her novels propagate to impose a hierarchy over their citizenship. The second section moves to a more character focussed perspective, using Eve Kosofsky Sedgwick’s development of ‘homosocial’ triangles, it examines how the character Crake internalises the enforced societal hierarchy between scientific and narrative knowledge, and uses these non-sexual terms to perform a sexual triangle containing himself and other characters. The final section explores the shift of perspective in the third novel, and how the displacement of humanity as the centre of the narrative exposes the unsustainable position of appealing to metanarratives of progression. Through this analysis, Atwood can be seen to be exposing the fallacy that new knowledge usurps old knowledge, and that all contexts of understanding exist simultaneously, appearing, disappearing, and reappearing where they have interpretive utility.
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BAIOCCHI, Ana Beatriz Carvalho. "Filosofia da história em Fredric Jameson: uma crítica às aporias do pós-modernismo." Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/2307.
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Previous issue date: 2010-10-01<br>The aim of this study is the attempt to retake the problem of Marxist philosophical discourse, that is, to implement a philosophy of history in a postmodern discussion of these metanarrativas crisis. In this sense the choise of the author Fredric Jameson is closely related to their position regarding the debate on postmodern. Against all expectations in relation to post-modern theories of crisis metanarrativas, the author think the postmodern in a less pessimistic in a narrative reflect on what Marxist discussion and its relationship with history. However, the assessment in relation to the concept of totality before running through a critical theoretical categories of modernism (its ideology and utopia intrinsic) rather than the process of aggregation of the system. Thus, the questions of Fredric Jameson in relation to post-modern theories renewing him examining the superstructure of artistic and textual phenomena, which allows you to have a panoramic view over the contemporary cultural sphere. From this perspective, and assuming postmodernism as an ally cultural of advanced capitalism, or late, we seek to undertake a reassessment of Marxism from the postmodern critique of ideology and utopia‟s own high-modernism.<br>O objetivo central deste trabalho passa pela tentativa de retomar o problema do discurso filosófico marxista, qual seja, da realização de uma filosofia da história dentro de uma discussão pós-moderna de crise dessas metanarrativas. Nesse sentido a escolha do autor Fredric Jameson está intimamente relacionada com seu posicionamento em relação ao debate sobre o pós-moderno. Contrariando todas as expectativas em relação às teorias pós-modernas de crise das metanarrativas, o autor procura pensar o pós-moderno de modo menos pessimista numa tentativa de refletir sobre o discurso marxista e sua relação com a história. Assim sendo, a apreciação em relação ao conceito de totalidade perpassa antes uma crítica às categorias teóricas do modernismo (sua ideologia e utopia intrínsecas), mais do que ao processo de totalização do próprio sistema. Diante disso, os questionamentos de Fredric Jameson em relação às teorias pós-modernas reconduzem a análise da superestrutura dos fenômenos artísticos e textuais, o que lhe permite dispor de uma visão panorâmica de toda a esfera cultural contemporânea. Dessa perspectiva e pressupondo o pós-modernismo como aliado cultural do capitalismo avançado, ou tardio, procura-se empreender uma reavaliação do marxismo a partir da crítica pós-moderna da ideologia e da utopia próprias do alto-modernismo.
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Nikolopoulos, Anastasios. "The poetics of metanarrative in Ovid's Metamorphoses." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365472.
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Phillips, Louise Gwenneth. "Young children’s active citizenship : storytelling, stories, and social actions." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/38881/1/Louise_Phillips_Thesis.pdf.
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This thesis inquires into possibilities for young children‘s active citizenship as provoked through a practice of social justice storytelling with one Preparatory1 class of children aged five to six years. The inquiry was practitioner-research, through a living educational theory approach cultivating an interrelational view of existing with others in evolving processes of creation. Ideas of young children‘s active citizenship were provoked and explored through storytelling, by a storytelling teacher-researcher, a Prep class of children and their teacher. The three major foci of the study were practice, narrative and action. A series of storytelling workshops with a Prep class was the practice that was investigated. Each workshop began with a story that made issues of social justice visible, followed by critical discussion of the story, and small group activities to further explore the story. The focus on narrative was based on the idea of story as a way knowing. Stories were used to explore social justice issues with young children. Metanarratives of children and citizenship were seen to influence possibilities for young children‘s active citizenship. Stories were purposefully shared to provoke and promote young children‘s active citizenship through social actions. It was these actions that were the third focus of the study. Through action research, a social justice storytelling practice and the children‘s responses to the stories were reflected on both in action and after. These reflections informed and shaped storytelling practice. Learning in a practice of social justice storytelling is explained through living theories of social justice storytelling as pedagogy. Data of the children‘s participation in the study were analysed to identify influences and possibilities for young children‘s active citizenship creating a living theory of possibilities for young children‘s active citizenship.
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Schrock, Lindsey. "PERSONAL NARRATIVE DISCLOSURE: COMBATTING METANARRATIVE PERSPECTIVES AND CULTIVATING EMPATHY." Marietta College Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1463567397.
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Mertz, José Vicente. "Mitologias da Resistência: o processo revolucionário curdo e suas metanarrativas." Master's thesis, Instituto Superior de Ciências Sociais e Políticas, 2018. http://hdl.handle.net/10400.5/17377.
Full textAbstract:
Dissertação de Mestrado em Antropologia<br>O presente trabalho trata-se dos processos políticos curdos na luta por
autodeterminação do Curdistão, em específico no desenvolvimento do Grupo de
Comunidades do Curdistão (KCK) e do Confederalismo Democrático como um modelo
de organização alternativo ao estado nação. Utilizando o método de pesquisa
etnográfica, o trabalho busca identificar nas chamadas mitologias da resistência dos
curdos as metanarrativas que constroem o plano de fundo sobre o qual se inscrevem as
ações políticas atuais do movimento pela autodeterminação do Curdistão. Foca-se em
específico no mito do Newroz, que é o mito de criação curda e a comemoração do ano
novo. O trabalho também busca relacionar a comunidade curda no território e na
diáspora, buscando identificar a utilização destas mitologias da resistência como
ferramentas de mobilização política e comparar o impacto delas na comunidade na
diáspora e no território curdo. O trabalho também faz uma breve análise dos comitês de
solidariedade como ferramentas construção de uma rede de solidariedade internacional e
de inserção da luta pela autodeterminação do Curdistão em um contexto mais amplo de
luta anticolonial.<br>The present work deals with the Kurdish political processes in the struggle for selfdetermination
of Kurdistan, in particular in the development of the Group of
Communities of Kurdistan (KCK) and Democratic Confederalism as an alternative
organization model to the nation state. Using the method of ethnographic research, the
work seeks to identify in the so-called ‘resistance mythologies’ of the Kurds, the
metanarratives that construct the background on which are inscribed the current political
actions of the movement for the self-determination of Kurdistan. It focuses specifically
on the myth of Newroz, which is the myth of Kurdish creation and the celebration of the
New Year. The work also seeks to relate the Kurdish community in the territory and
diaspora, seeking to identify the use of these resistance mythologies as tools of political
mobilization and to compare their impact on the community in the diaspora and in the
Kurdish territory. The dissertation also gives a brief analysis of the solidarity
committees as tools to build a network of international solidarity and to insert the
struggle for self-determination of Kurdistan in a broader context of anticolonial
struggle.<br>N/A
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NERI, ROSSELLA. "La metanarrativa: le teoria, la storia, i testi." Doctoral thesis, Università degli Studi di Verona, 2009. http://hdl.handle.net/11562/337411.
