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Kulas, Dariusz. "Dyskurs filozofii postmodernistycznej." Doctoral thesis, Katowice : Uniwersytet Śląski, 2006. http://hdl.handle.net/20.500.12128/5031.
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Postmodernizm czyni prawomocność dyskursu poprzez wagę zadawania pytań. Usuwa zarzuty z perspektywy paradygmatu nowożytnej naukowości, które przyjmują formy: „skąd to wiemy?” i na ile to prawomocne itp. Postmodernizm określa takie zarzuty tym, że są zasadne, ale w innym układzie odniesienia, na użytek innego słownika, dlatego w danym dyskursie są nieistotne. Postmodernizm jest po stronie potencjalności pytania i pilnuje tego, by ta potencjalność była realizowana w późniejszej refleksji. Jest przy tym świadomy partykularnego oglądu rzeczy, brakiem bezstronności.
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Bujnowska, Ewelina. "Le roman historique postmoderne et postcolonial au Quebec (1981-1998)." Doctoral thesis, Katowice : Uniwersytet Śląski, 2011. http://hdl.handle.net/20.500.12128/5245.
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Przedmiotem pracy jest przedstawienie powieści historycznej w Quebeku w latach 1981-1998 w ujęciu postmodernistycznym oraz z perspektywy badań postkolonialnych. W latach osiemdziesiątych dwudziestego wieku powieść historyczna we francuskojęzycznej literaturze kanadyjskiej przeżywała renesans związany z kształtowaniem się świadomości narodowej i stała się jednocześnie odbiciem światowych tendencji.
Pierwszy rozdział ukazuje rozwój powieści historycznej w Quebeku i w na świecie. Choć model powieści walterscottowskiej powstał na początku XIX wieku, nadal stanowi niewyczerpane źródło inspiracji dla wielu współczesnych powieściopisarzy i niewielu wpisuje się swymi powieściami w estetykę ponowoczesną.
Drugi rozdział poświęcony jest historiografii w Quebeku. Zmiana myślenia historycznego wpłynęła na teksty historiograficzne i w dużym stopniu na kształt powieści historycznej.
W trzecim rozdziale przedstawiona została myśl ponowoczesna oraz jej wyznaczniki, które posłużyły w rozdziale piątym do analizy wybranych powieści.
Pomimo wielu wspólnych elementów literatura quebecka zaliczana jest przez niewielu krytyków do literatury postkolonialnej. Rozdział czwarty jest próbą przedstawienia literatury Kanady i prowincji w kontekście badań postkolonialnych. Dla literatury postkolonialnej historia stanowi jeden z podstawowych tematów, a celem staje się ponowne jej napisanie. W quebeckich tekstach pojawia się reprezentatywna dla literatur skolonizowanych zmiana na płaszczyźnie ideologicznej.
Rozdział piąty jest analizą powieści La Tribu François Barcelo, La Maison Trestler ou le 8e jour d’Amérique Madeleine Ouellette-Michalskiej, Triptyque des temps perdus Jeana Marcela oraz La Terre promise, Remember! Noëla Audeta. Powieści tych czterech pisarzy quebeckich dzięki zastosowaniu przez autorów nowatorskich technik narracji oraz zmianie historycznego myślenia i próbie napisania na nowo historii można włączyć zarówno w nurt postmodernistyczny, jak i postkolonialny.
Współczesna quebecka powieść historyczna wpisuje się również w ramy realizmu magicznego, nurtu popularnego w powieści latynoamerykańskiej. Rozdziału szósty zarysowuje ramy realizmu magicznego oraz analizuje wybrane powieści pod kątem obecności jego elementów charakterystycznych.
Przedstawienie powieści historycznej końca dwudziestego wieku w oparciu o wyżej wymienione utwory wydaje się ważnym elementem dla zrozumienia współczesnej literatury Quebeku, włączając ją w grono literatur postkolonialnych i ponowoczesnych.
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Lemay, Suzanne. "Carbone 14, des traces postmodernes dans le théâtre québécois." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0003/MQ38136.pdf.
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Tabet, Simon. "Le moment postmoderne : interprétations et usages d'un "signifiant voyageur" dans le monde anglophone." Electronic Thesis or Diss., Paris 10, 2024. http://www.theses.fr/2024PA100015.
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Que peut vouloir dire postmoderne ? Et surtout, quels sont les enjeux qui ont traversé les usages de ce terme ? Ce travail soutient que, par-delà le mauvais objet sémantique qu’il constitue, en tant que signifiant flottant et mot-valise, le postmoderne représente un bon objet d’étude pour cerner certains des enjeux théoriques de la fin du vingtième siècle. Il offre ainsi un prisme pertinent pour appréhender les recompositions du marxisme occidental anglophone, les déchirements de la gauche universitaire anglosaxonne et le renouvellement des diverses pensées critiques, au Royaume-Uni comme aux États-Unis. Dans une approche résolument transdisciplinaire, nous étudions l’émergence et les circulations de ce signifiant sur cet axe transatlantique, les interprétations majeures qui l’ont marqué, ainsi que les usages souvent clivants dont il a fait l’objet. Pour retranscrire l’histoire intellectuelle de cette époque, notre démarche historiciste rend compte des débats suscités par la querelle moderniste étatsunienne des années 1960 et 1970, par les interventions de Jean-François Lyotard et Jürgen Habermas, mais surtout par les contributions de Fredric Jameson, Zygmunt Bauman et Stuart Hall tout au long des années 1980 et 1990. A la croisée des champs de la théorie littéraire, de la sociologie politique et des cultural studies, notre étude prend en compte l’imbrication des dimensions théoriques, affectives et politiques afin de situer au mieux les stratégies idéologiques et institutionnelles de cette histoire sociale des idées. Sous la forme d’une sociologie historique d’un espace intellectuel transnational, cette recherche examine les divers circuits présidant à la construction de ce moment postmoderne, pour mieux comprendre de quoi cette effervescence intellectuelle est le nomWhat does the term “postmodern” mean? And above all, what were the forces that changed the way we used it? This work argues that beyond being just an inadequate semantical object, an empty signifier, the term “postmodern” is worth studying as it helps us identify some of the theoretical forces which shaped the end of the 20th century. In that respect, it offers a fitting lens to analyse the reconfiguration of western Marxism in the English-speaking world, the conflicts within the Anglo-Saxon Left at the university level and the regeneration of various streams of critical theory in the United Kingdom as well as in the United States. Taking a transdisciplinary stance, this work studies the emergence and the dissemination of that signifier along a transatlantic axis, the major interpretations that were made about it as well as the often conflicting ways it was used. To chart the intellectual history of that era, our historicist approach will take us to the debates around the modernist controversy in the US in the 1960s and 1970s, the involvement of Jean-François Lyotard and Jürgen Habermas and especially the contributions of Fredric Jameson, Zygmunt Bauman and Stuart Hall in the course of the 1980s and 1990s. Borrowing from the fields of literary theory, political sociology and cultural studies, this work takes into account the combination of theoretical, affective and political dimensions in order to best identify the ideological and institutional strategies at play behind this chapter of the social history of ideas. Being essentially a historical sociology of a transnational, intellectual space, this study explores the various paths that led to the construction of this postmodern moment so that we understand better what was truly behind this intellectual effervescence
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Mauri, Luján Anna. "La postmodernidad como dominante cultural y fenómeno sociológico: las propuestas estéticas contemporáneas." Doctoral thesis, Universitat de Barcelona, 1993. http://hdl.handle.net/10803/672101.
