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Dissertations / Theses on the topic 'Modernism and Postmodernism'

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Published: 4 June 2021
Last updated: 17 February 2022

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1

Charles, Alec. "James Joyce, modernism and postmodernism." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284287.

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2

Grassel, Robert. "Between Modernism and Postmodernism: Examining Epochal Markers." Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/758.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf
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3

Sonnet, Esther. "The politics of representation : modernism, feminism, postmodernism." Thesis, University of Nottingham, 1993. http://eprints.nottingham.ac.uk/11076/.

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This study is an investigation into the shifts in ways of knowing which have been subsumed under the label of postmodernism. More specifically, it is concerned to relate theories of Postmodernism to the construction of film as an object of knowledge and to feminism's place in a Modernist/postmodernist divide. Chapter One offers an examination of competing readings of the nature of aesthetic Modernism drawing primarily upon debates on Modernist epistemological legitimation advanced by Jurgen Habermas and Jean-Franicois Lyotard. Chapter Two utilizes Lyotard's notion of Modernism as knowledge legitimated by the grands recits of speculation and emancipation to propose a understanding of the conceptual parameters of avant-garde film Modernism. Chapter Three examines Lyotard's view that postmodernism is acondition of cultural 'incredulity towards metanarratives' by introducing feminist interventions into avant-garde Modernism: it is argued that feminist deconstructionist film plays a crucial role in delegitimating film practices brought under the metanarrative of speculation by challenging the non-gendered mode of spectatorial knowledge claimed for them. Chapter Four extends postmodernist critiques of 'totalizing' discourses to the grand recit of liberty, and advances the view that feminist deconstructiorism, and related psychoanalytical theories of female subjectivity/spectatorship, are in turn delegitimated for instrumentalizing and homogenizing the feminist 'social bond'. Chapter Five considers Lyotard's propositions for a fragmentation of Modernist models of the 'social bond' in relation to his proposal for a theory of resistance defined in terms of 'dissensual paralogy'. Within the context of cultural and technological shifts in contemporary image-culture, the usefulness of a theory of postmodernism which remains embedded within Modernist epistemological differentiations is questioned. A proposal for a theory of film postmodernism which dispenses with the avantgarde/mass culture binary is suggested as a prerequisite for clearing a theoretical space for a politics of resistance which is not founded on instrumentalized and homogeneous spectators. Chapter Six extends this to consider how postmodernist notions of the dissolution of the 'self' and the fragmentation of 'social bond' relate to feminist emancipatory claims. A parallel to the theoretical 'loss' of Modernist foundationalisms; is offered by drawing on black and lesbian perspectives on film spectatorship to argue for theories of film meaning which reflect a multiplicity of modes of spectatorial positioning. The study concludes with an assessment of feminism's place in critiques of totalizing discourses and argues for local contextual rather than metanarrative validations of film as critical discourse.
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Gay, Daniel Robert. "Beyond modernism and postmodernism : reflexivity and development economics." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/192.

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This thesis has two main objectives. First, it outlines a taxonomy of reflexive development practice, which aims at transcending the divide between modernism and postmodernism in the methodology of development economics. Second, the thesis examines the taxonomy in two countries at opposite ends of the development spectrum, Vanuatu and Singapore, attempting to show that the taxonomy provides insights for policymaking. The taxonomy is the principal contribution. It suggests an examination of external values and norms; an assessment of the importance of local context; a recognition that policies can worsen the problems that they try to solve; and the idea that theory and policy should be revised as circumstances change. The taxonomy is developed as a way of addressing the difficulties encountered by the modernist Washington Consensus on the one hand and postmodernism on the other. Some postmodernists have criticised modernists for trying to make universal statements based on findings specific to a particular time and context. A further criticism is that the modernist-type theorising exemplified by the Washington Consensus assumes too much certainty, putting excessive faith in the ‘expert’ outsider. Postmodernists, on the other hand, have often been criticised for being relativist or even being against theory itself. In extreme versions of postmodernism, the entire rejection of epistemological foundations allows no analysis or significant discussion. The taxonomy aims to steer away from the pitfalls of either tradition, emphasising in particular the unity of theory and practice and the need for analysis and policy advice to take account of both the objectivism of the outsider and the subjectivism of the insider. The thesis is divided into two parts. The first part discusses how the open systems approach of critical realism, John Maynard Keynes and the neo-Austrians aims to overcome the difficulties of modernism and postmodernism. It then examines some of the principal uses of the term reflexivity in the past century or so, suggesting that some of these uses are compatible with each other and with the idea of open systems. This section draws on the work of several economic methodologists and sociologists, including Karl Marx, Karl Mannheim, Pierre Bourdieu, Anthony Giddens and thinkers within the sociology of scientific knowledge. Next is a critical discussion of the Washington Consensus and its amended version, followed by the development of the taxonomy. Part two begins with a brief discussion of the nature of comparison within developing economies, before looking at the taxonomy in the context of Vanuatu and Singapore. Following the case-studies is an attempt to draw lessons from the experience of the two countries. Finally, the discussion is summarised and some conclusions established.
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5

Larsson, Victor. "Organisationskultur : Ett kritiskt granskande genom modernism, symbolism och postmodernism." Thesis, Linnéuniversitetet, Ekonomihögskolan, ELNU, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-18898.

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Organizational culture is subject of a great debate nowadays and there is especially three schools which affairs its nature of reality; modernism, symbolism and postmodernism. This thesis is built upon a case study about the organization Idé & KunskapsCentrum, which experience various cultural issues. Observations made during visits in the organization environment forms the ground on which discussions about different perspectives are made regarding organizational culture. The thesis describes and investigates the subject of organizational culture and its relationship to human behavior in organizations. Furthermore, I discuss and analyze organizational culture from the three different perspectives, in order to present a critical view on the subject for the reader. The thesis is based upon a case study about the organization Idé & KunskapsCentrum. A qualitative research method has been conducted with data collected especially from an ethnographic study, but also via semi-structured interviews. The theoretical data has been collected following an inductive process. I have come to the conclusion that you cannot base your view on organizational culture, solely from the view of the modernism. In order to create a sufficient understanding about the subject, one has to be aware of the other perspectives within the discourse, and use that knowledge to think and act critically regarding organizational culture.
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6

Ye, Qing. "Masculinity in Yu Hua's fiction from modernism to postmodernism." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66852.

