Academic literature on the topic 'Postmodernism – Greece'

1949-, Layoun Mary N., ed. Modernism in Greece?: Essays on the critical and literary margins of a movement. Pella Pub. Co., 1990.

Shub, M. L. Na "grebne promezhutka": Khudozhestvennoe prostranstvo skvozʹ prizmu postmodernistskoĭ paradigmy : monografii︠a︡. Cheli︠a︡binskai︠a︡ gos. akademii︠a︡ kulʹtury i iskusstv, 2008.

Jagtenberg, Tom. Eco-impacts and the greening of postmodernity: New maps for communication studies, cultural studies, and sociology. Sage Publications, 1997.

Smith, Joseph C., Smith Joseph C. Jr, and Carla J. Ferstman. Castration of Oedipus: Psychoanalysis, Postmodernism, and Feminism. New York University Press, 1996.

The Castration of Oedipus: Psychoanalysis, Postmodernism, and Feminism. New York University Press, 2012.

Katsan, Gerasimus. History and National Ideology in Greek Postmodernist Fiction. Fairleigh Dickinson University Press, 2013.

Katsan, Gerasimus. History and National Ideology in Greek Postmodernist Fiction. Fairleigh Dickinson University Press, 2013.

Interrogating Antigone in Postmodern Philosophy and Criticism. Oxford University Press, 2010.

Zimmerman, Michael E. Contesting Earth's Future: Radical Ecology and Postmodernity. University of California Press, 1997.

Contesting earth's future: Radical ecology and postmodernity. University of California Press, 1994.

Markatos, Kimon. "Postmodernism in Greek Historiography." In History and Historiography in Greece. Berghahn Books, 2025. https://doi.org/10.2307/jj.22992817.17.

Markatos, Kimon. "Chapter 12. Postmodernism in Greek Historiography." In History and Historiography in Greece. Berghahn Books, 2025. https://doi.org/10.1515/9781805399889-015.

Wallace, Douglas S. "Parental Practices Through the Eras." In Advances in Early Childhood and K-12 Education. IGI Global, 2024. http://dx.doi.org/10.4018/979-8-3693-1451-7.ch001.

Karataş, Abdullah, and Mustafa Talas. "Environmental Issues and Globalizing World." In Marketing and Resource Management for Green Transitions in Economies. IGI Global, 2024. http://dx.doi.org/10.4018/979-8-3693-3439-3.ch001.

Langlands, Rebecca. "Epilogue." In Body Technologies in the Greco-Roman World. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781802078602.003.0019.

Gat, Azar. "What Is True?" In Ideological Fixation. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197646700.003.0001.

"parmigiana and it sticks in my throat because I know how much he loved it. I’m eating for two, if indeed I’ve incorporated him a la ‘Mourning and Melancholia’ (M, 69). I keep coming up against this network of references in your fiction: the loss of the father, the idea of mourning as a lump in the throat impeding communication, and above all a sense of resulting perplexity and confusion. It seems important that Paige’s harrowing recollection of her father in ‘To Find Words’ leads to her feeling ‘lost at sea and cast in doubt’ (MR, 25). It’s a question of narrative again… LT: Writing is always about loss in some way. Maybe for me my father’s loss became the loss that took in all loss, which made me want to write in the beginning. But there’s a way in which death is too easy, because death is everyone’s conclusion. Death is the closure that’s never closure. Because even if someone dies there are those alive who remember him or her. So the impact of that person’s life is still felt in the people living after. I’m thinking about the AIDS epidemic. There’s nothing conclusive about death except that it’s something we all do. That’s the curious thing about the paradox of using death—in a way I know that whenever I put death in my work it’s the most vital thing to do, because we all feel so connected to it. PN: In interviews you’ve often talked about Cast in Doubt in terms of a collision of modernist and postmodernist perspectives. Does the difference again have to do with conceptions of narrative? LT: I wanted to do many things in that book, including figuring out how to tell a story that reflected on story-telling and on how we read stories. PN: It does seem that Horace can only reach a sense of self by seeing himself as a character in a story. There’s a curious passage where he says ‘While I accept the Greek version of destiny, or fate, as in tragedy, when one’s end flows from one’s flaws, from hubris, I abhor the idea that one’s life is fated’ (C, 160). But the Greeks couldn’t dissociate those ideas, and are you suggesting that Horace ultimately can’t either (his novel is, after all, called Household Gods…)? LT: That is a strange passage. I think I wanted, because I was playing off the Greek material, the notion of an inevitability, certain things set in motion, from x to y to z. But as a modernist, Horace also wants to think about progress and about his own ability to insert himself in the story and make a change. There’s a certain kind of optimism in that, but it’s confused. He’s confused by two kinds of narrative, the narrative of inevitability and the narrative of change." In Textual Practice. Routledge, 2005. http://dx.doi.org/10.4324/9780203986219-26.

Metreveli, Lili. "Three Medeas – Modernist and Postmodernist Reception of Medea Myth in Georgian Literature." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2024. https://doi.org/10.62119/icla.2.8436.