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Algo tan aparentemente inofensivo como un prefijo -"post"- ha revolucionado el debate cultural de la pasada década de los años ochenta al asociarse a la raíz "modern", una de las más privativas de nuestro siglo. Juntos han espoleado casi todos los ámbitos de las ciencias sociales, planteando esta pregunta como una letanía: ¿Existe un "después" para el proyecto de la modernidad?.
Esta sociedad lingüística, que cuenta ya con una breve historia de su gestación, desarrollo e instauración, ha dado lugar a variados términos y a variadas acepciones de estos. En esta investigación, centrada en el ámbito de las artes plásticas, el término utilizado es el de "postmodernismo" (Capítulo 1).
Pero no es posible crear un modelo verosímil de este si no es a partir de su oposición con los términos modernismo, vanguardia y tardomodernismo. El término "vanguardia", por su naturaleza "histórica", se presenta en la investigación como el referente más eficaz para ensayar una definición del "postmodernismo" insertada en la diacronía (Capítulo 2).
El termino modernismo, por su parte, facilita una definición insertada en la sincronía, a través del análisis, desde la perspectiva del "postmodernismo", de dos de sus conceptos constitutivos en el ámbito de las artes plásticas: la historia y la autonomía (Capítulo 3).
Todos estos pasos previos son imprescindibles para plantearse un ensayo interpretativo sobre la manifestación del postmodernismo en las artes plásticas cuya hipótesis principal es la siguiente: el postmodernismo genera objetos metaculturales para la representación de la postmodernidad; o dicho de otro modo, la interpretación de las artes plásticas en la década de los ochenta no puede tener lugar sin hacer referencia a la constelación alegórica del postmodernismo: la muerte del sujeto y de la razón en el arte. Estas alegorías marcan hasta tal punto la interpretación de las artes plásticas, que estas no tienen identidad autónoma.
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Cagney-Watts, Helen. "The contradictions of postmodernism : a feminist critique of postmodernism." Thesis, University of Hull, 1991. http://hydra.hull.ac.uk/resources/hull:6975.
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Viires, Piret. "Postmodernism eesti kirjanduskultuuris /." Tartu : Tartu Ülikooli Kirjastus, 2006. http://dspace.utlib.ee/dspace/bitstream/10062/763/5/viirespiret.pdf.
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Sawada, Chikako. "Muriel Spark's postmodernism." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1561/.
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This study explores the shifting notions of postmodernism developed through Muriel Spark’s fiction, and thereby clarifies this artist’s own postmodernism. I use Jean-François Lyotard’s definition of the notion in his The Postmodern Condition (1979), that there is no grand narrative, as my starting point, and deploy various postmodernist theories, which can illuminate Spark’s art and can in turn be illuminated by her art, in my arguments. Throughout the thesis, I focus on two of Spark’s most important themes as crucial keys to understanding her postmodernism: the theme of individual subjectivity and the theme of the interplay of life and art. The thesis begins with the claims Spark makes for her individuality and her individual art through the voice of “I”. Chapter I considers issues about being a woman and an artist, which Spark raises around the narrator-heroine of a fictional memoir, A Far Cry from Kensington (1988). Here I present this heroine as a definition of the strength of Sparkian women who liberate themselves by practicing art. Chapter II discusses Loitering with Intent (1981), a fictional autobiography of a fictional woman novelist, alongside Spark’s own autobiography and her various biographical works. This section illustrates Spark’s notion of the “author” in relation to the “work” - and an author in control in her sense - by investigating the dynamic interplay of life and art in the form of this novel. Chapter III analyses The Driver’s Seat (1970), the novel which most shockingly elucidates the postmodern condition according to Spark and demonstrates her postmodernist narrative strategies. Her concern with the crisis of the “subject” in the world in its postmodern phase is observed in the figure of the heroine, a woman who has tried and failed to be an author in control. I argue that Spark here theorises the notion of subject, by providing her own version of the psychoanalytical “death drive” and also represents the Lacanian real as the unfigurable with this figure. Chapter IV and Chapter V follow the developments of Spark’s discussion of the crisis of the “subject” in two of her later novels. Chapter IV concentrates on the theme of Otherness in Symposium (1990). Chapter V discusses Reality and Dreams (1996), in which Spark pursues the theme of excess and opens up the contradictions inherent in this notion to bring about a new philosophy of life by art as excess.
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Yu, Kit-yee Flora, and 余潔儀. "Postmodernism and photography." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31950152.
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Barry, Marie Porterfield. "Lesson 22: Postmodernism." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/24.
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Chinna, Stephen. "Politics, performance, postmodernism." Thesis, Chinna, Stephen (1995) Politics, performance, postmodernism. PhD thesis, Murdoch University, 1995. https://researchrepository.murdoch.edu.au/id/eprint/52823/.
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In debates concerning the concepts of modernism and modernity, postmodernism and postmodernity, a recurring critique has been the denial of a political function for postmodernism due to its presumed lack of any effective means of intervention in political processes - chiefly through the putative existence of a gap between theory and practice. It will be argued that this critique is based on the acceptance of modernist criteria for what constitutes political effectivity as well as an endorsement of that dualism which sets up a fundamental separation between theory and practice. This thesis will argue that both postmodern performance and politics resist modernist appeals to metanarratives of totality and the centre, along with the dialectic and dualistic metaphysics which underpin these modernist criteria. This will require an interrogation of the polarising tendencies of both modernist politics and theatre which sought either to separate or collapse the incessant binaries of performance practice - such as those between mind and body, process and product, and representation and reality. It will be proposed that the deconstructive strategies of postmodernism serve to subvert this either/or dualism and set up in its place a performance model which acknowledges the space of play between the poles of these binary oppositions.
In short, the thesis will explore the relationships between politics, performance and postmodernism, specifically in order to argue that performance is the paradigm for postmodernism, and that postmodern politics and postmodern performance share a deconstructive mode of operation: a meansoriented process towards specific objectives, not final resolutions. The postmodern will be defined as a performance model – like deconstruction, endlessly deferring unequivocal meaning and final closure. It is the provisional and contingent strategies of performance which set the model for the postmodern. In turn, it will be argued that postmodern performance practices are not only more relevant than modernist political theatre forms in presenting political actualities as well as potentialities, but that they are also more accurate "representations" of the political and ontological "realities" of the late-twentieth century.
The thesis is in three parts. Part One analyses the relationships between modernism and postmodernism, focusing on the largely negative constructions of the postmodern and in turn, defining a postmodernism that evades the modernist criteria of its critics. The epistemologies and politics of both modernism and postmodernism are addressed - the former in terms of its adherence to a narrative model based on neo- Aristotelian prescriptions; the latter in terms of its performance characteristics - which work to evade entrapment in the dialectic.
Part Two addresses the concept of performance - firstly in modernist theatre, then in the diverse avant-gardes, and finally how it is defined in the postmodern. Major forms of Western modernist theatre are addressed - with a focus on Naturalism, and Dada - leading to the neo-avant-garde performance art of the 1960s to 1980s. It is argued that underpinning all of these forms is entrapment in a hierarchised binary model. Furthermore, it is argued that all of these avant-garde forms were, and are, eventually co-opted and absorbed due to their acceptance of the dialectic that necessarily demands an anti-movement.
Part Three first focuses on modernist political theatre in terms of its embracing of the dialectic and its inherent didacticism, and then on postmodern performance - and the attacks on it (as with postmodernism in general) for its seeming lack of an overt political stance, or programme. It is argued that the criteria used to define the political in these attacks are modernist criteria, and are no longer applicable to the postmodern. A major focus in this section is on the role of the spectator (in both modernist and postmodernist performance).