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The Tiananmen Incident in 1989 triggered the process during which Chinese society evolved from so-called "high modernism" to vague "postmodernism". The purpose of this thesis is to examine and evaluate the gender representation in Chinese male intellectuals' writing when they face the aforementioned social evolution. The exemplary writer from the band of Chinese male intellectuals I have chosen is Yu Hua, one of the most important and successful novelists in China today. Coincidently, his writing career, spanning from the mid-1980s until present, parallels the Chinese intellectuals' pursuit of modernism and their acceptance of postmodernism. In my thesis, I re-visit four of his works in different eras, including One Kind of Reality (1988), Classical Love (1988), To Live (1992), and Brothers (2005), to explore the social, psychological, and aesthetical elements that formulate/reformulate male identity, male power and male/female relation in his fictional world. Inspired by those fictional male characters who are violent, anxious or even effeminized in his novels, one can perceive male intellectuals' complex feelings towards current Chinese society and culture. It is believed that this study will contribute to the literary and cultural investigation of the third-world intellectuals.
Les événements de la Place Tiananmen en 1989 a déclenché le processus durant lequel la société chinoise a évolué d'un soi-disant "haut modernisme" vers un vague "post-modernisme". Le but de cette thèse est d'examiner et d'évaluer la représentation des sexes dans l'écriture des intellectuels chinois mâles quand ils font face à l'évolution sociale mentionnée ci-dessus. L'auteur qui exemplifie bien le groupe d'intellectuels masculins chinois que j'ai choisi est Yu Hua, un des romanciers les plus importants et prolifiques de la Chine d'aujourd'hui. Bonne coïncidence, sa carrière d'écrivain qui couvre la période commençant au milieu des années 1980 jusqu'à maintenant, trace des parallèles entre la poursuite du modernisme des intellectuels chinois et leur acceptation de post-modernisme. Dans ma thèse, je revisite quatre de ses travaux dans des périodes différentes, y compris One Kind of Reality (1988), Classical Love (1988), To Live (1992) et Brothers (2005). Le but est d'explorer l'aspect social, les éléments psychologiques et esthétiques qui formulent/reformulent l'identité masculine, le pouvoir masculin et la relation homme/femme dans son monde fictif. Inspiré par ces personnages masculins fictifs qui sont violents, anxieux ou même effeminés dans ses romans, on peut percevoir les sentiments complexes des intellectuels masculins envers la société et la culture chinoise actuelle. Je crois que cette étude contribuera à l'enquête sur la littérature et la culture des intellectuels des pays du Tiers-Monde.
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7

Eyuboglu, Selim. "Four films : crossing the boundaries of modernism and postmodernism." Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305245.

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8

Harrington, Alexandra Katherine. "Reassesing the poetry of Anna Akhmatova : from modernism to postmodernism." Thesis, University of Nottingham, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269706.

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9

Mazzilli, Mary. "Gao Xingjian vs. Martin Crimp in between modernism and postmodernism." Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/29543/.

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This thesis deals with the plays by Gao Xingjian - a Chinese contemporary playwright and Nobel Prize winner for literature in 2000 - and Martin Crimp a contemporary English playwright. The plays from both authors will be looked at from a comparative perspective within the theoretical framework linked to the debate between modernism and postmodernism, as inspired by Calinescu's theory. Calinescu's theory is based on the idea that Postmodernism is a 'face of modernism': he speaks about recurrent aspects ('similarities') of Modernism in Postmodernism, not only in terms of the repetition of patterns from the past in the present culture, but in terms of a natural historical evolution of Modernism into new cultural forms. The aim of this thesis is, therefore, to prove Calinescu's idea of continuity between Modernism and Postmodernism through the work by the two playwrights and by doing this it inevitably demonstrates a link between two writers coming from two different continents, hence a connection between Eastern and Western Literature. This thesis carries out an investigation into the two \vriters' dramatic texts and searches for signs of modem and postmodern elements and highlights how these elements coexist. In particular, in each chapter the thesis will carry out a close reading analysis of one or more plays by each author: in the case of Gao, we focus on post-exile plays, written after he left China in 1986 and are analysed chronologically; in the case of Crimp, the plays in question are not in strict chronological order but almost in parallel order to Gao's plays as they were written from the 1990s up to the present day.
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10

Buchanan, D. A. "Aesthetics, art and Utopia : the philosophical significance of the discourse of aesthetics." Thesis, University of Reading, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296698.

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11

Arnold, David. "'Out of an eye comes research' : renegotiating the image in twentieth century American poetry." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321381.

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12

Park, Jeong-Ae. "Modernism and postmodernism in contemporary Korean art : implications for art education reform." Thesis, Roehampton University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362641.

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13

Stigermark, Anton. "Alt-Modernism : Challenging the idea of postmodernism as a left-wing movement." Thesis, Uppsala universitet, Statsvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-324280.

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In this thesis, I’m working from the premise that postmodernism hitherto has been associated with the left. The next line of argument is, however, that this relation is contingent and that there is no necessity in postmodernisms association with left-wing ideas and political ambitions. To challenge this assumption, I intend to demonstrate that the Alt-Right, a far-right movement, at least in some respects can be considered as postmodern. If there is indeed cause to think of the Alt-Right as postmodern, then we would have to rethink postmodernisms political inclination. I intend to operationalize this by looking at the Alt-Right’s views on the changeability of politics and the social world, and pop culture, through the lens of a set of postmodern ideas. In particular, postmodern ideas concerning language, discourse and culture, and in doing so get a grip on whether it is correct to view the Alt-Right as postmodern or not. If a connection between the Alt-Right and postmodernism indeed exists, then we would have to rethink the necessity in the left-wing nature of postmodernism.
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14

Nel, David Ferguson. "Information technology as an agent of post-modernism." Pretoria : [S.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-07032008-130105/.

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15

Spicanovic, Vladimir. "Pedagogical reflections : post-modernism in the studio teaching of painting." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85204.

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Drawing upon a review of literature and interviews with four artist-teachers, this thesis explores the implications of post-modernism on the studio teaching of painting. Additional emphasis is placed on uncovering the issue of the-death-of-painting and its links to post-modernism, and my own reflexivity as a painter and a teacher of art. The thesis presents also an attempt to respond to an apparent lack of educational research that addresses post-secondary studio teaching of art, and that engages artist-teachers in reflection on their teaching philosophies. The overall objective of this thesis is to generate a body of knowledge that could be of assistance to other practitioners in the field in their own pedagogical reflections and development of contemporary studio instruction. Thus the questions and ideas brought in this study present both an invitation and directions for future inquiries in this area of education.
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Illic, Jovan. "Story-telling and a sense of place : an existential phenomenology of environments." Thesis, Lancaster University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302432.

