Thèses sur le sujet « Metamodernism »

This dissertation examines the function of family as a thematic in the contemporary Anglo-American novel. It argues that contemporary aesthetics increasingly presents the family as an enabling platform for conciliation with the social totality: as a space of personal development, readying one for life in the wider social field. This analyses hinges on readings of Jonathan Franzen’s Freedom (2010), Zadie Smith’s NW (2012), A. M. Homes’ May We Be Forgiven (2012) and Caryl Phillips’ In the Falling Snow. In approaching these novels, this project addresses the theoretical lacuna left open by the much-touted retreat of postmodernism as a general cultural-aesthetic strategy. This project identifies these novels as examples of a new and competing ideological constellation: metamodernism. Metamodernism encompasses the widely cited return of sincerity to contemporary aesthetics, though this project explains this development in a novel way: as a cultural expression from within the wider arc of postmodernism itself. One recurrent supposition within this project is that postmodernism, in its seeming nihilism, betrays a thwarted political commitment; on the other hand contemporary metamodern attitudes display the seriousness and earnestness of political causes carried out to an ironic disregard of the political. Metamodernism, in other words, is not a wholesale disavowal of postmodern irony, but a re-arrangement of its function: a move from sincere irony to an ironic sincerity. The central inquiry of this dissertation is into this re-arranged role of family and familial participation amidst this new cultural landscape. My argument is that family and the political have maintained a tense relationship through the twentieth century in the American consciousness. They represent competing models of futurity in a zero-sum game for an individual’s life-energy. What metamodernism represents, so this dissertation will articulate, is a new form of anti-politics: a fully gratified impulse to depoliticize. Analyzing what this project terms the “politics of the local,” this dissertation will argue that the highly popular and successful models of conscientious capitalism have been superseded. Today, increasingly, redemption from consumerism guilt is itself wrapped up in commodities: the utopian impulse celebrated by Fredric Jameson has itself obtained a price tag. The contemporary novel thus reflects new social functions for that which has trumped the political: the family.

The focus of this research aims to target feelings, tendencies, and perceptions of community belonging in order to highlight current challenges in negotiating urban social relationships. The mixed-methods empirical study deployed attempted to identify the multiple and intersecting perspectives contributing to the conceived representations of community in each city. Applying theoretical constructs taken from studies on social cohesion, intersectionality, and metamodernism, this thesis looks to multidimensionality in forming a new theoretical model for achieving cohesive community and social belonging; the purpose of which is to uncover how planning can be conceived as a solution to ethnoracial division and lack of community and social belonging. As individuals, respondents found that meeting on the same premises, taking the perspectives of others into account, and actively acknowledging the presence of unity in difference were all conceived as constructive measures to take. Developing approaches to incorporating these desiderata into planning strategy therefore becomes a logical implication of my research.