In the final chapter, the issue of a postmodern ethics will be addressed. It will be argued that it is the postmodern definition of aesthetics as differance which deconstructs universalist appeals to reason, truth, and justice - as well as a rigid subject/object dichotomy. The thesis concludes with a reinforcement of the argument: performance is the paradigm for postmodernism and its political practices. That is to say, performance is a deconstructive mode of do-ing, constantly aware of the tendency to lose self-reflexivity and seek closure rather than embrace the endless deferral of differance.
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Valderrey, Eduardo. "Disurbia, acupunturas del territorio." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/456239.
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El objetivo de esta investigación es documentar los procesos de transformación de los espacios y los territorios a través de la mirada del arte.
Desde los años sesenta asistimos a entender la figura del artista como un ser prolífico que asume papeles de antropólogo, geógrafo, etnógrafo, sociólogo, etc.,… asumiendo tales roles desde el posicionamiento del arte contemporáneo respecto al discurso de una sociedad que asignaba la caída de unas disciplinas sobre otras durante la posmodernidad.
Disurbia, acupunturas del territorio abarca un catálogo de posibilidades de entender los cambios físicos que se producen en la piel de un mundo cambiante y transformado por múltiples fenómenos causados directa o indirectamente por la acción del ser humano.
El artista actúa así, además de los roles asignados anteriormente, como un notario, mostrando y demostrando con sus obras los profundos cambios en los territorios debido a los desastres naturales (causados indirectamente por el hombre), los conflictos bélicos, los cambios políticos, la especulación urbanística, las migraciones masivas y las incesantes deslocalizaciones de los fenómenos industriales.
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Cueille, Julien. "Crise de la symbolisation et Idéal du Moi dans la culture postmoderne : essai de psychanalyse pharmakologique." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30064/document.
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Le concept lyotardien de « postmodernité » désigne la crise actuelle, à savoir une crise des « méta-récits » organisateurs de la modernité, et de l’ordre social, épistémique et discursif qui en découle. Face à la tentative hégémonique actuelle de la biomédecine et du cognitivisme, qui proposent un nouveau mythe scientifique, celui du transhumanisme, et font le jeu d’un « bio-pouvoir » accru, une démarche alternative consisterait à faire converger les lectures « déconstructrices » qui, de la psychanalyse à la philosophie en passant par l'anthropologie, font droit à une approche en termes de « pharmakon », c’est-à-dire d’ambivalence du poison et du remède, entre Eros et Thanatos.La recherche des limites est la condition contemporaine de l'« individu incertain », éternel adolescent. On retrouve là la « nouvelle économie psychique » qui fait signe vers une figure clinique nouvelle, celle de l’ « état-limite » qui connaît de multiples avatars et résiste aux classifications.Nombre d’essais sur le « malaise » entremêlent clinique individuelle et spéculations sur la culture, à partir du concept-clé de « désymbolisation ». La carence de Loi et de Père symbolique semble toutefois une explication insuffisante, tout comme la lecture inverse qui pousse à la fuite en avant libertaire. Notre lecture de Lacan refuse de s’inscrire dans ce dualisme Anciens/Modernes, et met l’accent sur la catégorie d’Idéal du Moi et de « trait unaire » qui suggère un nouage du symbolique avec l’imaginaire, loin de les opposer. La symbolisation est donc un processus plus qu’un état, dans lequel le sujet se trouve confronté, dans l’ambivalence, à la question de ses limites. Il doit convertir le Moi idéal en Idéal du Moi.C’est ce à quoi s’emploient les mythes, qui étayent, tels des totems médiateurs, le travail de subjectivation, en engageant les sujets dans un processus identificatoire et « transfictionnel » qui produit des effets créatifs. A notre époque de désenchantement du monde, les mythes disponibles ne sont que de quasi-mythes « évasifs », sur fond de malaise et de mort de Dieu. Mais la littérature populaire, notamment celle qui s’adresse aux adolescents, comme certains récits de vampires, propose des « romans narcissiques », où l’Œdipe passe désormais au second plan. Elle revisite le personnage d’Hamlet.Paradoxalement, les figures des mystiques, adeptes des expériences-limites et imprégnés d’ambivalence, proches de Lacan par leur théologie « négative » de la kénose et leur parole « apophatique », qui cultive la perte, retrouvent également une actualité, ainsi que la figure de l’apôtre Paul, lue par Agamben. Sa christologie du Dieu faible, abaissé, soumis au manque, résonne comme une déconstruction. Elle ouvre à un « temps de la fin », « temps qui reste », qui suspend les identités, désamorce les pouvoirs et rend possible, peut-être, une « promesse » et une « foi » au sens de Derrida, dans une logique ambivalente du sacré où l’idéal voisine avec l’abject.Dès lors, la cure ne devrait-elle pas, en renonçant à une approche trop nosographique et trop centrée sur la castration symbolique, s’attacher à retrouver la trace féconde et vivifiante du trait unaire, c’est-à-dire laisser une place à l’imaginaire ? Ainsi l’analyse jouerait-elle le rôle d’une sorte de « chambre claire » : en laissant affleurer les « mythes ». C’est peut-être au prix du risque, celui de la chute, du « skandalon », que l’on peut espérer que le sujet se déprenne du Moi idéal et de ses pièges pour opérer un autre nouage, jamais prévisible ni assuré d’avance, et toujours au voisinage du « trou » : une nomination, un sinthomeThe Lyotardian concept of "postmodernity" refers to the current crisis, namely a crisis of the "meta-narratives" organizing modernity, and the resulting social, epistemic and discursive order. Faced with the current hegemonic attempt of biomedicine and cognitivism, which propose a new scientific myth, that of transhumanism, and play the game of an increased "bio-power", an alternative approach would be to converge "deconstructive" readings, who, from psychoanalysis to philosophy through a certain anthropology, are entitled to an approach in terms of "pharmakon", that is to say of ambivalence of the poison and the remedy, between Eros and Thanatos.The search for limits is the contemporary condition of the "uncertain individual", eternal adolescent. Here we find the "new psychic economy", making a sign towards a new clinical figure, that of the "borderline” patient, which knows multiple avatars and resists classifications.A number of essays on "discontent" intermingle individual clinical and cultural speculation, based on the key concept of "desymbolization". The lack of Law and the symbolic Father, however, seems an insufficient explanation, as does the reverse reading that leads to the libertarian headlong pursuit. Our reading of Lacan refuses to be part of this Old / Modern dualism, and focuses on the category of Ego Ideal and "unary trait" which suggests a knot of the symbolic with the imaginary, far from opposing them; it plays a vital role, allowing the symbolic to register. Symbolization is thus a process rather than a state, in which the subject is confronted, in ambivalence, with the question of its limits. He must convert the ideal Ego into the Ego Ideal.This is what myths allow to do, they are used to support, as mediating totems, the work of subjectivation, by engaging subjects in an identificatory and "transfictional" process that produces creative effects. In our era of “disenchantment of the world”, the available myths are only quasi-myths, "evasive" myths, against the background of discontent, and death of God. But popular literature, especially the one which is aimed at adolescents, like some vampire stories, offers "narcissistic romances", where Oedipus is now in the background. It revisits the character of Hamlet.Paradoxically, the figures of the mystics, adepts of limit-experiences and impregnated with ambivalence, close to Lacan by their "negative" theology of kenosis and their "apophatic" word, which cultivates loss, also find a new relevance, as well as the figure of the Apostle Paul, read by Agamben. His christology of the weak, depressed God, subject to lack, resonates like a deconstruction. It opens to a "time of the end", "time that remains", which suspends identities, defuses the powers and makes possible, perhaps, a "promise" and a "faith" in the sense of Derrida, in a ambivalent logic of the sacred where the Ideal is close to the abject.Therefore, should not the cure, by renouncing a too nosographic approach, and too much centered on the symbolic castration, endeavor to find the fruitful and invigorating trace of the unary trait, that is to say, to leave a place to the imaginary? Thus the analysis would play the role of a kind of "Camera Lucida": by letting out the "myths".But it is perhaps at the price of the risk, that of the fall, of the "skandalon", that one can hope that the subject is deprived of the ideal Ego and its traps, to effect another knotting, never foreseeable nor assured in advance, and always in the neighborhood of the "hole": a nomination, a sinthome
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Baofu, Peter. "After postmodernity." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/57852.