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Il lavoro di questa tesi si propone di fornire un quadro dettagliato, anche se non esaustivo, della presenza
della metanarrativa nella letteratura occidentale fin dai suoi esordi. Con metanarrativa infatti si intende
generalmente quel processo letterario per cui un’opera parla di sé, eppure le definizioni date nel corso degli
anni a questa tecnica sono state molteplici e, a volte, hanno generato confusione. Nel mio lavoro ho scelto
di seguire entrambe le strade tracciate dagli studiosi che si sono applicati al fenomeno metanarrativa negli
anni Settanta e Ottanta del Novecento. La prima di queste strade si ritrova nelle definizioni fornite
rispettivamente da Patricia Waugh nel saggio Metafiction, teory and practice of Self Conscious Fiction del
1984 e in Linda Hutcheon in Poetics on Postmodernism del 1988. In questi due lavori le studiose
sottolineano come la riflessione del testo su se stesso sia in realtà una riflessione del testo sulla realtà e sui
suoi meccanismi retorici e di finzione. La seconda linea di pensiero di cui si è tenuto conto è quella fornita
dallo studioso franco‐americano Raymond Federman in Surfiction, un saggio del 1975. Dal punto di vista di
Federman la metanarrativa non ha sempre un rapporto di esegesi della struttura della realtà ma a volte essa
è semplicemente un gioco, un divertissement colto che considera i suoi testi al di fuori e al di sopra della
realtà (il nome Surfiction contiene un palese riferimento al Surrealismo degli anni Venti), tali testi sono
completamente avulsi dalla struttura tipica del romanzo e la loro leggibilità risulta seriamente
compormessa.
Il contenuto di questa tesi si articola in tre parti: la prima affronta lo studio della metanarrativa da un
punto di vista storico, sottolineando come essa sia un fenomeno non ascrivibile ad un solo periodo
letterario ma, al contrario, presente in molte epoche storiche. Si è tuttavia creduto di scorgere due epoche
fondamentali, entrambe novecentesche, in cui la metanarrativa è risultata più fruttuosa; si tratta degli gli
anni Venti e Trenta in Europa e degli anni Sessanta e Settanta negli Stati Uniti. Di queste due epoche si sono
messe in luce le caratteristiche peculiari della loro metanarrativa, arrivando a due diverse categorizzazioni.
Nella prima epoca si riscontra infatti uno spiccato interesse a potenziare la figura dei personaggi rispetto a
quella del narratore e si è messa in relazione questa tendenza alle nuove tendenze filosofiche e politiche di
quegli anni; nella seconda invece è più difficile circoscrivere una tendenza maggioritaria, essa si presenta
piuttosto come un susseguirsi di sperimentalismi differenti nei contenuti come nella forma volti soprattutto
allo 'svelamento', ossia alla dimostrazione della finzione nella realtà.
La seconda parte della tesi si applica invece a uno studio sulla materia di tipo formalistico, segnalando
tutte le tecniche (inventariate dai maestri dello Strutturalismo) che non sono del tutto ascrivibili alla
metanarrativa ma che ne spiegano, e a volte ne provocano, l'esistenza. In questa sezione si è lavorato
soprattutto sul concetto di morte dell’autore così come è stato espresso da Roland Barthes nel 1968 e su
quello di allegoria, figura retorica antica e per secoli dimenticata, che torna ad avere molto spazio nel
Novecento e che in qualche modo è correlata al concetto di simulacro, elaborato da Jean Baudrillard in
Simulacres and simulation nel 1981 e così importante per il Postmoderno.
Nella terza e ultima parte del lavoro ci si è dedicati a segnalare alcuni esempi, tratti dai testi della
metanarrativa di queste due epoche, ponendo soprattutto l’attenzione sulla metanarrativa americana degli
anni Sessanta e Settanta, in quanto quella è l’epoca in cui la metanarrativa ha avuto i suoi seguaci più
numerosi. I testi sono divisi secondo la struttura utilizzata: si va dalle "varianti narratologiche" (quei testi in
cui è ancora preservata una certa “leggibilità”) allo “sperimentalismo diegetico” (in cui la trama dei testi
risulta completamente s composta lasciando il puzzle da ricomporre al suo lettore). L’ultimo capitolo del
lavoro si applica a ricercare quali, tra le forme di metanarrativa precedentemente inventariate, siano
sopravvissute nella contemporaneità della letteratura occidentale.<br>This thesis aims to provide a detailed description, yet not exhaustive, of the presence of the metanarrative
in western literature from its very first appearance. The metanarrative refers to the literary process
whereby a piece of literature focuses on itself, however numerous definitions of this technique have been
given over the course of the years which, at times, have generated a lot of confusion.
In my work I have chosen to follow both descriptions given to the phenomenon of the metanarrative by
critics in the seventies and eighties of the 20th century. The first is provided by Patricia Waugh in her essay
Metafiction, Theory and Practice of Self Conscious Fiction in 1984 and by Linda Hutcheon in Poetics on
Postmodernism in 1988. Both literary works underline how the auto‐reflection of the text is really a
reflection on the reality of a text and its rhetoric mechanisms and pretences. The second line of thought
followed is that provided by the Franco‐American writer Raymond Federman in Surfiction, an essay written
in 1975. Federman's view of the metanarrative is that it doesn't always have an exegesis relationship with
the structure of the reality, however, at times, it is simply a game, a cultured divertissement which considers
its texts out of touch with reality (the name Surfiction contains a clear reference to twenties Surrealism),
such texts are completely taken out of the typical structure of the novel and their readability becomes
seriously compromised.
The content of this thesis is divided into three parts: the first confronts the study of the metanarrative from
a historical point of view, highlighting the fact that this phenomenon is not ascribable to only one literary
period, on the contrary, it is present in many historic epochs. The metanarrative is however believed to be
distinguished in two main epochs, both in the 20th century where it experienced its greatest success; in
Europe in the twenties and thirties and in the United States in the sixties and seventies.
These two epochs highlight the peculiar characteristics of the metanarrative, forming two different
categories. In the first epoch there was a marked interest to enhance the figure of the characters compared
to that of the narrator, and this tendency corresponds to new philosophical and political movements in
those years. In the second epoch it is not circumscribed as a majority movement but rather as experimental
success, different in content and form and mainly directed towards the unveiling, or rather the
demonstration of the fiction in the reality.
The second part of the thesis is dedicated however to the study of the formalistic materials, highlighting
and listing all the techniques of the masters of Structuralism which are not all ascribable to the
metanarrative but explain, and at times provoke, its existence. This section has focused mainly on the
concept of the death of the author as conveyed by Roland Barthes in 1968, on allegory, the antique rhetoric
figure forgotten for centuries which made a come back in the 20th century and is in some way correlated to
the concept of simulacra, elaborated by Jean Baudrillard in Simulacres and Simulation in 1981, very
important for Postmodernism.