Abstract Rosa Liksom is one of the most internationally recognized contemporary Finnish authors and leading Finnish postmodernists. Indeed, the postmodernist aesthetics of her works have received most of the academic attention: features such as irony, dark humor, intertextuality, and parody have been convincingly studied. Liksom’s singular public image has been connected to these aesthetics, but although her cosmopolitanism is often mentioned, her postmodern nonconformity has usually been read in a local and a national context. Liksom’s engagement with modernity has been only implicitly and insufficiently explicated. This dissertation focuses on Liksom’s works and public image in the broader historical context of the modern project in its 20th century legacy. The study of Liksom’s engagement with the utopianism of the modern project is paramount to a deeper understanding of the politico-ethical underpinnings of Liksom’s works and image. To examine Liksom’s retrospection of the modern project, this dissertation makes use of a broad range of theoretical approaches, which can be collectively summarized as contextual close reading. The central theoretical framework is Fredric Jameson’s theory of postmodernism. Other important theories are Linda Hutcehon’s theories of postmodernism and irony, Svetlana Boym’s typology of nostalgia, as well as Krishan Kumar’s theory of utopia. This study elucidates the complexity of Liksom’s engagement with the modern project and bestows new importance on the positive, constructive elements of Liksom’s works that have hitherto gained less attention. Liksom’s works try to salvage something from the history of the modern project instead of merely lingering in the negative attempt to deconstruct historical truths and dismantle the very possibility of such truths. Below the irony and criticism of utopianism in Liksom’s artistic ethos runs a mournful undercurrent that broods over the lack of agency and political choices we seem to face in our present historical condition, and a nostalgia that reflects upon the lost utopian potentialities of the past. Liksom’s works suggest this process of mourning may result in a tentative prospect of communion between people and cultures based on an understanding of their shared situatedness in a postmodern, uncertain world
Tiivistelmä Rosa Liksom on kansainvälisesti tunnetuimpia suomalaisia nykykirjailijoita ja keskeisiä postmodernisteja. Akateeminen kiinnostus onkin keskittynyt ensisijaisesti hänen teostensa postmoderniin estetiikkaan: teosten ironiaa, musta huumoria, intertekstuaalisuutta ja parodiaa on tutkittu ansiokkaasti. Liksomin ainutlaatuinen taiteilijakuva on kytketty tähän estetiikkaan, mutta vaikka hänen kosmopoliittisuutensa usein mainitaankin, hänen postmodernia epäsovinnaisuuttaan on yleensä tulkittu lokaalissa ja kansallisessa viitekehyksessä. Toistaiseksi Liksomin suhdetta modernin ajan ihanteisiin on pohdittu vain välillisesti ja riittämättömästi. Tässä väitöskirjassa Liksomin teoksia ja julkisuuskuvaa käsitellään laajemmassa viitekehyksessä, nimittäin modernin projektin ja sen 1900-luvun perinnön kontekstissa. Ymmärtääksemme Liksomin teosten ja julkisuuskuvan poliittis-eettisiä perustuksia syvällisemmin on välttämätöntä tarkastella hänen suhdettaan moderniin utooppisuuteen. Tässä väitöskirjassa selvitetään monipuolisen teoreettisen välineistön avulla, kuinka Liksom retrospektiivisesti tarkastelee modernin projektia. Teoreettista lähestymistapaa voidaan kutsua kontekstuaaliseksi lähiluvuksi. Keskeinen teoreettinen viitekehys on Fredric Jamesonin postmodernismin teoria. Muita keskeisiä teorioita ovat Linda Hutcheonin teoria postmodernismista ja ironiasta, Svetlana Boymin nostalgian typologia, sekä Krishan Kumarin ja utopia-teoria. Liksomin taiteellisen eetoksen ironisuuden ja utopiakritiikin alla kulkee surumielinen pohjavire, joka pohtii nykyisessä historiallisessa tilanteessa kohtamaamme toimijuuden ja poliittisten vaihtoehtojen puutetta, ja nostalginen pohjavire, joka mietiskelee menetettyjä utooppisia mahdollisuuksia. Liksomin teoksiset antavat ymmärtää, että tämän suruprosessin tuloksena voi olla mahdollisuus löytää ihmisten ja kulttuurien välinen yhteys, joka perustuu ymmärrykseen siitä, että me kaikki paikannumme postmoderniin, epävarmaan maailmaan

The digital age has pushed people closer together than ever before. A device that fits in the palm of your hand allows instantaneous communication with billions of other human beings. People share everyday experiences, passing thoughts, personal photos, sometimes privately, often publicly. Distances between people and places feel reduced. Never has it been so easy to be so emotionally close to so many people. But as digital experiences become routine, our collective perceptions of closeness and distance shift. As virtual communities become larger, so does our awareness of the actual distance between things. Even though humans can be genuinely close to one another on the internet, fragments of meaning, tone, and physicality are often lost in distance. Over-dependence on digital connection can erode local communities and generate apathy towards the real systems we depend on for survival. This project aims to investigate strategies designers and architects may employ to regenerate and recontextualize local communities in the digital age. Research suggests that contemporary cities benefit from a softening of the barrier between public and private spaces. Porous and permeable boundaries between interior and exterior realms can allow dialogues to open and communities to grow, resulting in more enriched urban societies.