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Warden, Lisa Todd. "The paradox of postmodernism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0011/NQ34708.pdf.
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Hippolyte, Idara. "Jamaican dancehall and postmodernism." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433373.
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Tam, Pui-kam Ada, and 譚沛錦. "Postmodernism and popular culture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26902448.
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Abdullah, Sarena. "Postmodernism in Malaysian art." Phd thesis, Department of Art History and Film Studies, 2010. http://hdl.handle.net/2123/9457.
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Mosher, Victoria. "BEYOND POSTMODERN MARGINS: THEORIZING POSTFEMINIST CONSEQUENCES THROUGH POPULAR FEMALE REPRESENTATION." Master's thesis, Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002141.
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Nygren, Anna, and Johanna Berg. "There is something about postmodernism." Thesis, Stockholm University, School of Business, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6201.
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Förändring och utveckling råder på media - och reklammarknaden. Ökad gränslöshet och tillgänglighet skapar å ena sidan nya kommunikativa vägar, å andra sidan en medveten och kritisk konsument. Aktörerna på marknaden tvingas finna nya sätt att tränga igenom informationsbruset och nå ut med sina budskap. Detta kräver nya kommunikativa uttryck, former och mönster. TV som kommunikationskanal har fler uttrycksmöjligheter. Reklamfilm kan via ljud och rörlig bild kommunicera sådant andra medier inte förmår. Det förekommer en förflyttning av fokus och stil inom reklamfilm. Produktinformation och kännetecken är inte längre det väsentliga i reklambudskapet. Fokus riktas istället mot imaginära och emotionella värden som tar avstånd från kärnproduktens funktion, egenskap och särdrag. Denna nya form av uttryck och innebörd kan ses som ett resultat av den utveckling media – och reklammarknaden undergår. Den yngre generationen tilltalas av nya värden och den aktuella formen av reklamfilm är ett sätt att sticka ut från mängden av budskap. I denna studie undersöker vi bakgrunden till den nya formen av reklamfilm samt hur unga människor uppfattar reklamfilm. Mer specifikt studerar vi om unga människor uppfattar och tilltalas av reklamfilm som är typisk postmodern. Våra resultat visar att unga människor uppmärksammar och tilltalas i större utsträckning av reklamfilm som uppvisar postmodernistiska drag. Postmoderna egenskaper som; fragmentering, hyperreality och fokus på stil och utseende på bekostnad av substans och innehåll visade sig vara särskilt framträdande och betydande enligt vårt empiriska material. Våra resultat visar även på värdet av att reklamfilmen ska vara annorlunda, oväntad, anspela på ideal verklighet samt skapa en känsla. Innebörden av våra resultat tenderar till att postmodernism bör betraktas som ett verktyg i kommunikationen mot unga konsumenter. Postmoderna faktorer tilltalar och uppmärksammas av den yngre generationen och kan därmed fungera som ett kommunikativt vägval med syfte att sticka ut i informationsbruset.
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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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Brown, Alistair. "Demonic fictions : cybernetics and postmodernism." Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2465/.
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Whilst demons are no longer viewed as literal beings, as a metaphor the demon continues to trail ideas about doubt and truth, simulation and reality, into post- Enlightenment culture. This metaphor has been revitalised in a contemporary period that has seen the dominance of the cybernetic paradigm. Cybernetics has produced technologies of simulation, whilst the posthuman (a hybrid construction of the self emerging from cultural theory and technology) perceives the world as part of a circuit of other informational systems. In this thesis, illustrative films and literary fictions posit a connection between cybernetic epistemologies and metaphors of demonic possession, and contextualise these against postmodern thought and its narrative modes. Demons mark a return to pre-Enlightenment models of knowledge, so that demonic (dis)simulation can be seen to describe our encounters with artificial others and virtual worlds that reflect an uncertainly constituted and unstable self. By juxtaposing Renaissance notions of the demon with Donna Haraway's posthuman "cyborg," psychoanalytic demons with the robots of the science fiction film Forbidden Planet (1956), and Descartes' "deceiving demon" with Alan Turing's artificial intelligence test, I propose that the demon proves a fluid, multivalent trope that crosses historical and disciplinary boundaries. The demon raises epistemological questions about the relationship between reality, human psychology, and the representation of both in other modes, particularly narrative fictions. When this framework is applied to seminal science fiction (2001: A Space Odyssey and Do Androids Dream of Electric Sheep? [both 1968]), conventional readings of cyborgs as monstrous Others have to be revised. These fictions are engaged with cybernetic technologies with an epistemological rather than ontological concern, and consequently lend themselves to the kind of sceptical doubt about reality that characterises postmodern thought. Contrary to Descartes, who sees foundational truth through the deceptions of his "deceiving demon," later films like Blade Runner (1982) and The Matrix (1999) use the motif of cybernetic technologies to highlight the inescapability of the postmodern condition of the hyperreal. Finally, however, literary fictions like Umberto Eco's Foucault's Pendulum (1988) and A.S. Byatťs A Whistling Woman (2002) and Possession (1990) draw attention to their narrative mechanisms through metafiction, and set the creation of literary meaning against computer-generated texts. Consequently, they defy both the determinism of cybernetic sciences, and the postmodern pretence that the "real" is irrecoverably evasive.
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Cheng, Kam-man Kammy, and 鄭錦文. "Postmodernism and Hong Kong culture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31950164.
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Tsang, Tak-sing, and 曾德成. "Postmodernism in China's cultural modernization." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29939136.
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Chan, Yat-ping, and 陳逸屏. "Postmodernism: a study of dance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29938594.
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Czarnecki, P. "U zrodel postmodernizmu u Europie." Thesis, Видавництво СумДУ, 2005. http://essuir.sumdu.edu.ua/handle/123456789/21810.
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Parsons, Paul H. "Postmodernism and the English Puritans." Theological Research Exchange Network (TREN), 2000. http://www.tren.com.
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Heise, Ursula K. "Chronoschisms : time, narrative and postmodernism /." [S.l.] : Cambridge, 1997. http://catalogue.bnf.fr/ark:/12148/cb37529958k.
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Cheng, Kam-man Kammy. "Postmodernism and Hong Kong culture." [Hong Kong : University of Hong Kong], 1991. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13018838.
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Drinkwater, Christopher. "Ecology and postmodernity." Thesis, University of Leeds, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268672.
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Bewes, Timothy R. T. "Cynicism and postmodernity." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318571.
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Petkevičius, Tomas. "Postmodernizmo architektūra Lietuvoje ir jos įpaveldinimo galimybės." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130614_151032-89356.