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17

Francis, Mary Anne. "The artist as a multifarious agent : an artist's theory of the origin of meaning." Thesis, Goldsmiths College (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325914.

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This thesis is presented as a written text and an exhibition. 1 Both parts result from interdisciplinary research in writing and visual art. Its problematic is the origin of meaning as addressed by recent textual theory, and how that represents an artist's experience of this. Here, 'recent theory' designates 'postmodernism', which includes 'poststructuralism' and refers, too, to 'modernism'. This is reviewed and compared to an artist's experience, using my empirical encounter with art, as an artist, as a possible example. As the comparison occurs in writing and visual art, the latter is, at once, the research data, and a site of its investigation. And writing is a site for exploring art practice (via a case study), and the source for further art. Finding that an artist experiences the origin of meaning as far more multifarious than it appears in recent theory, the comparison additionally proposes a role for the expressive self in art's meaning, in contradistinction to much of postmodernist theory. The typicality of an artist is discussed via a deconstructive notion of exemplarity. And Derrida's deconstruction, which explores diverse features of the textual process, infonns the theoretical method throughout. However, it is not just an artist's experience that proposes a critique of postmodernism's version of the origin of meaning. This is proposed, too, via Richard Rorty's pragmatism, when that opposes 'realism' (which includes empiricism) and idealism (which includes deconstruction). This thesis concludes that it is useful (in Rorty's sense) for the artist to believe in a multifarious agency including the expressive self - experience notwithstanding. In moving from postmodernism's notion of the origin of meaning to the artist's, and beyond, to pragmatism's, this thesis attempts to recognise its reflexive dimension. So its voice (as the ambiguous index of its origins) diversifies postmodernism's voice, tending towards a cacophony, without abandoning a conclusion.
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Vickery, Jonathan Paul. "The dissolution of aesthetic experience : a critical introduction of the minimal art debate 1963-1970." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285868.

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D'Errico, Julia. "The Emergence of the Real in Modernist and Postmodernist Art: Torus Versus Rhizome." Thesis, Boston College, 2020. http://hdl.handle.net/2345/bc-ir:108967.

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Thesis advisor: Frances Restuccia
What qualifies a work as distinctly modernist or postmodernist? Moving beyond the idea that modernism and postmodernism are primarily distinguishable on a temporal basis, D’Errico instead argues that the key difference between these two movements lies on a theoretical level. Grounded in a framework of contemporary theory put forth by Žižek, Lacan, Deleuze, and Badiou, D’Errico proposes that the Real-Symbolic relation manifests differently in modernist and postmodernist works; the structural paradigms of the torus and rhizome are helpful to illuminate this fundamental theoretical difference. Expanding on Žižek’s definitions of modernism and postmodernism (from Looking Awry ), D’Errico posits that a torus-shaped Real-Symbolic relation accords with modernism and that a rhizomatic Real-Symbolic relation accords with postmodernism. This interdisciplinary analysis of twentieth-century art mainly focuses on literature, but also invokes poetry, visual art, theatre, and film. Overall, D’Errico dissects the theoretical structures of The Sun Also Rises, Waiting for Godot, The Trial, White Noise, and Caché to qualify the alignment of each with either the modernist or postmodernist canon
Thesis (BA) — Boston College, 2020
Submitted to: Boston College. College of Arts and Sciences
Discipline: Departmental Honors
Discipline: English
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20

Nemith, Joshua S. "Intertwining modernism and postmodernism the drama of transformational processes in Mauricio Kagel's solo piano works /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1083163935.

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Nemith, Joshua S. "Intertwining Modernism and Postmodernism: The Drama of Transformational Processes in Mauricio Kagel’s Solo Piano Works." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1083163935.

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22

Larsson, Oscar. "Postmodernismens ambivalens - En korrelation mellan postmodernism och nyliberalism." Thesis, Halmstad University, School of Social and Health Sciences (HOS), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-168.

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Postmodernism and neo-liberalism is often thought of as two opposite conceptions of the reality and the world. This thesis takes on a critical view of this assertion and the main purpose was to perform a correlation between postmodernism and neo-liberalism. With different theoretical assumptions about constructions of thoughts, agency and structure and the welfare-state a theoretical framework was created. According to this framework the two isms were correlated to each other and the welfare-state to see if there where similarities or dissimilarities between the isms. The assumptions of this thesis are that there are correlations between postmodernism and neo-liberalism in the constructions of thoughts, namely similar view on epistemology. The two isms also show similarity between each other towards the foundations upon which the modern welfare-state rests. This is mainly manifested in their common view of the institutions of the welfare-state, which the isms both finds problematic. This results in a mutual problematic view on positive freedom, the foundation of legitimacy, the means and economic democracy as they are manifested in a given welfare-state. However, the motive for criticism rests mostly on different justifications for the two isms. Anyhow, their views share doubts about the legitimacy of the welfare-state in common. This even though postmodernism is partly a result of the welfare-politics. This thesis also shows why postmodernism and neo-liberalism at least in a theoretical perspective can not continue to develop side by side.

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Joyce, Rosemary. "As far as the eye can see : Wyndham Lewis, Virginia Woolf and the image-worlds of modernism." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285059.

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Linde, Camilla. "Från a till b via d h och ö : Det ickelinjära berättandet i modern tid." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-14765.

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How do we perceive literature? In our times computer games and Internet have made us grow more comfortable to the usage of non linear storylines. But how does this apply to printed literature? In this essay, called “From a to b through d h and o. Non linear storytelling in our time” I have focused on nonlinear literature from different time periods and I have studied novels such as James Joyce’s Ulysses as well as works by William S. Burroughs, Italo Calvino, Laurence Stern and Julio Cortázar. What they all have in common is the ambition to explore the structure of literary language and the way it can be transformed. The area is vast and I will concentrate on only a few authors. These writers will show the diversity of my subject when I explore different styles and techniques such as the cup-up technique used by Burroughs and the interpretation of pictures as a foundation of telling a story, explored by Calvino. In order to do this, I have also studied modernism and postmodernism and the ways authors back then experimented with the written language. Finally I take a look at how the use of Internet and computers may affect the way books are written today and I try to answer the question whether nonlinear literature has a future in our highly technological times. After going through this literature I hope I will have offered a good picture of what nonlinear literature is and how I have applied its techniques to my own text “If dogs could speak”.
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Elnerud, Max. ""Mer bio än bibliotek" : Klassifikation och medieuppställning i det senmoderna samhället." Thesis, Uppsala universitet, Institutionen för ABM, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-225610.