It seems clear to me that humanity currently stands at a major crossroad where “the old truths have lost their validity and new ones are yet to emerge”, to quote late sociologist Zygmunt Bauman. It seems also clear that these “new truths” has to be formulated quickly if we do not want to end up on the wrong fork of the road... During recent years, these two insights has driven my desire to understand where we are now, how we ended up here and how we might move forward. Whereas I began in the field of architecture, my curiosity has led me to look into a wide array of subjects ranging from economy to thermodynamics and sociology in order to comprehend the bigger picture. In this thesis however, I have limited myself to the architectural realm again and I have done so through a close reading of a figure I found along the way: Christopher Wolfgang Alexander. During the course of the project, I have read his four-volume, magnum opus “The Nature of Order: An Essay on the Art of Building and the Nature of the Universe ” (2003-2004) where he summarizes over thirtyfive years of scientific and architectural research and practice into a “grand unified theory of architecture”. His views on many issues (social to scientific) align a lot with with mine so the goal of this project has been to let his theoretical framework guide my own creative process in order to be able to evaluate the result – does his work present some “new truths” to help us move forward or is it just another blind alley?

This study seeks to define a particular sub-genre of contemporary performance where self-awareness is a significant factor in the audience's experience. Exemplified in the development of a new performance work ('Spectate'), the term 'embodied metafiction' is proposed as a way of understanding the effect of highlighting an audience's presence and participation in the theatrical experience. Principles of 'embodied metafiction' are observed through 'Spectate' to demonstrate how an audience can be stimulated to experience a more vivid sense of the immediate present when their bodies and minds are positioned as part of a complex web of meaning.

La fiction de Steven Millhauser est caractérisée par le mouvement perpétuel : un mouvement générique du réalisme au fantastique, avec des intrigues qui résistent aux dénouements et des personnages, des lieux et des objets en transformation constante. Son œuvre nous présente exploration de la métamorphose littéraire, qui se manifeste à la fois comme style d'écriture et comme motif. Enracinée dans une conception typiquement américaine de la métamorphose, née de la philosophie Ralph Waldo Emerson, la métamorphose millhauserienne attire l'attention du lecteur sur le pouvoir transformateur de l'art et plus spécifiquement de la littérature. Utilisant la relation entre l'art et l'identité culturelle comme point de départ, notre thèse montre que la fiction de Millhauser développe la nature métamorphique de l'expérience esthétique. Au cœur de la dynamique de la métamorphose littéraire se trouve la relation entre lecteur, texte et auteur, relation transformatrice que Millhauser met en scène à plusieurs reprises, afin d'explorer les possibilités et les limites du language. Si sa fiction illustre le potentiel destructeur de la métamorphose linguistique, et manifeste aussi une certaine angoisse concernant les limites du langage, son œuvre est néanmoins dominée par un sentiment d'émerveillement et d'espoir dans la valeur régénératrice de la fiction, et son pouvoir de faire resurgir la beauté d'un monde devenu ordinaire
Steven Millhauser's fiction is characterized by perpetual movement: a transition from realism to the fantastic, with plots which resist denouement and characters, places and objects in constant transformation. Millhauser's work offers the reader a literary metamorphosis which is both stylistic and thematic. The millhauserien metamorphosis is typically American, the offspring of Emersonian philosophy, and it highlights the transformative power of art and, specifically, of literature. Using the mutually transformative relationship between art and cultural identity as a starting point, this thesis demonstrates the ways in which Millhauser's fiction develops the metamorphic nature of the esthetic experience. The relationship between the reader, the text and the author is at the heart of literary metamorphosis, and this transformative relationship, which often appears in Millhauser's work, sets the stage for an exploration of the possibilities and limits of language. If Millhauser's fiction illustrates the destructive potential of linguistic metamorphosis, and articulates a certain anxiety concerning the limits of language, his work is nonetheless dominated by the sentiment of wonder and hope in the regenerative value of fiction and its power to reveal the unusual beauty of a world which has become ordinary