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Šiame darbe bus tyrinėjama Lietuvos postmodernizmo stilistinės krypties architektūra, apžvelgiant skirtingus jos raidos etapus – ištakas, kurios randamos dar sovietmečiu (8 – 9 dešimtmečiais), ankstyvosios nepriklausomybės etapą, bei laikotarpį po 2000 m. Darbe bus pristatoma postmodernizmo architektūros raida pasaulyje, jos estetinis ir idėjinis pagrindas, pagrindinių teoretikų suformuoti svarbiausi šios stilistikos bruožai. Mėginama išanalizuoti, kaip ši architektūros stilistinė kryptis vystėsi pasaulyje ir kaip – Lietuvoje. Darbe nagrinėjama raida nuo pirminių projektų iki užbaigtų pastatų. Dalis objektų atrinkta pagal analizuojamo laikotarpio architektūrinę spaudą, kita dalis analizuota natūrinių tyrimų metu. Nagrinėjant konkrečius objektus, ieškoma būdingų bei vertingųjų savybių, priskiriamų šiai stilistinei krypčiai. Taip pat darbe apžvelgiama šiandieninė situacija naujausių laikų architektūros ir paveldo apsaugos santykyje, nagrinėjami bei lyginami Lietuvoje ir užsienyje keliami su postmodernizmo architektūros įpaveldinimo bei apsaugos galimybėmis susiję aspektai, svarstoma ir apie šios stilistinės krypties, kaip neatskiriamo bendros architektūros istorijos etapo, pastatų galimo įtraukimo į pažintinius - turistinius maršrutus galimybę.In this work author will research postmodernistic architecture in Lithuania, overlooking three different stages of it‘s development – early stage during the Soviet years, early independence stage (1990 – 2000) and period after 2000 years. In this work author presents development of postmodernism architecture in the world, its aesthetical and ideological basis, the main features of this architectural stylistic formulated by leading theoretics. Author trying to analyse how this stylistic evolved in the world and how – at Lithuania, this evolution will be overlooked from the very beginnings, primary projects to the finished buildings. This evolution researching through examples found in architectural press, as well as through ones, which was analysed during nature research. In analysing of each example author is searching typical and valuable characteristics, whose are common in the postmodernism stylistic of architecture. Also in this work author overlooks today‘s situation in the field of new architecture and it‘s preservation, research and compare it‘s aspects in Lithuania and other countries, also considers the possibilities of postmodernistic buildings involvement in educational – touristic routes.
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Tomoševičienė, Aina. "Šiuolaikinės visuomenės vertybių satyra seriale "Simpsonai"." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2013~D_20140106_110140-22473.
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Šiuolaikinėje visuomenėje televizija tapo neatsiejama gyvenimo dalimi, o jos vaidmuo nuolat kinta. Todėl reikia pripažinti televizijos daromą įtaką. Dažnai galima išgirsti kalbant apie tai, kad šiuolaikinė animacija nėra tinkama vaikams žiūrėti. Tačiau vaikai nemažai laiko praleidžia prie televizoriaus ekrano žiūrėdami animacinius filmukus. Ypatingo dėmesio susilaukė amerikiečių animacinis serialas „Simpsonai“. Nors šis filmas yra skirtas suaugusiems, tačiau jį mielai žiūri ir vaikai.
Šiuo metu besiformuojančios teorinės paradigmos, nagrinėja kintantį televizijos vaidmenį. Didelis dėmesys yra skiriamas postmodernios televizijos turiniui ir jo ryšiui su žiūrovais. Nagrinėti televiziją postmodernizmo kontekste yra vienas televizijos pokyčių analizės būdų.
Šio darbo tikslas – atskleisti šiuolaikinės visuomenės vertybių satyrą seriale „Simpsonai“. Siekiant šio tikslo yra analizuojami pagrindiniai vyraujantys požiūriai į masines informavimo priemones. Parodomi šiuolaikinei televizijai būdingi postmodernizmo bruožai. Taip pat yra apibūdinami pagrindiniai veikėjai, atskleidžiamos vyraujančios etinės moralinės problemos.
Animacinis serialas „Simpsonai“ yra apibūdinimas kaip vienas ryškiausių postmodernistinių kūrinių, kuriam yra būdingas sudėtingas turinys, savęs suvokimas, fragmentacija, satyra, aliuzijos, intertekstualumas, parodija, imitacija. Jame gvildenamos įvairios visuomenės aktualijos, keliami opūs klausimai, išjuokiamos šiuolaikinės vertybės.
Atliktas tyrimas tarp 12 – 15... [toliau žr. visą tekstą]Nowadays television has become concurrent in people‘s life and its role is constantly changing, so the influence of television should be taken into consideration. It is heard that modern animation is not proper for children, however they spend quite a lot of time in front of TV watching some cartoons. American animated serial „The Simpsons“ has attained special attention. Despite the fact that the film is for adults children also watch it with pleasure. Theoretical paradigms, that have been currently developing, are analyzing the changing role of television. A great attention is paid to the content of postmodern television and its‘ relations with the audience. Studying television in postmodern context is one of techniques to analize the changes of television. The aim of this paper is to reveal satire of modern society‘s values in „The Simpsons“ serial. In order to achieve the aim of the paper, the main dominant opinions about the mass media are analysed. Moreover, typical postmodern features of modern television are presented. In addition to this, the main characters are described and the prevailing ethical moral problems are revealed. Animated serial „The Simpsons“ is described as a prime postmodern work, that is characterized by a complex content, self-perception, fragmentation, satire, allusion, intertextuality, parody and imitation. „The Simpsons“ ventilates different topicality of the society. Moreover, in „The Simpsons“ sore points are raised and modern values... [to full text]
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Blumenstock, James A. "A postmodern approach to postmodernism a survey and evaluation of contemporary evangelical responses to postmodernism /." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.
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Sáez, Villarino Alberto. "La narrativa de Rodrigo Fresán y la vertebración de una poética afterpop." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/672926.
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El presente estudio analiza la obra del escritor argentino Rodrigo Fresán desde una perspectiva omnímoda que considera y cuestiona la relevancia de las prácticas culturales contemporáneas, con especial detenimiento en el impacto que los medios de comunicación de masas tienen en su narrativa. Esta tesis se propone, así, examinar las implicaciones de su obra respecto a tres factores del siglo XXI: la omnipresencia de las nuevas tecnologías, el distanciamiento afectivo que generan y la imposición de un modelo de vida superficial.
Con el propósito de lograr una mayor claridad expositiva, el trabajo queda dividido en dos bloques fundamentales: en el primero, se realiza una revisión del marco teórico, ejercicio que permite vislumbrar la consolidación de una nueva narrativa llamada a modificar, junto a otras propuestas, el viejo eje alta-baja cultura. Esta nueva literatura, denominada afterpop o mutante, se acerca a una estética mucho más actual mediante la primacía de la imagen sobre el texto, para lo cual recurre a una sobresaturación referencial y al registro de multitud de motivos pop con los que nutrir el relato a partir de alusiones de gran explicitud gráfica.
En el segundo bloque se examina cómo Fresán utiliza todos estos recursos afterpop en la construcción de sus ficciones por medio de tres estrategias:
1. Temática: la manera con la que el escritor argentino vincula todas sus obras a partir del concepto de memoria, logrando una relación casi circular que permite leer su producción como si se tratara de una obra viva.
2. Procedimental: el empleo de los diferentes recursos que utiliza el autor en la construcción de su universo referencial para desautomatizar el eje alta-baja cultura, a través de la ficcionalización de la realidad, la fragmentación, la ironía o la hibridación genérica.