The third and final part of the thesis is dedicated to highlighting some examples, pieces of metanarrative
texts from those two epochs, mainly drawing attention to the American metanarrative in the sixties and
seventies when the metanarrative had a large following. The texts are divided according to the structure
used: from “variants of narratology” (those texts which still maintain a certain readability) to “experimental
narrative” (where the plot of the texts are completely broken up leaving the reader to put the puzzle back
together. The final chapter of the thesis aims to discover which of the metanarratives previously listed have
survived into the contemporary western literature.
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Dunder, Mauro. "Entre prodígios, murmúrios e soldados: o romance de Lídia Jorge." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-14022014-122111/.
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A obra de Lídia Jorge, iniciada em 1980, com a publicação de O dia dos prodígios, constitui um dos mais significativos e relevantes conjuntos de escritos da literatura portuguesa contemporânea. Entre coletâneas de contos, peças de teatro, poemas e textos da literatura infantil, seus dez romances, publicados até 2011, versam sobre diversos aspectos da natureza humana e da vida portuguesa, especialmente no tocante aos fatos ocorridos após a Revolução dos Cravos (1974), compondo um dos mais importantes panoramas da evolução sociopolítica em Portugal desde então. O projeto de pesquisa que deu origem a esta tese buscou contemplar quais aspectos desse panorama aparecem com maior consistência ao longo de sua escrita romanesca e qual sua relação com os fatos Históricos do país, em sua fase democrática. Aliada a isso, a escrita de Lídia Jorge apresenta, ao longo dos dez romances, uma reflexão sobre o próprio ato de escrever e sobre a relação entre a História e sua representação na ficção contemporânea portuguesa. Assim, sob a perspectiva da metaficção historiográfica, conforme a definem Hutcheon (1991) e White (1995), esta tese faz uma leitura dessas dez obras, buscando compreender o projeto estético-ideológico da autora, como ele se consubstancia e de que maneira se desdobra, desde O dia dos prodígios até A noite das mulheres cantoras (2011). Este trabalho propõe que os romances de Lídia Jorge constituam, até agora, três diferentes fases: o percurso inicial, formado pelos quatro primeiros romances O dia dos prodígios (1980), O cais das merendas (1982), Notícia da cidade silvestre (1984) e A costa dos murmúrios (1988); a segunda fase, de que fazem parte A última dona (1992), O jardim sem limites (1995) e O vale da paixão (1998); e a terceira fase, constituída pelos romances O vento assobiando nas gruas (2002), Combateremos a sombra (2007) e A noite das mulheres cantoras (2011). Serviu como espinha dorsal para a construção deste estudo a imagem do bordado como técnica para a construção de imagens, as quais, em conjunto e por si sós, constituem um painel representativo de um povo, de sua História e de sua relação com sua própria identidade. Em suma, este trabalho busca caracterizar quem é e como escreve um dos mais importantes nomes da literatura portuguesa contemporânea.<br>Lídia Jorges work, started in 1980 with the novel O dia dos prodígios, forms one of the most significant and relevant sets of literary pieces produced in the Portuguese contemporary literature. Among short stories, plays, poems, and books for children, her ten novels so far, published between 1980 and 2011, evolve around several aspects of human nature and of the Portuguese life, especially the ones occurred after the Carnation Revolution (1974) building one of the most important overviews of the Portuguese sociopolitical evolution since then. The research project which originated this dissertation aimed to comprehend which aspects of that overview show more consistently in her novelistic writing, as well as its relation with the historical events of the country, in its democratic period (after 1974). In addition, Lidia Jorges writing presents, throughout her so-far ten novels, a reflection upon the act of writing itself and its relation with History and how it is represented in Portuguese contemporary fiction. Therefore, under the perspective of historiographic metafiction, as defined by Hutcheon (1991) and White (1995), this dissertation provides an analysis of her so-far ten novels, aiming at understanding the writers aesthetic and ideological project, how it consubstantiates and how it develops, since O dia dos prodígios and A noite das mulheres cantoras (2011). This work proposes that Lidia Jorges novels be divided into three different moments: the initial phase, made up of her first novels O dia dos prodígios (1980), O cais das merendas (1982), Notícia da cidade Silvestre (1984), and A costa dos murmúrios (1988); the second moment, in which belong A última dona (1992), O jardim sem limites (1995), and O vale da paixão (1998); and the third moment, which includes O vento assobiando nas gruas (2002), Combateremos a sombra (2007), and A noite das mulheres cantoras (2011). As foundation for developing this study, it was used the image of the needlework as metaphor for building imagery which, as a set and each one by itself, constitute a representative panel of a people, their History, and their relation with their own identity. In short, this work aims to characterize who one of the most important of the Portuguese contemporary literature is and writes.
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Zimmerman, Erin. "MAKING MYTH MATTER: INTERROGATING NARRATIVE AND RECONSTRUCTING METANARRATIVE IN CLASSICAL MYTH ADAPTATION." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/dissertations/710.
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Making Myth Matter analyzes the influence of classical myths and their adaptations on cultural values and offers a prescription for how the adaptation process may be improved for cultural sensitivity. My concern is to address the troubling treatment and interpretation of acquaintance rape in three Greek myths: Cassandra, Persephone, and Philomela. I see the treatment of the rape in these myths' adaptations from Chaucer and Shakespeare to Timberlake Wertenbaker and Joanna Laurens as creating metanarratives that shame rape survivors and demean the violence of the rape act. I begin the scholarly portion of the dissertation by examining the difference between narrative: the events of a story, and metanarrative: the discursive function of the story. I address the contemporary Western understanding of rape and survivors' experiences, which reflect how influential metanarratives are in survivors' healing process. I further explain the care that is necessary in adapting myths involving rape because of those myths' strong influence on attitudes cultural attitudes about rape. I analyze the variety of adaptations of the three myths and how disempowering most have been. I use Neil LaBute's bash as an example of care in adaptation being a play that asks questions of the audience but does not provide answers. I see LaBute as engaging the tradition of catharsis without offering its comforting closure, creating a contemporary response to classical work that engages the values of the culture to which it is addressed. I finally provide a set of terms I believe necessary to follow in order to create considered adaptations. In my creative response, which forms the second half of the dissertation, I adapt the myths of Cassandra, Persephone, and Philomela to create metanarratives that empower survivors and engage cultural prejudices against them and their experiences. Through the writing process, I find my own understanding of the survivor experience challenged and explore the idea of adaptation an action of catharsis in itself.
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Corriveau, Marianne. "A Journey through a Collective Environmental Conscience Metanarrative: The Case of Goletta Verde." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31731.
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This thesis presents some articulations of environmentalism in Italy. Using the Italian environmental association Legambiente as entry point, it explores how the vision of a collective environmental conscience is constructed, represented, claimed and contested in the 2013 edition of the association’s principal campaign, Goletta Verde. The integration of theoretical tools [narrative-networks (Lejano et al. 2013), matters of concern (Latour 2008), imagined audiences (Litt 2012) and performance and impression management (Goffman 1959)], and research methods [fieldwork, interviews, participant observation, and the use of extensive literature], reveals analytical findings divided in three parts - how the campaign narrative is constructed, what are some of the discontinuities encountered, and what are implications of the associative vision for environmentalism and its study by anthropologists.