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This case study examines the new media presentation system in Alby public library. The aim is to explore if the contemporary Zeitgeist, wich according to the sociologist Zygmunt Bauman, could be described as liquid modernity, has affected how the system was formed. The purpose is to find out how that would affect users and staff of public libaries of the contemporary. Interviews were conducted with the library staff, and plans and documents concerning the media presentation system was examined. The empirical part of this thesis starts with a study of the process that resulted in the new presentation system while the second part examines the system as such. I discovered that both the media presentation system, and the process which preceded it, contained aspects that could be traced to liquid modernity. However, I also found lingering signs of solid modernity, wich is the term Bauman uses to denote the modern era. The media presentation system could thus be described as a combination of solid and liquid modernity. I argued that the new media arrangment is a compromise with several disadvantages for both users and the library staff. The interplay between solid and liquid modernity in the contemporary public library results in a divergent situation for users and staff. On the one hand, it gives more freedom to use the library according to their own ideas. However, old structures, such as classification systems, sets limits for this development.
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Örtenblad, Kim. "Den osynliga gångtrafikanten : En studie om fotgängarnas roll vid planeringen av bostadsområden i tätort." Thesis, Stockholm University, Department of Human Geography, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-28090.

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Studiens syfte är att förstå och förklara fotgängarnas roll i planeringen av bostadsområden i tätort, vidare hur detta har utvecklats och förändrats över tid. Dessutom ämnar uppsatsen undersöka om det finns effekter av olika tiders planering för dagens fotgängare. Genom att utföra observationer i de olika bostadsområdena Bredäng, Rissne och Sickla Udde besvaras den första frågeställningen där det efterfrågas hur områden från olika tidsepoker är planerade ur fotgängarnas perspektiv. Den andra frågan, om hänsyn tagits till fotgängarnas behov och hur detta förändrats, besvaras genom en diskursanalys där planerna av de tidigare nämnda områdena studeras. Vidare analyseras resultaten och de övergripande planeringsidealens effekter för fotgängarna klargörs. Studien kommer fram till att fotgängarna varit osynliga vid planeringen av bostadsområden från 1960-talet fram till 1990-talet. De förändringar som förekommer i planeringen som i viss utsträckning påverkar fotgängarna positivt, beror inte på att deras roll förändrats utan på att de övergripande planeringsidealen förändrats.

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Germana, Michael Joseph. "Forget Jerusalem: William Faulkner's Hyperreal Novel." Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/31763.

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This paper explores the relationality between Modernism and Postmodernism as well as between literature and theory by examining the works of two writers: master novelist William Faulkner, and high priest of Postmodernism, Jean Baudrillard. Specifically, this paper examines Faulknerâ s eleventh novelâ the oft-neglected If I Forget Thee, Jerusalemâ as a proto-postmodern text which, when examined by the light of Baudrillardâ s theory of simulacra and simulations, informs the transition from Modernism to Postmodernism. This paper treats each authorâ s work as a lens through which to view the other. The result is both a re-vision of Faulknerâ s social philosophy and a re-examination of the epistemic break that separates Faulknerâ s philosophy from that of Baudrillard.
Master of Arts
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Gubernatis, Catherine. "The epistolary form in twentieth-century fiction." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1184950116.

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Ma, Chun-laam, and 馬鎮嵐. "Characterization of detective figure as a site of negotiation of modernism and postmodernism in the 21st century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47055376.

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Wang, Fan. "Localities of global modernism : Fei Ming, Mu Dan and Wang Zengqi." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/760.

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This thesis seeks to map out the development of literary modernism in the 1930s and 1980s People's Republic of China (PRC). Despite the long temporal halt, these two periods are innately and historically related to each other. Much as Chinese literary modernism was a literary legacy of Western modernism, its decades-long development provided it with the conditions for a second life. When it reemerged in the 1980s, it bore unique national characteristics that, in turn, enriched the realm of global modernism. In short, the distinct historical and national context of the twentieth century China dictated that Chinese literary modernism could not be a mechanical reproduction of its Western counterpart. The importation and translation of Western modernist creative and critical works, together with the modernist practices of modern Chinese intellectuals, contributed to the formation and rise of modernist literature in the 1930s, as well as its revival in the 1980s PRC. Structurally, this thesis identifies three localities of global modernism in the works and literary theory of Fei Ming, Mu Dan, and Wang Zengqi. It argues that these writers' modernist practices and distinct writing styles not only represented the characteristics of Chinese literary modernism, but also added diversities to modernist literature in the global context. Methodologically, I pair the Chinese modernists with their Western counterparts, including Virginia Woolf and T.S. Eliot. This comparison helps to find similarities between modernist works across time and place, and to identify the unique features of Chinese literary modernism. In practice, when studying the three modernists' first encounters with literary modernism in Republican China, as well as their respective experience in the PRC, I seek to (i) present three modes of initiation of literary modernism at the beginning of the twentieth century; (ii) trace the development of literary modernism both in the republican era and its revival in the PRC; (iii) show the process of Chinese literary modernism growing its distinct characteristics and evidence its second life. In short, Chinese modernists' participation in the building of global modernism and their contributions to the enrichment of literary modernism in the global context are two foci of my thesis. In the final analysis, this thesis engages research on Chinese literary postmodernism. No matter the literary movement's status in the PRC, then and now, how and why it differs from the development of postmodernism in Western literature and culture are valuable research questions.
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31

Jansen, Todd Edward. "Blissful Realism: Saul Bellow, John Updike, and the Modern/Postmodern Divide." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/312513.

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This dissertation examines the reaction of many post-WWII American authors against the modernist privileging of form. These authors predicate their response upon what I call "blissful realism," a term which reflects an unlikely conflation of the critical work of Roland Barthes and Georg Lukács. I argue that Saul Bellow and John Updike are exemplars of a larger post-war contingent, including Flannery O'Conner, Bernard Malamud, Joyce Carol Oates, and John Cheever, to name a few, who use the liminal space between the waning of modernism and a burgeoning postmodern sensibility to complicate and critique modernist formalism while exploring (and often presciently critiquing) the nascent ontological inclinations of postmodernism. The characters within their novels endeavor to declare and maintain their autonomy by, through, and against their contact with a cold reality and defining ideological structures. This tension is mirrored in the aesthetic project of the authors as they work by, through, and against modernist strictures. This dissertation also offers a comparison between Bellow and Updike and the work of Ralph Ellison and Vladimir Nabokov in an effort to distinguish and delineate blissful realism from "late modernism." The concluding chapter posits that recent "post-postmodern" work draws heavily on its blissful realist predecessors. Many contemporary authors' concerns with subjective autonomy, authenticity, and notions of transcendence, in spite of postmodern declarations to the contrary, offer different sensibilities and political possibilities that turn away from irony, play, and image toward agency, meaning, and morality.
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32

Duguid, Scott. "Narcissus revisited : Norman Mailer and the twentieth century avant-garde." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22981.