3. Teórica: los ensayos que respaldan esta forma de narrar y sitúan a Fresán como referente de esta nueva literatura. Nos referimos aquí a Afterpop y Homo Sampler, de Fernández Porta; Teoría general de la basura, de Fernández Mallo; La luz nueva, de Vicente Luis Mora; Radicante, de Bourriaud, Apocalípticos e integrados, de Eco; o No-lugares, de Augé.
Finalmente trataremos de evidenciar cómo la obra de Fresán supera el modelo hegemónico representado por la gran novela del Boom hispanoamericano, y lo actualiza hacia derivas de mayor inmediatez y honestidad con el lector actual. Para ello, el escritor no solo recurre a la iconografía pop y al eclecticismo multidisciplinar, sino que además, tomando como referente a escritores norteamericanos contemporáneos como David Foster Wallace, Thomas Pynchon o Philip Roth, consigue avanzar hacia una narrativa que se inscribe de lleno, de manera crítica, en los cauces de la posmodernidad.This study analyses the work of the Argentinian writer Rodrigo Fresán from an omnimode perspective that considers and questions the relevance of Contemporary cultural behaviors, specifically the impact of mass media in his narrative. This thesis investigates the implications of his work based on three 21st Century factors: the omnipresence of new technologies, affective distancing and the imposition of a superficial lifestyle. With the aim of providing demonstrative clarity, this work is divided into two key parts: the first one, carries a revision of the theorical framework that allows the consolidation of a new narrative whose goal is to eliminate the barrier between the highbrow and lowbrow culture concept. This new literature, coined Afterpop o mutant, is closer to a more current aesthetic where image comes before text by using an oversaturation of references and Pop motives to nourish the tale with great visually explicit allusions. The second part examines how Fresán uses all these Afterpop resources when creating his fictional work by implementing three strategies: 1. Theme: the way in which the Argentinian writer links all his work to the concept of memory. 2. Procedural: the use of different resources by the author in the construction of his referential universe. 3. Theoretical: the essays that support this narrating style and that make Fresán a referent of this new literature. Finally, this study proves how Fresán’s work surpasses the hegemonic model represented by the great Hispano-American Boom novel, and updates it to provide more closeness and honesty with the current reader. To achieve that, the writer does not only resorts to Pop iconography and multidisciplinary eclecticism, but also to Contemporary North American writers such as David Foster Wallace, Thomas Pynchon or Philip Roth. With this, he shifts to a narrative that endorses a Postmodern aesthetic.
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Lewis, Ruby Christiaan. "Die skep en voorstelling van 'n postmoderne karakteridentiteit in die prosa / Ruby Christiaan (Sanko) Lewis." Thesis, North-West University, 2006. http://hdl.handle.net/10394/1717.
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Radavičiūtė, Jūratė. "Postmodernism in Salman Rushdie's Novels Midnight's Children and Shame." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110307_142144-11026.
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The dissertation investigates the postmodern features of Salman Rushdie’s novels Shame and Midnight’s Children within the theoretical framework of postmodernism. The inward-directed approach to a literary text, which has been chosen as a basis for the research, incorporates the body of texts by the famous theorists of postmodernism Jacques Derrida, Michel Foucault, Roland Barthes, Ihab Hassan, Jean Baudrillard and others. With the view to the indeterminacy of the approach, the concept of decentering, embracing such terms as the elimination of the transcendental signified, supplement, simulacrum, indeterminacy, the death of the author, has been chosen as a key concept to discuss text-oriented propositions. The analysis of Salman Rushdie’s novel Midnight’s Children explores the undermining of the traditional connotations of synecdoche. The interpretation of the text reveals how the strategy of play is employed to incorporate traditional images into the postmodern narrative of the novel. The connotations attributed to different images are constantly subjected to subversion and undermining in the text. The investigation of the concept indeterminacy with the view to the narrative of Midnight’s Children focuses on the imagery related to the concept of the void and its supplements. The analysis of Salman Rushdie’s novel Shame draws on the concept of the image as a simulacrum/supplement, employing J. Derrida and J. Baudrillard’s theoretical propositions. It uncovers the detachment of... [to full text]Disertacijos tyrimo objektu pasirinktos postmodernizmo apraiškos Salman Rushdie romanuose Vidurnakčio vaikai ir Gėda. Tyrimo teoriniu pagrindu buvo pasirinktas į tekstą orientuotas požiūris, atstovaujamas šių mokslininkų: Michel Foucault, Jacques Derrida, Roland Barthes, Ihab Hassan, Jean Baudrillard ir kt. Atsižvelgiant į pasirinkto požiūrio neapibrėžtumą, pagrindine teorine sąvoka buvo pasirinkta išcentrinimo sąvoka, kuri yra sietina su šiais terminais: transcendentalinio subjekto nesatis, suplementas, simuliakras, neapibrėžtumas, autoriaus mirtis. Salman Rushdie romano Vidurnakčio vaikai interpretacijoje tiriama tradicinių sinekdochos reikšmių transformacija. Analizuojant atskleidžiama, kaip rašytojas naudoja žaidimo strategiją tradicinių įvaizdžių panaudojimui postmoderniame kūrinyje, nuolat transformuodamas ir neigdamas įvaizdžių reikšmes. Romano Vidurnakčio vaikai naratyvas analizuojamas neapibrėžtumo sąvokos pagrindu. Pagrindinis dėmesys šioje interpretacijoje skiriamas įvaizdžiams, siejamiems su tuštumos ir suplemento sąvokomis. Salman Rushdie romano Gėda interpretacijoje dėmesys skiriamas postmodernaus įvaizdžio kaip simuliakro/suplemento sampratos analizei. Teorinis interpretacijos pagrindas- J. Derrida ir J. Baudrillard veikalai. Analizė atskleidžia postmodernaus įvaizdžio ir realybės santykio nesatį bei realybės suplementų pažeidžiamumą. Apibendrinant, Salman Rushdei romanų interpretacija atskleidžia išcentrinimo sąvokos sudėtingumą ir neapibrėžtumą, bei bendrą... [toliau žr. visą tekstą]
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Radavičiūtė, Jūratė. "Postmodernism in Salman Rushdie’s Novels Midnight’s Children and Shame." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110307_142131-12871.