This essay investigates the prospect of Romantic Irony’s potential resurgence in contemporary poetics and discusses its relevance and likeness with metamodernism. The internet has by now not only seeped into, but fully permeated, the process of literary production and distribution. The effect of this has been the birth of a new kind of poetic discourse which can broadly be called metamodernism, The New Sincerity or Alt-lit. This movement is characterized by its self-reflexive metacommentary, fragmentary nature and an oscillation between of irony and sincerity. Vermeulen and Akker, among others, have hinted at metamodernism’s relation to Romanticism, but research into the specifics of its tendency towards Romantic Irony is scarce. By viewing the writings of Steve Roggenbuck (a central figure in the new poetic movement), alongside the philosophy of Friedrich Schlegel, I propose a comparative framework for discussion of sincerity, irony and the instrumentalization of contemporary metamodernist writing. I demonstrate that Roggenbuck’s writing displays narratological, tropological and thematic tendencies commonly associated with both Romantic Irony and metamodernism. Apart from broader structural comparison, I attempt a comparative analysis between Roggenbuck’s poetry (2010-2015) and Thomas Carlyle’s novel “Sartor Resartus” (1833-1834) in order to provide a visualisation of the rhetorical and narratological strategies of Romantic Irony. I aim to frame Romantic Irony as a sensibility, or mode of discourse - rather than a strict system of thought - which may still be at work today. In extension, the sensibilities of Romantic Irony may shed further light into the philosophical potential of the seemingly incomprehensible and contradictory tendencies of metamodernism. By ironicizing its poetic form, literary ambition and desire for sincerity in a post-postmodern era, Roggenbuck’s poetry celebrates ambiguity and literary failure, ultimately framing irony as a constructive and potentially democratic operation.

Proposing the concept of mimetic uncertainty, this project aims to provide a critical inquiry into the correspondence of unreliable narration and realism. Building on Springett (2013) and Olsen (2003), a distinction between narratorial unreliability and uncertainty is proposed to denote whether a narrator explicitly signals an awareness of their fallible narration. I thereafter indicate how narratorial uncertainty, on the one hand, can serve to evoke a “reality effect” (Barthes 1989) on a receptive aesthetic level; and on the other hand, can provide a form of historicity (Jameson 1985) and discursive realism (Auerbach 2003) on an expressive historical axis. Through this tripartite framework, realism is contextualised within the discourse of unreliable narration, as well as the specific debate which surrounds uncertainty and fallibility. The textual analysis focuses on three separate works—Daniel Defoe’s A Journal of the Plague year (1722), Virginia Woolf’s Mrs Dalloway (1925), and finally, Tao Lin’s Taipei (2013)—with the twofold aim of (1) providing a model for approaching uncertain narration and (2) applying a historically contingent realist reading. I argue that in all three novels, emphasis on how readers may respond to uncertain narration provides insight into socio-historical and discursive points of friction surrounding their authors. The overarching ambition of this study is to provide a more substantial and historicized understanding of the stylistic devices of contemporary authorship, while more broadly signifying the unexpected critical acuity of mimetic approaches as well as the challenges and demands which metamodernist literature approaches.