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This thesis examines the American novelist Norman Mailer’s relationship to the 20th century avant-garde. Mailer is often remembered as a pioneer in the new documentary modes of subjective non-fiction of the sixties. Looking beyond the decade’s themes of fact and fiction, this thesis opens up Mailer’s aesthetics in general to other areas of historical and theoretical enquiry, primarily art history and psychoanalysis. In doing so, it argues that Mailer’s work represents a thoroughgoing aesthetic and political response to modernism in the arts, a response that in turn fuels a critical opposition to postmodern aesthetics. Two key ideas are explored here. The first is narcissism. In the sixties, Mailer was an avatar of what Christopher Lasch called the “culture of narcissism”. The self-advertising non-fiction was related to an emerging postmodern self-consciousness in the novel. Yet the myth of Narcissus has a longer history in the story of modernist aesthetics. Starting with the concept’s early articulation by Freudian psychoanalysis, this thesis argues that narcissism was for Mailer central to human subjectivity in the 20th century. It was also a defining trait of technological modernity in the wake of the atom bomb and the Holocaust. Mailer, then, wasn’t just concerned with the aesthetics of narcissism: he was also deeply concerned with its ethics. Its logic is key to almost every major theme of his work: technology, war, fascist charisma, sexuality, masculinity, criminality, politics, art, media and fame. This thesis will also examine how narcissism was related for Mailer to themes of trauma, violence, facing and recognition. The second idea that informs this thesis is the theoretical question of “the real”. A later generation of postmodernists thought that Mailer’s initially radical work was excessively grounded in documentary and traditional literary realism. Yet while the question of realism was central for Mailer, he approached this question from a modernist standpoint. He identified with the modernist perspectivism of Picasso and his eclectic “attacks on reality”, and brought this modernist humanism to a critical analysis of postmodernism. The postwar (and ongoing) debates about postmodern and realism in the novel connect in Mailer, I argue, to what Hal Foster calls the “return of the real” in the 20th century avant-garde. This thesis also links Mailer to psychoanalytical views on trauma and violence; anti-idealist philosophy in Bataille and Adorno; and later postmodern art historical engagements with realism and simulation. Mailer’s view was that a hunger for the real was an effect of a desensitising (post)modernity. While the key decade is the sixties, the study begins in 1948 with Mailer’s first novel The Naked and the Dead, and ends at the height of the postmodern eighties. Drawing on a range of postmodern theory, this thesis argues that Mailer’s fiction sought to confront postmodern reality without ceding to the absurdity of the postmodern novel. The thesis also traces Mailer’s relationship to a range of contemporary art and visual culture, including Pop Art (and Warhol in particular), and avant-garde and postmodern cinema. This study also draws on a broad range of psychoanalytical, feminist and cultural theory to explore Mailer’s often troubled relationship to narcissism, masculinity and sexuality. The thesis engages a complex history of feminist perspectives on Mailer, and argues that while feminist critique remains necessary for a reading of his work, it is not sufficient to account for his restless exploration of masculinity as a subject. In chapter 7, the thesis also discusses Mailer’s much-criticised romantic fascination with black culture in the context of postcolonial politics.
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33

Berndalen, Christian. "Populärmusik, konstmusik eller bara musik? : En undersökning av konstmusikaliska inslag i tre populärmusikaliska verk." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13443.

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Det är inte ovanligt att viss rock- och annan populärmusik tillskrivs konstnärliga ambitioner, eller förses med epitet som "konstnärlig" och "konstmusikalisk". Sällan utvecklas emellertid på vilket sätt detta konstnärliga tar sig uttryck. Uppsatsens syfte är att musikanalytiskt undersöka vad som kan motivera formuleringarna och om de kan anses adekvata. Materialet för undersökningen är tre verk/låtar ur rockgenren, som beskrivits med ovanstående begrepp: Close to the Edge med gruppen Yes från 1972, Sense of Doubt med David Bowie från 1977 och Sleep med gruppen Godspeed You! Black Emperor från 2000. Metoden är den auditiva musikanalysen, vilket innebär att analysen utgår från ett aktivt lyssnande på musikens förlopp. Två fokus finns: ett på själva musiken; ett på de intentioner i och med verket/låten som kan föreligga. Analysen utgår från en definition av begreppen konst- och populärmusik som görs i början av uppsatsen. Denna grundar sig i sin tur på en genomgång av begreppsdefinitioner i framförallt lexikon och ordböcker, men också i musikvetenskaplig litteratur och den kan därmed göra anspråk på en viss allmängiltighet. Resultatet av analysen visar att samtliga musikexempel går utanför ramarna för definitionen av populärmusik, samtidigt som de uppvisar flera egenskaper som faller inom konstmusikdefinitionen. Beskrivningarna av låtarna som konstmusikaliska och konstnärliga kan alltså anses adekvata. Analysen och den föregående begreppsdiskussionen medvetandegör emellertid också den problematik som ryms i distinktionen konst- respektive populärmusik. Detta utvecklas i uppsatsens slutdiskussion, där begreppen relateras till ett idéhistoriskt sammanhang. Distinktionen visar sig ha rötter i 1800-talets kulturdebatt och under 1900-talet har den närts av en modernistisk kultur- och samhällssyn. De senaste decenniernas postmodernistiska strömningar, med ökad värderelativism och uppluckrade musikaliska genregränser, har dock bidragit till att begreppen i allt större utsträckning spelat ut sin roll.
It is not uncommon that certain rock and other popular music is attributed with artistic ambitions or is befitted with epithets such as "artistic" or "art music-like". However, it is rarely elaborated in which way these artistic qualities are conveyed. The purpose of this paper is to investigate from an analytical standpoint what can incentivize these wordings and if they can be viewed as adequate. The material for the investigation is three pieces/songs from the rock genre which have been described with the above terms: Close to the Edge by the group Yes from 1972, Sense of Doubt by David Bowie from 1977 and Sleep by the group Godspeed You! Black Emperor from 2000. The method is auditive music analysis which means that the analysis is based upon actively listening to the music. There are two areas of focus: one is on the music itself; one is on the intentions that may lie in and with the piece/song. The analysis is based upon a definition of the terms art music and popular music that is made at the beginning of the paper. This, in turn, is based upon a rundown of term definitions made in, above all, lexicons and dictionaries, but also in musicology, and thus it can claim a certain generality. The result of the analysis shows that all music examples move outside the boundaries of the definition of popular music and, at the same time, show qualities that fall inside the boundaries of the definition of art music. Thus, the descriptions of the songs as "art music-like" and "artistic" can be viewed as adequate. However, the analysis and the preceding term discussion raise awareness about the problems that are contained in the distinction between art music and popular music, respectively. This is elaborated in the concluding discussion in which the terms are interrelated to a contexture involving the history of ideas. The distinction is shown to have its roots in the cultural debate of the 19th century, and during the 20th century it has been nurtured by a modernist view of culture and society. The post-modernistic trends of the last few decades, characterized by increased value relativism and loosened musical genre boundaries, have contributed to making the terms obsolete.
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34