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Gossen, David J. "Winston Churchill's The Second World War, metanarrative, markets, and the politics of memory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ61097.pdf.
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Ferguson, Joshua M. "Non-binary trans subjects : exiting the attachment to the transgender metanarrative of man/woman." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/59063.
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This dissertation examines the emergence of what I call the Transgender Metanarrative. It demonstrates how the Transgender Metanarrative functions as a form of confessional identity politics and biopower, in line with the sex and gender binary, by elevating awareness of binary transpeople (transmen/boys and transwoman/girls) while excluding non-binary trans subjects (trans subjects who identify as neither man nor woman). It investigates the ramifications and pervasive effects of this Transgender Metanarrative whereby some parts of the trans movement have created a new sex/gender binary in their attempts to escape it in the first place. The Transgender Metanarrative has exclusionary consequences in further marginalizing people who identify without a gender or gender(s) beyond man and woman. My research focuses on the early twenty-first century’s transgender phenomenon in academia (‘transgender/trans studies’), social discourse (legislative efforts and organizational policies), and popular culture (particularly fiction and non-fiction film). The film analysis identifies in both binary trans and non-binary trans films key thematic motifs that work to cement the ideology of the Transgender Metanarrative, while signaling an emerging counter-culture of non-binary trans discourse that poses a direct challenge to society’s binary-based understanding of gender and transgender. Using film analysis and poststructuralist theory, particularly queer theory, the dissertation calls for a critical deconstruction of the Transgender Metanarrative. I posit that a non-binary notion of gender will influence gender studies the same way queer theory has influenced understandings of sexuality. My identification as a non-binary transperson is employed as a form of feminist positionality and queer methodology throughout the text. I call this methodology an autoethnography of disidentification (Muñoz), to by reasserting non-binary transgender subjectivity to disrupt the hegemonic Transgender Metanarrative. This intervention happens in both visual (images) and written form. My autoethnography of disidentification, challenges Butler’s theory of gender performativity to make an autonomous break with the ‘doing’ before the ‘being’ of gender identity. I argue that this creative autonomous break allows for non-binary genders to be imagined and recognized. The autoethnography of disidentification articulates my non-binary subjective experience in order to invite the reader/viewer to understand the social reality for a non-binary transperson.<br>Arts, Faculty of<br>Graduate
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Almroth, Klas. "Postmoderniara : En revy över en postmodern idévärld i Harry Martinsons Aniara." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Ämnesforskning, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-24001.
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Uppsatsen ämnar belysa hur Harry Martinsons Aniara (1956) förebådar postmodernismen trots att verket är rotat i den modernistiska traditionen. Analysen tar upp två aspekter med fokus på innehåll och berättarteknik där verket visar prov på en postmodern idévärld. Först behandlas miman, och resonemang förs kring att hon och hennes produktion bör ses som en masskulturell företeelse snarare än som elitistisk diktkonst. Analysen anknyter till Baudrillards teori om hyperverklighet och simulacrum och visar på hur miman skapar detta med sin kulturproduktion. Här framstår två tolkningsalternativ: ett där miman i egenskap av masskultur uppvärderar synen på masskulturen och pekar framåt mot postmodernismen, och ett andra där hon blir en negativ symbol för masskulturen. Detta eftersom hon döljer verkligheten för befolkningen så pass länge att de slutar försöka lösa sin situation. Den andra aspekten är Aniaras förhållande till metanarrativ, vilket belyses utifrån Lyotards teorier om vad som kännetecknar det postmoderna samhället. Analysen visar hur metanarrativen ses som omöjliga inom fiktionen och istället byts ut mot lokalt meningsskapande. Verket i sin helhet bjuder också på motstånd mot metanarrativ genom att (1) utge sig för att vara en klart avgränsad händelse, (2) skriva ut ett motstånd mot djuplodande tolkningar och slutligen genom att (3) mimaroben som ska förmedla revyn över människan i tid och rum inte är pålitlig nog att lägga fram en allmän sanning. Sammantaget konstateras att verket är rotat i modernismen men att det samtidigt förebådar postmodernismen i dess syn på masskultur, hyperverklighet och metanarrativ.<br>The aim of this essay is to highlight tendencies of postmodernism in Harry Martinson’s Aniara (1956), a work that has traditionally been placed in a modernist context. The analysis centers around two aspects in the text with the aim of finding traces of a postmodern world view. First the “mima”, an enigmatic machine that consoles the passengers in the first six years of the journey, is reasoned to be a mass cultural phenomenon rather than an elitist poetic device, as previous studies have suggested. The cultural production of the machine is then analyzed in the light of the theories of hyper reality and simulacrum, as conceived by Jean Baudrillard. The analysis renders two possible implications, one where the machine can be viewed as a precursor to a postmodern positive attitude of mass culture, and one more modernistic where the machine in its role as mass culture numbs the passengers and prevents them from acting on their situation in time. The second part of the analysis focuses on the view of metanarratives, as expressed within the fiction and in the wok as a whole. Jean-François Lyotard and his explanation of postmodernism’s incredulity towards metanarratives is used as a theoretical standpoint. The analysis shows that metanarratives are considered impossible within the fiction of Aniara as during the course of the journey, they are replaced with more local methods of creating meaning. On the whole, the book could be seen to replace the metanarrative of human progress by one telling of the inadequacy and inert destructibility of humanity. However, the analysis shows that metanarratives are rejected all together. The construction of a new metanarrative is made impossible by (1) the fictitious accounts clearly being a local event, (2) the text openly stating the impossibility of deeper interpretation and finally (3) the work employing a narrator too unreliable to be able to convey the unarguable truths necessary to create a new metanarrative.
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Gandolfo, Michela <1976>. "Riscritture e canone nel romanzo irlandese contemporaneo. Allegorie della Storia: metanarrative “storiche”, “trasformative” e “globali”." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1137/1/Tesi_Gandolfo_Michela.pdf.
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Gandolfo, Michela <1976>. "Riscritture e canone nel romanzo irlandese contemporaneo. Allegorie della Storia: metanarrative “storiche”, “trasformative” e “globali”." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1137/.
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Bernard, Erin J. Vos Tim P. "Patria o muerte ideograph and metanarrative in Cuban state-produced media during the battle of ideas /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6488.
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Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 17, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Thesis advisor: Dr. Tim. P. Vos. Includes bibliographical references.
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Arantes, Rita de Cássia Batista. "O processo ilustrador do livro infantil à luz do diálogo palavra e imagem em obras de Eva Furnari: concepções e práticas possíveis." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/14925.
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Previous issue date: 2009-12-15<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The main object of this research is reading the child s book illustrator process
considering the dialog between word and image in the writer and illustrator Eva
Furnari s books, under poetic and expressive functions. Many categorical and
functionalist studies on image and word are, here, thought over and applied: Roland
Barthes (1972); Roman Jakobson (1985); Kibédi-Varga (1989); Luís Camargo
(1998), Rui de Oliveira (1998), among other proposals of studious and artists
involved in child s book illustration.