During a research process on financial speculation in relation to the home, Carl-Oskar Linné encounters statistics and reports that tell of rising unemployment among realtors. By investigating an alleged flight from the realtor profession and asking questions of prospective, current and former realtors, he attempts to understand the relationship of home sellers to their home, the housing list, the speculation mechanism and security. What are the living conditions and how is the relationship to housing policy? This essay tells about the state of the Swedish housing market and explains what has led to the work "Speculation"/"Mäklare", a work at its core questioning market ideology. The texts also describes work methods, sources of inspiration and some earlier work.
Under en researchprocess om finansiell spekulation i förhållande till hemmet stöter Carl-Oskar Linné på statistik och rapporter som berättar om en ökande arbetslöshet bland fastighetsmäklare. Genom att undersöka en påstådd flykt från mäklaryrket och ställa frågor till blivande, nuvarande och före detta fastighetsmäklare försöker han förstå bostadssäljarens förhållande sitt hem, bostadskön, spekulationsmekanismen och tryggheten. Vilka är livsvillkoren och hur är förhållandet till bostadspolitiken? Denna uppsats beskriver tillståndet på den svenska bostadsmarknaden och vad som har lett till arbetet "Mäklare", ett verk som i grunden ifrågasätter marknadsideologin. Texten beskriver även arbetsmetoder, inspirationskällor och tidigare arbete.

The purpose of this study is to analyze today's political development from a hypermodern and metamodern perspective. The starting point has been to answer the question of what comes after postmodernism and the ambition has been to contribute to an increased understanding of the contemporary world. The theoretical approach is based on a social constructivist and evolutionary biological perspective. The method is multidisciplinary and based in discourse analysis and memetics. A broad text definition has formed the basis for the selection of the materials of the study. A text is seen as a web of meaning and both literary works, internet videos and podcasts have been used as a source of information.  The results show that it is not clear if hypermodernism or metamodernism will be the dominant paradigm in the future. On the contrary, this study points to the conclusion that hypermodernism can lead to unsustainable social development because of increased mental illnesses and escalated climate change. However, it also suggests that metamodernism can contribute to a constructive development by creating reconciliation and understanding between different perspectives. In this way, today's increasing polarization can be counteracted. This essay also shows that the present is characterized by a strong will to explain the world in grand meta-narratives. New political conflicts have been erupting and many traditional dichotomies have been erased, as Internet has changed the conditions for human organization and communication. At the same time a vacuum has been created because neither the modern nor the postmodern ideas succeed to take a hegemonic grasp of the contemporary. Nor do they seem to be able to establish a sufficiently credible basis for the future. This means that we have ended up in a situation where different memes deconstruct each other without creating a base for a new ground. Postmodernism deconstructs modernism while new movements deconstruct postmodernism. One consequence of this is that the contemporary world is increasingly characterized by uncertainty, confusion and fear. All of these factors indicate that society is currently changing from one paradigm to another. However, it is not yet clear what the new paradigm will be.
Syftet med denna studie är att analysera dagens politiska utveckling utifrån ett hypermodernt och metamodernt perspektiv. Utgångspunkten har varit att svara på frågan vad som kommer efter postmodernismen och förhoppningen är att denna uppsats ska bidra med en ökad förståelse för vår samtid. Den teoretiska ansatsen är grundad i ett socialkonstruktivistiskt och evolutionsbiologiskt perspektiv. Metoden är tvärvetenskaplig och baseras i diskursanalys och memetik. En bred textdefinition har legat till grund för urvalet av material. En text ses som en väv av mening och både litterära verk, internetvideos och podcasts har använts som underlag i denna undersökning.  Denna studie visar att det har uppstått ett vakuum i dagens samhälle där inga idéströmningar lyckas ta ett hegemoniskt grepp om samtiden och etablera en trovärdig grund för framtiden. Olika idéströmningar underminerar varandra utan att etablera något nytt. Postmodernismen dekonstruerar modernismen samtidigt som nya rörelser dekonstruerar postmodernismen. En konsekvens av detta är att allt fler människor känner sig osäkra, förvirrade och rädda. Resultatet från denna studie visar att det än så länge inte är uppenbart ifall hypermodernismen eller metamodernismen kommer att utvecklas till att bli ett dominerande paradigm framöver. Tvärtom pekar denna undersökning på att hypermodernismen kan leda till en ohållbar samhällsutveckling där den psykiska ohälsan ökar och klimatförändringarna eskalerar. Metamodernismen kan möjligtvis bidra till en konstruktiv utveckling genom att skapa försoning och förståelse mellan olika perspektiv. På så sätt kan dagens ökande polarisering motverkas. Denna uppsats har även kommit fram till att de stora berättelsernas död som har präglat postmodernismen har bytts ut till en stark vilja att förklara världen i stora metaberättelser. Dessutom har nya politiska konfliktlinjer skapats och många traditionella dikotomier suddats ut i takt med att internet har förändrat förutsättningarna för mänsklig organisering och kommunikation. Alla dessa faktorer pekar på att samhället just nu befinner sig i ett skifte från ett paradigm till ett annat. Än så länge är det dock inte tydligt vad detta nya paradigm är.