Travis, Molly Abel. "Subject on Trial: The Displacement of the Reader in Modern and Post-modern Fiction." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392805130.

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35

Reishus, John William. "Demarcating space : barriers and screens." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864906.

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The problem addressed by the student was the creation of private, separate spaces within a larger area. It was determined that folding screens could be utilized in a variety of settings and situations thereby providing a flexible solution.As the creation of the folding screens progressed, the student was exposed to ideas and motivating concepts within the artworld which influenced him to consider a more sculptural response to the problem. A shift of the emphasis from the purely functional to a viewer oriented. perceptual interaction with the sculptural space was the result; although the sculptures did not have the obvious usefulness of the folding screens, the student found the sculptures to be personally useful in his artistic development.The primary method of constuction utilized was welding. Several of the sculptures were the result of combining wooden elements and assemblages with welded steel. Sevendifferent artworks were created, three being folding screens and four being sculptural barriers.
Department of Art
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36

Lundgren, Bo. "Estetik, som uttryck för en världsbild." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-305432.

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37

Burn, Stephen J. ""At the edges of perception" : William Gaddis and the encyclopedic novel from Joyce to David Foster Wallace." Thesis, Durham University, 2001. http://etheses.dur.ac.uk/4235/.

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"Longer works of fiction," a character in William Gaddis's JR complains of the current literary scene, are now "dismissed as classics and remain . . . largely unread due to the effort involved in reading and turning any more than two hundred pages" (527). This study argues that despite most literary critics constructing American postmodernism as a movement that privileges short works, in contrast to the encyclopedic masterworks of modernism, there are in fact a large number of artistically sophisticated contemporary novels of encyclopedic scope that demonstrate often ignored lines of continuity from works like James Joyce's Ulysses. In arguing this, I attempt not just to draw attention to a neglected strain in contemporary American fiction, but also to provide a more accurate context in which those few recent encyclopedic novels that have assumed centrality, like Gravity's Rainbow, might be evaluated. In doing so, this thesis also seeks to demonstrate the pivotal position of William Gaddis who, despite publishing four impressive novels that engage with the legacy of modernism and pre-empt elements of postmodernism, has been excluded from most studies dealing with the transition between the two movements. Through detailed readings of four encyclopedic novels - Gaddis's The Recognitions, Don DeLillo's Underworld, Richard Powers's The Gold Bug Variations, and David Foster Wallace’s Infinite Jest - I show Gaddis's continuation of encyclopedic modernism, the importance of his example to later writers, and the continuing vitality of the encyclopedic novel beyond the defined limits of modernism. However, as these novels try to encompass the full circle of knowledge, in order to do justice to their diverse learning I have adopted a different approach in each chapter. Very broadly, they attempt to encircle art, psychology, science, and literature, which, taken together, attempt to synthesise a defence of the contemporary encyclopedic novel. While minimalist writers from Raymond Carver to Ann Beattie have affirmed that less is more, this thesis argues that, in some cases, more really is more.
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38

De, Kiewit Charles. "The transforming power of gospel preaching to an audience influenced by post modernism." Diss., Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-06172005-084808/.

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39

Morris, Nathaniel. "’Den bortdunstande realitetens sista rök’ - Derealisering i Py Sörmans Aloë." Thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-99942.

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Den här uppsatsen undersöker Py Sörmans roman Aloë utifrån begreppet derealisering. Derealisering, menar uppsatsförfattaren, utgör en medvetenhet om problem gällande representationen av realitet som är central för postmodernismen. Denna medvetenhet aktualiserar frågeställningar gällande förhållandet mellan narrativitet och realitet, frågeställningar som är närvarande i den moderna och postmoderna romanen. Aloës ämne och narrativitet, argumenterar uppsatsen, belyser dessa frågeställningar. Uppsatsförfattaren strävar efter att bevisa detta genom att analysera romanen med hjälp av begrepp från narrativ teori. Den avslutande utvärderingen av undersökningen (slutdiskussionen) finner inte att derealisering är Aloës allra mest centrala ämne, men finner att derealisering är en närvarande frågeställning, är bestämmande för romanens representation och är en inneboende del av romanens struktur.
This essay uses the term derealization to investigate Py Sörman’s novel Aloë. Derealization, the author of this essay claims, consists of an awareness of problems regarding the representation of reality that are central to postmodernism. This awareness gives rise to questions regarding the relationship between narrativity and reality, questions that are present in the modern and postmodern novel. Aloë’s subject and narrativity, the essay argues, highlights these questions. The essay aims to prove this by analysing the novel using concepts from narrative theory. The concluding evaluation of this investigation finds that derealization is not Aloë’s most central subject or theme, but finds that questions regarding derealization are present, that they affect the novel’s representation, and that they form an integral part of the novel’s structure.
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40

Mete, Baris. "Reconceptualisation Of Realism In British Postwar Fiction: The Cases Of Iris Murdoch, Muriel Spark And John Fowles." Phd thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613417/index.pdf.