We are trying to demonstrate the fable reinvention of the child s book, taking
from the illustrated pages since oral narrative versions to Eva Furnari s imagetic
narrative and pieces of other contemporary illustrator authors, intending to find a
methodology to read the space, understood as the place of language creation. The
outcome of the interaction between the artistic graphic project and the literary project
is the illustrator text, space of reading experience and using the image interrelated to
the word. This analytic and interpretative study came out of questions concerning to
the relation between autonomy and the complementarity of image and word
observed in the illustrative polissemic Furnari s works and others. During the
preparation of this study, questions on the reading expression under the author s and
the reader s imaginary, favoring the understanding of reading ages, beyond the
verbal and visual reading hierarchy to be observed in young reader s formation.
Chapter I deals with the illustration historicity, emphasizing the relationship
word-image statute, in autonomy and interdependence, offering conjectures to the
visual approach for child s books pages. The chapter II focuses on the thematic
importance of the written project facing the interactive experience between the
imaginary project and the verbal one considered as a text, space of language
production. The third one presents a dialog on the bidimensional physical space of
Furnari s books pages and other illustrators in order to apply the methodology and
the final results related to the illustrative text semantics<br>O objetivo central desta dissertação é a leitura do processo ilustrador do livro
infantil à luz das relações palavra e imagem nas obras da escritora-ilustradora Eva
Furnari, a serem investigadas sob a perspectiva das funções poética e expressiva.
Diversas teorias categoriais e funcionalistas do estudo da imagem e da palavra são,
aqui, repensadas e aplicadas, como as de Roland Barthes (1972), Romam Jakobson
(1985), Luís Camargo (1998), Rui de Oliveira (1998), dentre outras propostas de
estudiosos e artistas da ilustração do livro infantil.
Trata-se de demonstrar o trabalho de reinvenção fabular do livro infantil,
tomando, nas páginas ilustradas, as versões da narrativa oral em narrativa imagética
de Furnari e de outros autores ilustradores contemporâneos, com a intenção de
encontrar uma metodologia de leitura do espaço, entendido como lugar de criação
de linguagem. A resultante da interação do projeto gráfico artístico com o projeto
literário é o texto ilustrador, espaço da experiência de leitura e uso da imagem em
inter-relação com a palavra. Este estudo analítico interpretativo surgiu de
indagações manifestas nas relações entre a autonomia e a complementaridade da
imagem e da palavra observadas no trabalho ilustrador polissêmico de Furnari e
demais autores. No decorrer deste estudo, questões foram levantadas quanto à
expressão da leitura sob o imaginário tanto do produtor, quanto do leitor,
privilegiando o entendimento das idades da leitura, em função de uma hierarquia da
leitura não só verbal, mas também visual, a ser observada na formação do leitor
criança.
O capítulo I refere-se à historicidade da ilustração, enfatizando o estatuto das
relações palavra-imagem, em autonomia e interdependência, oferecendo
pressupostos para a abordagem da visualidade na página do livro infantil. O capítulo
II centraliza a importância temática do projeto escrito, considerando-se a experiência
interativa entre o projeto imagético e o verbal, como texto, lugar de produção de
linguagem. O capítulo III faz o diálogo com esse espaço físico bidimensional da
página dos livros de Furnari e de vários outros ilustradores em função da aplicação
de sua metodologia e resultados finais relativos à semântica do texto ilustrador
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Gulledge, Jim. "A search for myth and metanarrative in films popular among college students an alternative model for Christian evaluation /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Spicer, Nigel Christopher. "Reframing the Neolithic." Thesis, University of Bradford, 2013. http://hdl.handle.net/10454/13481.
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In advancing a critical examination of post-processualism, the thesis has – as its central aim – the repositioning of the Neolithic within contemporary archaeological theory. Whilst acknowledging the insights it brings to an understanding of the period, it is argued that the knowledge it produces is necessarily constrained by the emphasis it accords to the cultural. Thus, in terms of the transition, the symbolic reading of agriculture to construct a metanarrative of Mesolithic continuity is challenged through a consideration of the evidential base and the indications it gives for a corresponding movement at the level of the economy; whilst the limiting effects generated by an interpretative reading of its monuments for an understanding of the social are considered. Underpinning these constraints is the conceptual privileging of the individual consequent upon the post-processual reaction to the totalising frameworks of modernist knowledge and the metanarratives of progress they construct – as exemplified in the economic reading of Childe. In examining the form of this reaction, the wider post-processual transposition of postmodernism within contemporary archaeological theory is also considered. In utilising Giddens’ concept of reflexivity, it is argued that rather than the ‘cultural turn’ itself, it is the inflection of the epistemological frameworks of the Enlightenment with a teleological reading of the past as progress that represents the postmodern within contemporary archaeological theory and it is through this understanding of postmodernism as expressing the capacity that modernity has to be self-aware that the conditions are established for the recovery of the Neolithic as a holistic object.
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Singleton, Edgar A. "The unexaggerated lion : effects of metanarrative, metaphor, and narrative character on the reader's perception of realism in George Eliot's fiction /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487760357820804.
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Meyer, Thomas Patrick. "CONSPIRACY THEORY, METANARRATIVE SUBVERSION, AND PSYCHOLOGICAL GROWTH IN THOMAS PYNCHON’S CRYING OF LOT 49 AND DOUGLAS COUPLAND’S GENERATION X AND GENERATION A." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461585795.
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Araujo, María Nieve. "Teoría y práctica de la metanarrativa y del "metacuento" : el caso del cuento venezolano (José Balza y Ednodio Quintero)." Perpignan, 2004. http://www.theses.fr/2004PERP0557.
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Il s'agit d'un travail de réflexion théorique sur un des modes d'existence de la narration de fiction : la métanarration, et plus spécifiquement d'un sub-genre narratif : le "métaconte". A partir d'une perspective générale, on s'interesse aux notions de "narrativité", de "mise en abyme", de "contestation du récit" et de "narcissisme narratif", tel comme elles ont été étudiées par les théoriciens Paul Ricoeur, Lucien Dällenbach, Jean Ricardou et Linda Hutcheon, parmi d'autres. A travers les trois dernières notions, le théorie littéraire a tenté d'expliquer les mécanismes de fonctionnement d'un type de récit qui a comme sujet et argument, "la dramatisation de son propre fonctionnement". On parle du "méta-récit", dont le "métaconte" constitue une de ses formes de matérialisation. Cette réflexion est suivie d'une pratique d'interprétation et d'analyse de quelques textes du récit hispano-américain, parmi lesquels se détachent les contes "Un hombre muerto a puntapiés" de Pablo Palacio, "Continuidad de los parques" de Julio Cortázar et "El librero" de Julio Garmendia. Dans le contexte de la littérature vénézuélienne, on fait référence aux décades de 1960 à 1980, où il faut mentionner les écrivains Salvador Garmendia, Adriano González León, Luis Britto García, José Balza et Ednodio Quintero, entre autres. La dernière partie du travail est dédiée à l'étude de deux ouvrages : "La mujer de espaldas" (1980) et "Volveré con mis perros" (1975), de Balza et Quintero, respectivement. L'originalité de notre recherche est située dans le fait de montrer la manière dont les mécanismes d'auto-représentation du discours se présentent dans le récit court<br>The subject of this work is the theoretical exploration of one style of fictive narration: "the meta-narrative", more specifically of a narrative sub-genre, "the meta-story". Beginning with a general perspective we will explore the themes of "narrative", "mise en abyme", "contestation du récit" and "narcissistic narrative" as studied by the theorists Paul Ricoeur, Lucien Dällenbach, Jean Ricardou and Linda Hutcheon. Through these last three ideas, literary theory has attempted to explain the working's of one type of narrative whose central subject and argument is "la dramatisation de son propre fonctionnnement". The meta-story constitutes one forme of "materialisation" with in the meta-narrative. This remark is followed by a practical interpretation and analysis of several textes of Hispanic narrative: "Un hombre muerto a puntapiés" by Pablo Palacio, "Continuidad de los parques" by Julio Cortázar and "El librero" by Julio Garmendia, among others. Within the context of Venezuelan literature, it is important to note the decades between 1960 and 1980, and some of the writers : Salvador Garmendia, Adriano González León, Luis Britto García, José Balza et Ednodio Quintero. The last part of the thesis looks at the study of the two works: "La mujer de espaldas" (1980) by Balza, and "Volveré con mis perros" (1975) by Quintero. The goal of our research is to show the different ways in which the mechanism of self representation in discourse are presented with in short story
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Ryberg, Erik. "Lgr 11's Postcolonial Burden of History." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22702.