Full textAbstract:
The dissertation investigates the postmodern features of Salman Rushdie’s novels Shame and Midnight’s Children within the theoretical framework of postmodernism. The inward-directed approach to a literary text, which has been chosen as a basis for the research, incorporates the body of texts by the famous theorists of postmodernism Jacques Derrida, Michel Foucault, Roland Barthes, Ihab Hassan, Jean Baudrillard and others. With the view to the indeterminacy of the approach, the concept of decentering, embracing such terms as the elimination of the transcendental signified, supplement, simulacrum, indeterminacy, the death of the author, has been chosen as a key concept to discuss text-oriented propositions. The analysis of Salman Rushdie’s novel Midnight’s Children explores the undermining of the traditional connotations of synecdoche. The interpretation of the text reveals how the strategy of play is employed to incorporate traditional images into the postmodern narrative of the novel. The connotations attributed to different images are constantly subjected to subversion and undermining in the text. The investigation of the concept indeterminacy with the view to the narrative of Midnight’s Children focuses on the imagery related to the concept of the void and its supplements. The analysis of Salman Rushdie’s novel Shame draws on the concept of the image as a simulacrum/supplement, employing J. Derrida and J. Baudrillard’s theoretical propositions. It uncovers the detachment of... [to full text]Disertacijos tyrimo objektu pasirinktos postmodernizmo apraiškos Salman Rushdie romanuose Vidurnakčio vaikai ir Gėda. Tyrimo teoriniu pagrindu buvo pasirinktas į tekstą orientuotas požiūris, atstovaujamas šių mokslininkų: Michel Foucault, Jacques Derrida, Roland Barthes, Ihab Hassan, Jean Baudrillard ir kt. Atsižvelgiant į pasirinkto požiūrio neapibrėžtumą, pagrindine teorine sąvoka buvo pasirinkta išcentrinimo sąvoka, kuri yra sietina su šiais terminais: transcendentalinio subjekto nesatis, suplementas, simuliakras, neapibrėžtumas, autoriaus mirtis. Salman Rushdie romano Vidurnakčio vaikai interpretacijoje tiriama tradicinių sinekdochos reikšmių transformacija. Analizuojant atskleidžiama, kaip rašytojas naudoja žaidimo strategiją tradicinių įvaizdžių panaudojimui postmoderniame kūrinyje, nuolat transformuodamas ir neigdamas įvaizdžių reikšmes. Romano Vidurnakčio vaikai naratyvas analizuojamas neapibrėžtumo sąvokos pagrindu. Pagrindinis dėmesys šioje interpretacijoje skiriamas įvaizdžiams, siejamiems su tuštumos ir suplemento sąvokomis. Salman Rushdie romano Gėda interpretacijoje dėmesys skiriamas postmodernaus įvaizdžio kaip simuliakro/suplemento sampratos analizei. Teorinis interpretacijos pagrindas- J. Derrida ir J. Baudrillard veikalai. Analizė atskleidžia postmodernaus įvaizdžio ir realybės santykio nesatį bei realybės suplementų pažeidžiamumą. Apibendrinant, Salman Rushdei romanų interpretacija atskleidžia išcentrinimo sąvokos sudėtingumą ir neapibrėžtumą, bei bendrą... [toliau žr. visą tekstą]
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Smith, Benjamin Ashley. "Postmodernism and the theory of significance." [Pensacola, Fla.] : University of West Florida, 2007. http://purl.fcla.edu/fcla/etd/WFE0000014.
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Mikalajūnaitė, Toma. "Jurgio Kunčino romanas „Tūla“: postmodernizmo link." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100902_234905-99281.
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Jurgis Kunčinas (1947—2003) romane „Tūla“ pateikia dviejų bohemos atstovų meilės istoriją, kurioje literatūros tyrinėtoja Elena Nijolė Bukelienė įžvelgia postmodernizmo bruožų. Vokietijoje susiformavęs postmodernizmas pasižymi veikėjų apatija supančiam pasauliui, aplinkiniams, ironija. Ji tampa gynybine priemone veikėjui, kurio netenkina esamas gyvenimas ir jis žino, kad nieko negali pakeisti. Abejojama Dievu, amžinybe, veikėjų pasaulis susiskaidęs, gyvenimas priimamas kaip žaidimas.
J. Kunčino romane elgiamasi priešingai – pagrindinis veikėjas myli Tūlą ir po mirties, mėgaujasi bohema. Ji, ironija, šikšnosparnio motyvas pagrindiniam „Tūlos“ veikėjui padeda pabėgti nuo jo netenkinančios tikrovės. Ironija kyla daugiau iš linksmo gyvenimo būdo, dirbtinio atsipalaidavimo, nei iš intelektualių paskatų.
„Tūla“ nėra ir grynai magiškojo realizmo kūrinys, nes veikėjas nepriima tikrovės, bet nuo jos bėga vartodamas alkoholį, įsivaizduodamas esąs šikšnosparnis. Tai, kad įvedamas šikšnosparnio motyvas, gali priminti fantazijos ir tikrovės maišymą, kuriuo paremtas magiškasis realizmas. Tik „Tūloje“ šikšnosparnis neatlieka žaidybinės funkcijos, kaip, pavyzdžiui, sapnas David’o Madsen’o romane „Sapnų dėžutė“, šikšnosparnis yra veikėjui reikalinga, svarbi detalė.
J. Kunčino romaną „Tūla“ galima įvardinti kaip lietuvių tautos sąmonės kūrinį. Jame iš pirmo žvilgsnio galima rasti magiškojo realizmo ir postmodernizmo bruožų, bet tai būtų tik paviršutinis pastebėjimas. „Tūloje“... [toliau žr. visą tekstą]The novel “Tūla” by Jurgis Kunčinas (1947 – 2003) presents the love story of two bohemia representatives in which Elena Nijolė Bukelienė, the literature researcher, notices the features of postmodernism. Postmodernism originated in Germany is distinguished by the characters‘ apathy for the world surrounding them, people round about, irony. It becomes the defensive means for the character who is dissatisfied with the present life and he knows that he can not change anything. The characters doubt the God, eternity, their world is decomposed, the life is understood as a game. The behaviour in Jurgis Kunčinas‘ novel is contrary – the main character loves Tūla even after his death, enjoys bohemia. She, irony, the motive of the bat help the main character of “Tūla” to escape the unsatisfying reality. Irony rises from the cheerful lifestyle, artificial relaxation but not from intellectual inducements. “Tūla” is not a work of pure magic realism since the character does not accept the reality but he escapes it drinking alcohol, seeing himself as a bat. The fact that the motive of the bat is introduced can remind of the confusion of fantasy and reality on which magic realism is based. However, the bat does not perform the function of games in “Tūla” as, for example, the dream in David Madsen’s novel “The Box of Dreams” („Sapnų dėžutė”), the bat is a necessary, important detail for the character. J. Kunčinas’ novel “Tūla” can be called the work of Lithuanian consciousness. At first... [to full text]
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Galaunytė, Aistė. "Postmodernizmo architektūros privatūs gyvenamieji namai Lietuvoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130621_110828-36685.
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Baigiamajame magistro darbe nagrinėjama postmodernizmo stiliaus raiška privačiuose gyvenamuosiuose namuose Lietuvoje, nuo XX a. 9 dešimtmečio vidurio iki 10 dešimtmečio pabaigos. Siekiant atskleisti šio stiliaus bruožus, specifiką ir kultūrinę reikšmę Lietuvoje darbe analizuojami Vakarų pasaulio (JAV, Vakarų Europos, Japonijos) privačių gyvenamųjų namų etalonai bei sąlygos, nulėmusios jų raidą. Darbe nustatoma, kad to meto socialiniai, politiniai, ekonominiai veiksniai Lietuvoje, iš esmės lėmė ir šios architektūros nepažinimą ir kritišką vertinimą. Daroma prielaida, kad dėl politinių-ekonominių veiksnių, užsienio profesinė periodika buvo viena iš pagrindinių priemonių postmodernizmo architektūrai pažinti. Todėl atliekama privačių gyvenamųjų namų publikuotų užsienio periodiniuose leidiniuose ir Lietuvoje lyginamoji analizė. Nustatomi charakteringiausi Lietuvos postmodernizmo architektūros privačių gyvenamųjų namų bruožai ir jų sąsajos su užsienio architektūra. Iš nagrinėjamų Lietuvos postmodernizmo stiliaus privačių gyvenamųjų namų išskiriami aukšto kokybinio lygio pastatai-etalonai, įvardinamos jų vertingosios savybės.Darbo apimtis – 92 p. teksto be priedo, 57 iliustr., 9 schemos, 99 bibliografiniai šaltiniai, 3 priedai.The goal of Master thesis is to investigate expression and features of postmodern style of private dwelling-houses of Lithuania, from the middle of the 9th decade to the 10th decade of the twentieth century. In order to reveal the characteristics, features and cultural significance of the style in Lithuania, the private dwelling-houses of postmodern style of the Western world (the U.S., Western Europe, Japan) are analyzed, as well as conditions which prompted their development. The paper discusses that the social, political and economic factors of Lithuania at that time, led to the suspicion and critical evaluation of postmodern architecture in general.It is assumed that due to the political-economical factors, the Western magazines were one of the main tools for Lithuanian architects to get to know postmodern architecture. Therefore, a comparative analysis between private dwelling-houses published in foreign periodicals, and of Lithuania, is conducted. Consequently the most common features of private dwelling-houses of postmodern style in Lithuania and their links with Western architecture are determined. Houses of Lithuania of high quality postmodern architecture are named, their valuable properties are defined. Thesis consists of: 92 p. text without extras, 57 pictures., 9 schemes, 99 bibliographical entries, 3 appendixes included.