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This study is about British postwar fiction and its canonical reception according to a special categorisation of the novelists who were publishing in Britain during the two decades after the end of the Second World War. The study emphasises that mainstream literary criticism of 1950s and &rsquo
60s Britain tended to catalogue the novelists of this period according to a well-established dichotomy between tradition and innovation in which the traditional realist novels, the neorealist works of C. P. Snow, Angus Wilson and Kingsley Amis, were privileged over any other fictional work having modernist innovative characteristics. Therefore, the first published novels of Iris Murdoch, Muriel Spark and John Fowles, novelists belonging to today&rsquo
s postmodern canon, were first critically recognised as social realist works in Britain. One of the objects of this study is to demonstrate the shortcomings of this classification. Moreover, the main argument of the study is that none of these three novelists should have been classified as a traditional realist novelist. All of these three British postwar novelists were reconceptualising traditional realism by self-reflexively including the problem of representation as part of their conventional subject matters in their formal realist novels.
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41

Welander, Malin. "PIN IT UP! : En studie av Pin-Up-bildens visuella utveckling under 1900-talet." Thesis, Växjö University, School of Education, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1164.

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ABSTRACT

INSTITUTION:

Institutionen för pedagogik, avdelningen för bild musik och kulturpedagogik, Växjö Universitet.

ADRESS:

Växjö universitet, 351 95 Växjö

TELEFON:

0470-70 80 00

HANDLEDARE:

Hans T Sternudd

TITEL:

PIN IT UP! – en studie av Pin-Up-bildens visuella utveckling under

1900-talet

ENGELSK TITEL:

PIN IT UP! – a study of the visual development in the Pin-Up-genre

during the 20th century

FÖRFATTARE:

Malin Welander

ADRESS:

Stallvägen 48:305, 35256 Växjö

TYP AV UPPSATS:

C-uppsats, 60 poäng

VENTILERINGSTERMIN:

Ht 2006

I uppsatsen undersöks Pin-up-bildens visuella och statusmässiga utveckling under 1900-talet.

Teorier som används behandlar modernism och postmodernism, institutionell konstteori samt begreppen kitsch och camp.

I uppsatsen undersöks hur Pin-Up-bilden utvecklas visuellt under perioden 1920-1970. Detta visualiseras med hjälp av semiotiska bildanalyser. Man undersöker även Pin-Up-genrens status och följer den utveckling och omvärdering av bilderna som sker i och med postmodernismens uppvärdering av populärkulturella och kommersiella uttryck.

I den avslutande analysen ges en möjlig förklaring till varför dessa Pin-Up-bilder har kvar sin popularitet ännu i dag, genom att man knyter dessa till Susan Sontags teorier om camp.

Keywords: Pinuppor, Pin-Up, postmodernism, modernism, popkonst, camp, kitsch, illustration

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42

Williams, Jessica Jain. "Postmodern Narrativity in Absalom, Absalom! and Memento: Examining Telling Similarities in the Techniques of William Faulkner and Christopher Nolan." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001170.

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43

Lyle, Messina. "Reviving the Subject: A Feminist Argument for Mimesis in Literature." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2204.

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For centuries we have taken for granted Aristotle's assertion that fiction must encourage emotional identification by representing life realistically. With the development of a more pluralistic society, Postmodernist writiers have come to question that assumption. Having repudiated our ancestor's notions of identity, these writers create stories whose sole purpose is to comment on other stories. However, as some feminist critics have shown us, we must each have an identity in order to have the collaborative society that is the Postmodernist's goal. Therefore, the notion that a story must make a sensory impression on us and stand on its own as a story in itself is just as valid today as it was in the past.
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44

Dreyer, Nicolas D. "'Post-Soviet neo-modernism' : an approach to 'postmodernism' and humour in the post-Soviet Russian fiction of Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1917.

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The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.
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45

Aïn, Alexandra. "La typographie à l'ère postmoderne." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30044/document.

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Cette thèse interroge la typographie contemporaine au prisme du postmodernisme des années 1980 jusqu'au début des années 2000 afin de montrer que celle-ci va au-delà du simple outil de communication visuelle et de technique d'impression. Dans ce but, cette recherche revient sur l'histoire de la typographie pour en soulever les problématiques récurrentes (idéal de beauté, lisibilité, pluridisciplinarité) retravaillées et ré-étudiées par le postmodernisme. Outre les effets stylistique, le postmodernisme se pose en opposition et réaction au modernisme qu'il remet en cause en tant que modèle dominant. Les problématiques qui découlent de cette remise en question, interrogent la légitimité du designer ainsi que sa place dans la société, dans le processus de création. La typographie et son statut sont parties prenantes de ce débat qui permet de l'extraire du simple objet imprimé. Cette thèse interroge donc la possibilité de considérer la typographie comme objet esthétique et critique qui pense et se pense, à partir des discussions et travaux de cette période, ainsi qu'en s'appuyant tout particulièrement sur la recherche en design. Cette démarche permet également de mettre en perspective la recherche et les savoirs actuels autour de la typographie afin de faire émerger les paradoxes de cette dernière et d'aboutir à sa redéfinition
This thesis is about contemporary typography in the light of postmodernism from the eighties to the early years of the new millenium in order to show that it goes beyond the mere tool of visual communication and printing technique. So the research relates the history of typography and raises the recurrent issues (ideal of beauty, lisiblility, multi-disciplinarity) worked out and studied by postmodernism. Beside the stylistic effects, postmodernism stands out by reaction to modernism which it questions as a prevailing pattern. The deriving problems raise the question of whether the designer is legitimate and what his/her position in society is, in the creative process. Typography and its status are part and parcel of this issue which helps take it from the mere printed object. Thus, this thesis raises the question of whether it is possible to consider typography as an aesthetic and critical object which thinks, from the talks and works of that period, by particularly drawing upon research in design. This process also helps put into perspective the analysis and current knowledge around typography in order to develop its paradoxes and lead to re-define its goal
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46

Gustafsson, Frida. "Picasso möter Duchamp : En narratologisk undersökning av performativitet, positionering och värdering i Moderna Museets katalogtexter." Thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104909.

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I denna uppsats undersöks katalogtexter producerade eller reproducerade av Moderna Museet i Stockholm om Pablo Picasso och Marcel Duchamp. Texterna undersöks, med utgångspunkt i museets egna påstående att konstnärerna ofta utmålas som varandras motsatser, ur ett narratologiskt perspektiv. Förekomsten av argumenterande passager, performativa yttranden, textagentens positionering samt värdering av konstnärskapen undersöks och en jämförelse görs mellan katalogerna och de två konstnärskapen. Undersökningen syftar till att ge en ingång till en förståelse för hur katalogtexter genom en aktiv narration skapar en normerande bild av konstnärskap.
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47

Ballardini, Anny. "Ghost Dance in 31 Movements." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/826.