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AbstractIn 2011, the Swedish government created a new curriculum for the compulsory school. This curriculum included stricter guidelines about what was to be taught in a variety of subjects taught in public and many private schools. This policy, entitled Lgr 11, has potential to influence a generation or more of Swedes regarding their understanding of the postcolonial world and future dealings with that part of the world and its peoples. In this paper, elements of postmodern and postcolonial historiography is employed when analyzing Lgr 11’s history syllabus. How the postcolonial world and its histories are represented in Lgr 11‘s narrative(s) is investigated. The importance of this document to Swedes is that, with a significant proportion of the Swedish population recent immigrants from the postcolonial world, the perspectives of that region are important in the development of identity for recent immigrants, Swedes themselves and in understandings of a large portion of the world for less recent immigrant Swedes. Swedish identity now includes postcolonial histories.
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Carter, Sari Lynn. "Nailing Down Truths: Evental Historiography in Fors Clavigera." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3638.
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The theoretical framework of this study is intended to explore the potential Alain Badiou's theory of event, truth, and faithful subject may provide for understanding literature. This study applies this framework to John Ruskin's late and lesser-known work Fors Clavigera: Letters to the Workmen and Labourers of Great Britain (1871-1884). Both Ruskin's fragmented style in Fors Clavigera and his notion of historical truth developed therein have been read as madness and as reactionary romanticism. I examine key metanarrative moments in Fors Clavigera where Ruskin reflects on his historiographical choices and methods. Through my analysis, I show how Badiou's theory provides a way of better understanding Ruskin's historiography as deliberately purposeful and philosophically engaging.
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Silva, Junior Renato Emydio da. "Depois da teoria: um desafio à autonomia." reponame:Repositório Institucional da UNISUL, 2009. http://www.riuni.unisul.br/handle/12345/4550.
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In the second half of the twentieth century heated philosophical debates occurred about Modernity, based on doubts on the analysis, assessment and, consequently, perception of the social reality. The questionings covered the intrinsic or related fundaments of individual and collective human behavior, crucial issues for measuring social goals. Along such debates, a substantial change in the social forces occurred, with culture as their inducer and their expression, supported by technoscience. Amid the current debate on Modernity and Postmodernity, Terry Eagleton suggests that Postmodernity has come to an end. He points that what he calls Cultural Theory has not considered values, failed to solve the grave problems of the West, and that the social-political reality needs to be reordained and reoriented. To check the consistency of such new inflection should be of interest to the researchers in social sciences in what relates, specially, to issues of communication and it’s developments for the future study and direction of the social forces, revision of those goals related to policies or public institutions and the relation between Knowledge and Power. In the present work the book After Theory, by Eagleton, and the film Babel, by director Alejandro González Iñarritu are discussed in order to see if the filmic text does reflect such a new change in social reality, or on the forces that conform it<br>Submitted by Jovina Laurentino Raimundo (jovina.raimundo@unisul.br) on 2018-01-17T16:39:25Z
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Previous issue date: 2009<br>Na segunda metade do século passado intensos debates filosóficos se desenvolveram a respeito de Modernidade, originados por dúvidas sobre a análise, avaliação e, conseqüentemente, percepção da realidade social. Os questionamentos se desdobraram sobre fundamentos intrínsecos ou relacionados ao comportamento humano individual e coletivo, cruciais para dimensionamento de objetivos sociais. Ao lado destes debates, uma substancial alteração nas forças sociais ocorreu tendo a cultura como sua indutora e seu reflexo, sustentada pela tecno-ciência. Atualmente, em meio ao debate dessas correntes de pensamento denominadas como Modernidade e Pós-modernidade, Terry Eagleton propõe que o Pósmodernismo tenha chegado ao seu fim. Aponta que a Teoria Cultural desconsiderou valores, falhou ao resolver os graves problemas do ocidente e que a realidade sócio-política necessita ser reordenada ou reorientada. Verificar a consistência desta possível nova inflexão pode interessar aos estudiosos das ciências humanas no que se refere, principalmente, a questões de comunicação e seus desdobramentos para o estudo e direcionamento de forças sociais, revisão de objetivos relacionados às políticas ou instituições públicas e a relação entre Saber e Poder. Pretendemos analisar o livro “Depois da Teoria”, de Eagleton, e o filme “Babel” para verificar se o texto fílmico, extraído através de pressupostos estéticos, pode refletir essa nova mudança na realidade social ou nas forças que a conformam
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Zufelde, Sabine. ""Comment savoir?" - "Comment dire?" metafiktionale, metanarrative und metahistoriographische Diskurse über Referenz und Repräsentation in Claude Simons Romanen "La Route des Flandres" (1960), "Triptyque" (1973) und "Les Géorgiques" (1981)." Tübingen Narr, 2007. http://d-nb.info/992327091/04.
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Zufelde, Sabine. ""Comment savoir?" - "Comment dire?" : metafiktionale, metanarrative und metahistoriographische Diskurse über Referenz und Repräsentation in Claude Simons Romanen "La Route des Flandres" (1960), "Triptyque" (1973) und "Les Géorgiques" (1981) /." Tübingen : Gunter Narr Verlag, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3233137&prov=M&dok_var=1&dok_ext=htm.
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Ågren, Mattias. "Phantoms of a Future Past : A Study of Contemporary Russian Anti-Utopian Novels." Doctoral thesis, Stockholms universitet, Slaviska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-108169.