The purpose of this thesis was to analyze four of the most commonly applied theories in jurisprudence by means of using the philosophical framework of in-tegral theory. Natural law, legal positivism, legal realism and critical legal theory were analyzed to find out how they relate to each other and to see what their strengths and weaknesses are in an integral perspective. The integral theory was created by the American philosopher Ken Wilber (1949-). Two of the main com-ponents of the theory are the four quadrants and the levels of development. The quadrants describe dimensions and perspectives of reality, and consists of the inner individual (subjective) quadrant, the outer individual (objective) quadrant, the inner collective (intersubjective) quadrant and the outer collective (interob-jective) quadrant. Individual values develop through different levels in a specific order, as is described in the second component of the integral theory. Different adult individuals can therefore be on different levels of development. This devel-opment is not only seen in individuals, but is also seen in historical and collective development. The levels that both individuals and societies develop through in-cludes (but are not limited to): the absolutistic (traditional) level, the rational (modern) level and the relativistic (postmodern) level.When using the integral theory to analyze the four theories in jurisprudence it became apparent that they can be mapped onto the integral framework. Natural law, which focuses on morality, can be placed in the intersubjective quadrant, and is mostly associated with the traditional level of development. Legal positiv-ism stems mostly from the interobjective quadrant where law is first and fore-most a system of rules that are enforced by different societal institutions. Legal positivism is typically associated with the modern level of development. Legal realism is also typically associated with the modern level of development and focuses a lot on the objective quadrant: on empiricism and on what judges actu-ally do. Critical legal theory is strongly associated with the postmodern level of development. It emphasizes different kinds of oppression in the intersubjective and in the interobjective quadrant. This thesis presents further examples of how the integral theory can be applied in legal theory and practice.

This dissertation on “Climate Change, the Ruined Island, and British Metamodernism” proceeds from the premise that a perspectival shift occurred in the early 2000s that altered the tenor of British climate fiction published in the decade that followed. The release of a third Assessment Report by the Intergovernmental Panel on Climate Change (IPCC), less than a month after the 9/11 terrorist attacks, prompted an acute awareness of the present as a post-apocalyptic condition bracketed by catastrophe and extinction. In response, British authors experimented with double-mapping techniques designed to concretize the supranational scope of advanced climate change. An increasing number of British authors projected the historical ruination of remote island communities onto speculative topographies extrapolated from IPCC Assessments to compel contemporary readers to conceive of a climate-changed planet aslant. Given the spate of ruined-island- as-future-Earth novels published at the turn of the millennium, this dissertation intervenes in extant criticism by identifying David Mitchell’s Cloud Atlas (2004), Will Self’s The Book of Dave (2006), and Jeanette Winterson’s The Stone Gods (2007) as noteworthy examples of a metamodernist subgenre that makes a distant future of a “futureless” past to position the reader in a state of imagined obsolescence. This project consequently draws on metamodernist theory as a useful heuristic for articulating the traits that distinguish metamodernist cli-fi from precursory texts, with the aim to connect British post-apocalyptic fiction, climate-fiction, and literary metamodernism in productive ways. As the body chapters of this dissertation demonstrate, metamodernist cli-fi primarily uses the double-mapped island to structurally discredit the present as singular in cataclysmic consequence and, therefore, deserving of an unprecedented technological fix. Ultimately, in attempting to refute the moment of completion that would mark history’s end, metamodernist cli-fi challenges the givenness of an anticipated future through which to anchor the advent of an irreversible tipping point. Given the relative dearth of literary scholarship devoted to metamodernist cli-fi, this project posits that this subgenre warrants greater critical attention because it offers potent means for short-circuiting the type of cynical optimism that insists on envisioning human survival in terms of divine, authoritarian, or techno-escapist interventions.
Graduate
2021-08-08