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A kind of poetry that tries to understand contemporary social and philosophical issues as much as behaviors by rewriting in a poetic language the video artwork of some of the main representatives of modernism and postmodernism. Such poetry is deprived of confessional hues, any personal reference has to be ascribed to a mirroring effect by which the single person empathically absorbs and projects what is conveyed, be it stemming directly from the historical time of the artwork's making and inherited, or alive at the time of its actual viewing. By following a restructuring process started at the beginning of the twentieth century, the writing analyzes possible ways to outline developments or to underline breaking points. Poetry is seen as an active medium within the formation of societies characterized as it is by its highly introspective power, not restricted to the individual but open to all beings perceived as members of one entity.
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48

Conesa, Frank. "Nathanael West, notre contemporain : esthétique de la rupture et figurations du chaos." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3077.

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Nathanael West (1903-1940) a écrit un nouveau chapitre de la littérature américaine, avant de disparaître brutalement en 1940. La publication de ses œuvres complètes en 1957 a suscité l'engouement de la scène littéraire américaine qui a vu en lui un précurseur de l'humour noir et de la critique consumériste, ainsi qu'un maître de la parodie et du comique-apocalyptique, alors en vogue dans les années 60. Cependant, il reste un auteur de la marge. Dans un article intitulé « Some Notes on Violence », publié plus tôt en 1932, West prenait ses distances avec le naturalisme et le réalisme social, affirmant qu'en Amérique la violence était « idiomatique » et que le romancier devait adapter son art à une réalité chaque jour plus fulgurante encore. Dans cette étude, nous voulons montrer dans quelle mesure ce regard décalé sur la réalité a fait de West un « contemporain » de son temps. En effet, pour le philosophe italien Giorgio Agamben, celui « qui appartient vraiment à son temps, le vrai contemporain, est celui qui ne coïncide pas avec lui ni n'adhère à ses prétentions, et se définit, en ce sens, comme inactuel ; mais précisément pour cette raison, précisément par cet écart et cet anachronisme, il est plus apte que les autres à percevoir et à saisir son temps ». Au contact de la brutalité et de la vélocité chaotique de sa fiction, à mesure que les plans s'enchaînent, que le récit accélère et que l'espace-temps se contracte jusqu'au point de rupture, nous voyons se dessiner les contours familiers de notre propre réalité
American novelist Nathanael West (1903-1940) wrote a new chapter of American literature before he brutally disappeared in 1940. In the wake of the publication of The Complete Works of Nathanael West in 1957, literary critics hailed him as the precursor of black humor, as the critic of consumerism and mass culture, as the master of parody whose comic-apocalyptic tone was in fashion during the 1960s. In an article entitled “Some Notes on Violence” published in 1932, he rejected both naturalism and social realism as being unfit to represent the “idiomatic” violence of American society. According to West, the American writer needed to adapt his art of writing and find more appropriate ways to “handle” the ever-increasing, violent pace of reality. This study examines to what extent West's untimely response to a present reality has made him a true “contemporary.” Italian philosopher Giorgio Agamben argues that “[those] who are truly contemporary, who truly belong to their time, are those who neither perfectly coincide with it nor adjust themselves to its demands. […] But precisely because of this condition, precisely through this disconnection and this anachronism, they are more capable than others of perceiving and grasping their own time.” The chaotic brutality of West's figurations, the velocity of his narrative, and the sequential editing of the scenes accelerating to the point of rupture, all mirror our own reality
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49

Collett, Rachel Joan. "Turning back : continuity and difference in modernist and postmodernist reflexivity." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4256.

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Thesis (MA VA (Visual Arts))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: The primary function of paintings and novels in Western culture has historically been considered the depiction or description of reality. Over the course of the last century, however, the inherent reflexivity of both art and literature has become progressively more insistent and programmatic, in such a way as challenges the relationship between form and the world. A re-thinking of the role of representation is thus central to both modernism and postmodernism. This thesis is an investigation into the relationship between modern and postmodern reflexivity. Through the close examination of four artists who serve as case studies, I argue that literary and artistic modernism‟s emphasis on form and subjectivity, as well as the tendency of postmodern art and writing to flaunt its own status as rhetoric/fiction, are different facets of a continuous response to a rapidly changing world. Using the insights of post-structuralist theory, I suggest that whereas modernism‟s reflexive drive is directed towards truth and self-knowledge, postmodern reflexivity is centrally concerned with the elusive, continually shifting nature of meaning. What emerges in the light of the practice of individual artist and authors, however, is that the modern and postmodern reflexive modes are not necessarily mutually exclusive, but can co-exist, producing a vital and necessary tension.
AFRIKAANSE OPSOMMING: Beskrywing en uitbeelding van die werklikheid word geskiedkundig as die kernfunksies van skilderye en die roman in die Westerse kultuur beskou. Gedurende die laaste eeu het die inherente refleksiwiteit van beide kuns en letterkunde toenemend meer programmaties en sistematies geword. Dit het geskied op „n wyse wat die verhouding tussen vorm en die wêreld uitdaag. „n Herbesinning van die rol van uitbeelding of representasie is gevolglik van sentrale belang vir beide modernisme en postmodernisme. Hierdie tesis is „n ondersoek na die verwantskap tussen moderne en postmoderne refleksiwiteit. Deur „n noukerige ondersoek van vier kunstenaars se werk, stel ek voor dat die letterkundige en artistieke klem van modernisme op vorm en subjektiwiteit, sowel as die gebruiklike kenmerk van retoriek/fiksie, verskillende aspekte is van „n voortdurende weerkaatsing op „n vinnig veranderende wêreld is. Deur die teoretiese perspektiewe van post-stukturalisme toe te pas, stel ek voor dat modernistiese refleksiwiteit neig na die waarheid en selfkennis, terwyl postmoderne refleksiwiteit fokus op die onbepaalde en veranderlike aard van betekenis. Nietemin, uit my kritiese beskouing van die kreatiewe praktyk van afsonderlike kunstenaars en skrywers blyk dit dat die modernistiese en postmodernistiese refleksiewe benaderinge nie noodwendig mekaar uitsluit nie, maar saam kan bestaan en „n dinamiese en noodsaaklike spanning skep.
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50

Cooke, Simon. "Encyclopaedic fiction, cultural value, and the discourse of the great divide : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature /." ResearchArchive@Victoria e-thesis, 2009. http://hdl.handle.net/10063/1312.

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