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The aim of this dissertation is to study the evolution of the Russian anti-utopian literary genre in the new post-Soviet environment in the wake of the defunct Soviet socialist utopia. The genre has gained a renewed importance during the 2000s, and has been used variously as a means of dealing satirically with the Soviet past, of understanding the present, and of pondering possible courses into the future for the Russian Federation. A guiding question in this study is: What makes us recognize a novel as anti-utopian at a time when the idea of utopia may appear obsolete, when the hegemony of nation states has been challenged for several decades, and when art has been drawn towards the aesthetics of hybridity? The main part of the dissertation is comprised of detailed analyses of three novels: The Slynx (Kys', 2001) by Tatyana Tolstaya; Homo Zapiens/Babylon (Generation ‘P’, 1999) by Viktor Pelevin; and Ice Trilogy (Ledianaia Trilogiia, 2002−2005) by Vladimir Sorokin. The further development of the genre is subsequently discussed on the basis of seven novels published in the past decade. A main argument in the dissertation is that the genre has been modified in ways which can be seen as a response to social and political changes on a global scale. The waning power of the nation state, in particular, and its broken monopoly as the bearer of social projects marks a new context, which is not shared by the classic works of the genre. Analysis of this evolution in post-Soviet anti-utopian novels draws on sociological as well as literary studies. The dissertation shows how the analysed novels use the possibilities of the genre to problematize various forms of societal discourse, and how these discourses work as mutations of utopia. Prominent among these are historical discourses, which reflect the increasing importance of historical narratives in public political debates in the Russian Federation.
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Chiorean, Victor Emanuel. "A History of Roma in the Public Sphere : The social construction of Roma in press and history textbooks after Ceausescu." Thesis, Stockholms universitet, Historiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-130820.
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This study addresses the post-revolutionary history of Roma in the Romanian public sphere by examining the social construction of this minority in press and history textbooks. The objective is to illuminate synchronic and diachronic structural patterns in public texts debating Roma in order to offer a deeper understanding of the Romanian xenophobia assuming that the public debate affects the status quo of Roma. Public texts represent fruitful channels of communication through which selective social realities par excellence, stocks of knowledge and typifications are proclaimed by different societal actors. The press possess a critical function whilst history textbooks a manipulative function advocating normative historical realties par excellence. The modi operandi utilized are quantitative, qualitative content- and critical discourse analysis, which are applied in the monitoring of approximately 6000 newspapers, 197 articles (1991-2012) and 6 textbooks (2008-2014). The results indicate that the media history of Roma resembled police investigations rather than conventional journalism. Manifest and latent stereotypifications have synchronically and diachronically formed uncritical and demonizing stocks of knowledge, whose societal truths sustained the othering of Roma in press and were depicted as a force behind the destruction of [“our”] national self-image. History textbooks have offered an inexistent stock of historical knowledge omitting, e.g. the slavery and deportations of Roma but highlighting ethnocentric perspectives, patriotism and other minorities.
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Mercer, Leah Gwenyth. "Complementarity and the uncertainty principle as aesthetic principles : the practice and performance of The Physics Project." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29938/1/Leah_Mercer_Thesis.pdf.
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Using the generative processes developed over two stages of creative development and the performance of The Physics Project at the Loft at the Creative Industries Precinct at the Queensland University of Technology (QUT) from 5th – 8th April 2006 as a case study, this exegesis considers how the principles of contemporary physics can be reframed as aesthetic principles in the creation of contemporary performance. The Physics Project is an original performance work that melds live performance, video and web-casting and overlaps an exploration of personal identity with the physics of space, time, light and complementarity. It considers the acts of translation between the language of physics and the language of contemporary performance that occur via process and form. This exegesis also examines the devices in contemporary performance making and contemporary performance that extend the reach of the performance, including the integration of the live and the mediated and the use of metanarratives.
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Mercer, Leah Gwenyth. "Complementarity and the uncertainty principle as aesthetic principles : the practice and performance of The Physics Project." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29938/.
Full textAbstract:
Using the generative processes developed over two stages of creative development and the performance of The Physics Project at the Loft at the Creative Industries Precinct at the Queensland University of Technology (QUT) from 5th – 8th April 2006 as a case study, this exegesis considers how the principles of contemporary physics can be reframed as aesthetic principles in the creation of contemporary performance. The Physics Project is an original performance work that melds live performance, video and web-casting and overlaps an exploration of personal identity with the physics of space, time, light and complementarity. It considers the acts of translation between the language of physics and the language of contemporary performance that occur via process and form. This exegesis also examines the devices in contemporary performance making and contemporary performance that extend the reach of the performance, including the integration of the live and the mediated and the use of metanarratives.
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Alexandersson, Jensner Frans, and Erik Larsson. "Metadieges i spel." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20113.
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Metadieges i spel presenterar en ny term för hur dieges kan kategoriseras i spel. En granskning har gjorts av modeller som tidigare använt begreppet dieges varpå en lucka har upptäckts. De tidigare modellerna kategoriserar inte ljud i metanarrativ när det finns två narrativa lager. För att undersöka metadiegetiska ljud görs en kvalitativ studie med en artefakt av fyra nivåer som utsätter testdeltagare för metadiegetiska händelser. I testet undersöks det om ett metanarrativ kan förmedlas till spelaren med nästan bara ljud. Resultatet visar på att metadiegetiskt ljud inte räcker till för att spelaren ska förstå narrativet. Det diskuteras att en undersökning med delvis visuell förmedling och längre speltid skulle hjälpa spelaren att förstå. Vidare presenteras olika hypoteser för hur metadiegetiska ljud kan utvecklas och exempelvis samspela med visuellt berättande, och vad det har för betydelse för framtida utveckling av spel som innefattar metanarrativ i form av drömmar, simulationer och virtuella miljöer.<br><p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p>
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Nyström, Markus. "Invisible Histories and Stories of Progress : Discourses and Narratives in Decision-Making Institutions in Mining Affairs in Sweden." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-272351.
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During the summer of 2013, fierce protests broke out against a test-mining operation in Gállok (Kallak) outside Jokkmokk, Sweden. Environmental activists joined with local indigenous Sámi in the protest. The incident made national and international headlines, resonating with other instances of conflict between mining companies and indigenous peoples around the world. This thesis aims to explore political discourses and historical narratives behind those, and other, protests and tensions in relation to mining between, on the one hand, the Swedish state which express – through various institutions – to be a proud 'mining nation' with a firm environmental legislation, and, on the other, indigenous Sámi in the Swedish north. Using discourse analysis in combination with a novel application of concepts from narrative theory (the concept of masterplots), the narratives and ideologies of the national institutions responsible for decision-making in mining affairs in Sweden – the government, the parliament, and the Mining Inspectorate – are investigated by analyzing various written and verbal sources. The investigation show a coherent trend within the institutions in making the Sámi people, their rights to land and water, and Sweden's colonial history towards them and their land, Sápmi, invisible, misunderstood, and/or belittled. Mining is understood as an evidently vital and typically Swedish industry, fundamental for the rise of Sweden as a modern welfare state, and an industry which 'makes the world better' by providing the necessary raw materials for the (assumed) inevitable progress and benefit of (western) technology and (western) civilization. The exclusion of certain histories allow for a hegemony in which a certain future is naturalized, made out to be unavoidable. Furthermore, the plot structures employed to create and sustain the hegemony draw on several colonial masterplots. The conclusion of this thesis is that the hegemonic discourse sustains a colonial attitude towards Sápmi and the Sámi people, without it ever being expressed nor understood as such.
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Embry, Jason Michael. ""Nam-Shub versus the Big Other: Revising the Language that Binds Us in Philip K. Dick, Neal Stephenson, Samuel R. Delany, and Chuck Palahniuk"." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/46.