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Muggleton, David. "Crossover counterculture : postmodernism and spectacular style." Thesis, Lancaster University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364366.
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Franz, Mark L. "Motion graphics : engaging viewers thorugh postmodernism." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1365179.
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This creative project explores engaging patrons of art by exploiting some of the postmodern methods employed in contemporary society. The methods discussed include appropriation, pastiche, and the negation of history. These techniques are used to engage viewers in conversation by their use in Motion Graphics; the medium in which the creative project artwork was produced. Topics also include: why it is important for an artist to engage viewers, how to do so, and a short history of postmodern philosophy.Department of Art
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Gower, Ralph Ronald. "Postmodernism, children's thinking and religious education." Thesis, University of Liverpool, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428206.
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Gough, Brendan. "Postmodernism, social psychology and everyday life." Thesis, Queen's University Belfast, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359068.
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Pirolini, Alessandro. "Preston Sturges : between classicism and postmodernism." Thesis, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418303.
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Tsoulou, Martha. "After postmodernism : contemporary theory and fiction." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/13753.
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There is a consensus today that we have witnessed the end of postmodernism in both fiction and theory. Due to contemporary fiction’s break with postmodernism being recent, little research has been done to outline the parameters of what exactly this break entails and its relationship to theory and current socio-political issues. The aim of this thesis is to attempt to differentiate between postmodernist fiction and contemporary fiction that was produced from the late 90’s up to today, outline its main characteristics and suggest alternative ways theory may be used to critically analyse fiction. We will be looking at how Habermas’s, Agamben’s, Žižek’s and Badiou’s theories, as well as, a reconsideration of some of Derrida’s and Baudrillard’s theories, can help elucidate certain aspects of contemporary fiction and vice versa. Some of the novelists that will be considered in this discussion are Paul Auster, Don DeLillo, Douglas Coupland, J G Ballard, Julian Barnes, Jonathan Coe and Michel Houellebecq due to their close association with postmodernism and its aftermath. The thesis is divided thematically in five chapters. In the first chapter we will be discussing the impact of 9/11 on contemporary fiction in relation to Derrida’s, Habermas’s, Baudrillard’s and Žižek’s responses to the attacks. The second chapter is concerned with notions of reality and its representations in contemporary fiction. It will be discussed how they differ from Baudrillard’s conceptualisation of hyperreality during postmodernity in light of Badiou’s and Žižek’s theory mainly. The realist/antirealist debate will also be addressed. The third chapter is a consideration of notions of subjectivity in both contemporary theory and fiction and how they may be said to differ from playful, schizophrenic representations of the subject during postmodernity. The fourth chapter is concerned with the return of the political in both theory and fiction after the supposed apoliticality of the postmodern novel, which we will also be addressing. The final chapter is an investigation of the re-emergence of the religious in contemporary culture, including the novel, which proves that the death of meta-narratives may not have been that final after all.
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Debrabant, Camille. "La peinture à l'épreuve du postmodernisme : Etats-Unis - Europe, 1962-1989." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010649.
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En 1981, le sort de la peinture fait l'objet d'annonces les plus contradictoires de part et d'autre de l'Atlantique : un « nouvel esprit en peinture » est célébré au moment même où est promulgué l'acte de décès du medium. Emblème du modernisme greenbergien et repoussoir bourgeois mis à mal par les avant-gardes des années 1960 el 1970, la peinture est prise pour cible privilégiée des théoriciens du postmodernisme, qui réaniment le poncif de la rivalité avec la photographie. Une fois élucidés les enjeux marchands ou idéologiques associés à ces stratégies institutionnelles et théoriques. il s'agira de confronter le discours critique à l'analyse des procédures artistiques élaborées entre le début des années 1960 et la fin des années 1980. Loin d'exclure l'un ou l'autre medium, ces procédures travaillent à de continuelles reconfigurations de combinaisons entre la peinture et la photographieIn 1981, the fate of painting subject to the most contradictory declarations on both sides of the Atlantic : “A New Spirit in Painting” is celebrated as the medium 's death certificate is being promulgated Symbol of the greenbergian 's modernism and repoussoir bourgeois, damaged by the avant-garde from the Sixties and Seventies, painting is the target of choice for post-modernism theoreticians, who revive the cliché of rivalry with photography. Once clarified the economic or ideological stokes associated with institutional and theoretical strategies, it will be necessary to confront the critical discourse to the analysis of artistic procedures elaborated between the early Sixties and late Eighties. Far from excluding either of these two mediums, these procedures act towards continuous reconfigurations of combinations between painting and photography
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Craven, Greg. "Foucault, modernity, and postmodernity." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0007/MQ40641.pdf.
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Ebdon, Melanie. "Remembering identity after postmodernity." Thesis, Bangor University, 2003. https://research.bangor.ac.uk/portal/en/theses/remembering-identity-after-postmodernity(c881585c-7917-405a-bcc2-77e2ce7f76a6).html.
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This study focusses on the outcomes of postmodernity with particular emphasis on memory and the reconstruction of identity after postmodern theories of the fragmented self. Chapter Two analyses Graham Swift's Waterland, lain Banks's The Crow Road and Margaret Drabble's The Peppered Moth which show the reconnection of identity to cosmological, geological, genetic and familial history, and demonstrate the necessity of the subject's connection to the formerly denounced metanarrative of history. Drabble's text also highlights a gender issue concerning representations of women and motherhood in contemporary fiction. In Chapter Three, Ian McEwan's The Child in Time and Margaret Atwood's Cat's Eye illustrate the way in which the new physics has influenced concepts of identity as being interconnected. The Child in Time shows how this model also risks creating an a-historical, de-politicised subject, particularly if existing problematic constructions of gender are not reformed. This reformative project is one of the main achievements of Cat's Eye in which Atwood revises archetypal female iconography. Chapter Four discusses three texts from postcolonial India: Salman Rushdie's Midnight's Children, Anita Desai's Clear Light of Day and Arundhati Roy's The God of mall Thin s. These novels demonstrate the specific difficulties in constructing a coherent sense of self in a fractured political situation which mourns the broken connection to the motherland. Cultural imperialism and its psychological effects are brought to the fore here, showing the ways in which imperial ideals force the postcolonial subject to accept a hybrid identity. Women are doubly oppressed in these situations by both the machinations of an Imposed Western patriarchal system and the indigenous caste hierarchy and also by association with the motherland ideal of a culturally authentic, pre-colonial India. Chapter Five brings together the themes of gender, history, memory, colonisation and the reconstruction of the self in an analysis of Toni Morrison's Beloved and Anne Michaels's Fugitive Pieces. The effects of slavery and the Holocaust, respectively, are explored in these texts and both novels conclude with the necessity of finding ways to mourn loss and go on to represent modes of subjectivity as historically and socially connected. Communal memory is reclaimed as a necessary antidote to institutionalised violence and dispossession, thereby constructing a form of identity which progresses from postmodernity.