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Within the science fiction genre, utopian as well as dystopian experiments have found equal representation. This balanced treatment of two diametrically opposed social constructs results from a focus on the future for which this particular genre is well known. Philip K. Dick’s VALIS, Neal Stephenson’s Snow Crash, Samuel R. Delany’s Babel-17, and Chuck Palahniuk’s Lullaby, more aptly characterized as speculative fiction because of its use of magic against scientific social subjugation, each tackle dystopian qualities of contemporary society by analyzing the power that language possesses in the formation of the self and propagation of ideology. The utopian goals of these texts advocate for a return to the modernist metanarrative and a revision of postmodern cynicism because the authors look to the future for hopeful solutions to the social and ideological problems of today. Using Slavoj Žižek’s readings of Jacques Lacan and Theodor Adorno’s readings of Karl Marx for critical insight, I argue these four novels imagine language as the key to personal empowerment and social change. While not all of the novels achieve their utopian goals, they each evince a belief that the attempt belies a return to the modernist metanarrative and a rejection of postmodern helplessness. Thus, each novel imagines the revision of Žižek’s big Other through the remainders of Adorno’s inevitably failed revolutions, injecting hope in a literary period that had long since lost it.
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Keen, Daniel E. Rossi. "Hope in America Lyotard and Rorty, Dobson and Obama, and the struggle to maintain hope in postmodern times /." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1219434292.
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Billingham, John. "Divine authority and covenant community in contemporary culture." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:3d96890d-8111-4922-9809-30c51d75e5b6.
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The question I address is: how might a theology of authority be conceived in the light of questions raised by what is termed 'post-modernity'? Is it possible to articulate a theology of authority coming to the church community 'from God' that avoids an oppressive and alienating heteronomy? The thesis explores the question of authority as of vital importance in the sociological dimension of religion, calling for legitimisation (in light of claims made for itself) and as obligatory in the theological sphere. For this reason the project involves two methodologies (theological and sociological/ethnographic). While this investigation is relevant to all sections of the Christian church, particular attention is paid to Baptist churches in the UK, since they hold a concept in their tradition that I suggest is valuable in answering the question of the thesis, namely that of covenant. Within the Christian tradition there is an inner 'problematic' relating the personal authority of Christ to the forms of institution (church) and text (scripture). I explore this with a brief survey of theological authority as found in the fourfold foundation of scripture, tradition, reason and experience. From this is developed a brief theological and Christological reflection on divine authority and covenant theology as found in Karl Barth and his response to the 'inner problematic'. Within contemporary culture I view authority through the lens of so-called 'postmodernism', identifying four challenges to the notion of 'external authority' (all of which exemplify a move from the external to internal, and objective to subjective approaches to authority). This is further explored by means of qualitative research with one-to-one interviews conducted in a Baptist church in York. This data is reflected upon by means of ethnography and 'judicious narratives', especially in dialogue with material from Guest ('congregational study'), Heelas and Woodhead ('subjectivised-self') and Healy ('theodramatic horizon' and 'practical-prophetic ecclesiology'), providing an intersection between the language of theology and sociology. The concept of church as covenant community is explored in Baptist and (more briefly) Anglican traditions, leading to a constructive proposal that both the inner-church 'problematic' and the 'postmodern' challenge to authority might begin to be resolved with the notion of covenant. It is within this context of relationship, human and divine, that the authoritative and revelatory Word of God, the story that is Christ, is found in community and praxis. Here is a 'triangulating' relationship between authority, story and covenant revealing divine authority in a non-coercive way and relevant to contemporary culture.
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Stubbs, Evelyn. "Intersections : Baudrillard's hyperreality and Lyotard's metanarratives in selected Tarantino Visual Tropes." Diss., 2011. http://hdl.handle.net/10500/6685.
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This dissertation examines two films directed by Quentin Tarantino, whom I have situated as a postmodern film director, within the theoretical context of the philosophies of two postmodern philosophers: Jean Baudrillard and Jean-François Lyotard. I argue that the major institutions of society, such as the family and religion, are viewed as grand narratives, in Lyotard’s sense of the term, which Tarantino repeatedly subverts. Overlapping with this intersection of Lyotard’s philosophy in Tarantino’s films is the Baudrillardian loss of the real, which manifests as hyperreality in many scenes. I suggest that Tarantino makes a conscious effort to create such hyperreality with the creation of playful signifiers in his films. I examine selected scenes to find Baudrillard’s “successive phases of the image” (Baudrillard 2010:6) that lead to the creation of a simulacrum. The compelling intersections between the creation of Baudrillardian simulacra and the subversion of Lyotard’s grand narratives are explored within selected scenes which are deconstructed by means of film narratology, semiotic analysis and narrative analysis. The combination of the various methods of media research in this thesis enables what Jane Stokes calls “a more textured understanding” (2008:27) of the films under discussion. A close reading from a semiotic point of view facilitates a deconstruction of some obscure elements, such as the embedded meaning in lyrics and dialogue or the messages implicit in the mise en scène.<br>English Studies<br>M. A.
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Correia, Tomás David Rocha. "The emptying of the metanarratve: Foucault´s archaeology and genealogy in the study of normativity." Master's thesis, 2021. http://hdl.handle.net/10362/136214.
Full textAbstract:
The twenty-first century is characterized by drastic changes in epistemology, as a result of academical shifts in important fields since the 60s. The decline of metanarratives – defined by Lyotard as grand-narratives about narratives (which, in turn, legitimate historically-situated events) – provided a fertile research ground for new methodological practices based on sharp critiques of Enlightenment rationality. One of the founding authors of the “postmodern condition” (as Lyotard labels it) is Michel Foucault. Foucault’s archaeological and genealogical project regarding epistemology redefined our conceptual approach to knowledge and its legitimation, by situating both concepts in specific historical contexts, at specific historical times. Recurring themes in the Foucauldian project involve skepticism about objective truths, anti-historicism and subjectivity. In this dissertation, I seek to answer the question “Why is Foucauldian methodology relevant in the (post-)modern world, especially in light of the decline of metanarratives?”. The main goal is to address the role of Foucault’s works in the rethinking of historically given narratives and expose the contingency of practices embroiled in power-knowledge relations, while keeping in mind the dispersibility of the origins of those narratives. This is particularly relevant under the framework of an emptying of over-arching narratives about knowledge and the human condition, i.e., the Lyotardian metanarrative. Human societies are usually seen in a context of a larger narrative to which each of our lives in an element. The metanarrative serves as an umbrella for smaller narratives in which other epistemic and moral narratives find their place. There seems to be a clear intersection in Lyotard and Foucault’s works: the former studies the conditions in which the metanarratives empty themselves, while the latter occupies himself with the archaeological/genealogical study of the narratives within the metanarratives that, in turn, occupy the vacuum left by the original metanarrative. There is, nonetheless, a distinction between both authors: while Lyotard sees this replacement as normative-laden, Foucault focuses on a strictly analytical view of discourse and practice.
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O'Flynn, Siobhan Louise. "Place and identity in auto-topographic metanarrative." 2004. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=80133&T=F.
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Maerz, Jessica M. "Branagh / genre / Shakespeare metanarrative functions of classical genre /." 2002. http://purl.galileo.usg.edu/uga%5Fetd/maerz%5Fjessica%5Fm%5F200212%5Fphd.
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