Research Doctorate - Doctor of Philosophy (PhD)
Fashion bloggers have overcome traditional media hierarchies to become new cultural intermediaries in fashion. Where fashion editors and journalists used to be the key players in the legitimation of fashion trends, fashion bloggers have introduced digital practices leading to a remediation of fashion journalism. However, while there are thousands of fashion bloggers on the Internet, only a select group of individuals have ever made it into the consciousness of two key audiences: the fashion industry and fashion consumers. As a starting point, this study applied a Bourdieuian framework to the field of fashion journalism through the mixed methods of content analysis, semi-structured interviews and direct observation. Two international and two Australian blogs were purposively sampled for this study, namely Susanna Lau, Bryan Yambao, Nicole Warne and Patty Huntington. Notably, two distinct trajectories to dominance were found based on the acquisition of the various forms of capital, which are social, economic, cultural and symbolic. Given the currency of digital influence in fashion, this study further proposes the conception of a new field-specific form of capital called digital capital in the context of the emergent cultural paradigm, metamodernism. Metamodernism is characterised by a constant and dynamic oscillation between modern and postmodern sensibilities. This study found the metamodern strategy of performativity to be central to the conception of digital capital. Performativity encapsulates a dynamic tension between a modern authenticity and a postmodern artifice, and correspondingly a tension between self-expression and self-promotion. On the other hand, this study found that the metamodern sensibility of the quirky was not crucial the accrual of digital capital. The quirky refers to a tonal quality encompassing the simultaneous expression of a modern sincerity and a postmodern irony, highlighting the unique voice of the blogger. Most pertinently, the remediation of fashion journalism through the introduction of digital communication has paved the way for a new breed of fashion cultural intermediaries, whose metamodern approach to reportage should be a key consideration in the engagement of fashion audiences.

The present study seeks to address, define and delimit the contours of the political dimension of communication and graphic design, while establishing a contrast and criticism to the paradigm that is experienced today in this subject. Design history, from the beginning of the twentieth century up to present day, has revealed an approach to the commercial and entrepreneurial spheres, while at the same time renegading its social and political aspects. Recently, there has been a growing change, increasingly visible in the discipline's discourse. Today we speak in terms of critical design, social design, design activism and design thinking. Are these new and independent methods of doing design? Or maybe it doesn't make sense to separate these concepts from design itself – isn't all this design? The issue of design ethics has also emerged in academic articles and essays reflecting a growing concern that aims to respond to the emergence of design in the most diverse areas of our lives. Today, design is present in everything we see inside and outside our homes. What responsibility does the designer have in designing our world and reality? In what ways can this responsibility be translated? In order to try to build a conceptual framework for the practice of design from now on, I propose that we make an analysis of the discipline around the two movements that emerged from the end of the 19th century and that lasted until the end of the 20th century: Modernism and Postmodernism. To realize how design has followed a set of values, ideas and feelings reflected during these two stages of human thought, is paramount to more easily understand how the design of the future can be guided by a set of aesthetic, artistic, cultural and philosophical developments that aim to react to postmodernism and which we name Metamodernism. Metamodernist’s sensibility, characterized by informed naivety and pragmatic idealism, is a very recent cultural response to global phenomena that have shaped and continue to shape our most basic notions of being. Amid issues such as climate change, financial crisis, and the escalation of global conflicts, a collective and palpable longing for change grows. Perhaps this path can lead us into finding ideas for a new “spirit” for the practice of design and a new, broader role for the designer, whose potential can go far beyond the aesthetical and the commercial.

Власова Г. С. Рецепція людини мета модерну в збірці Артема Чапая «The Ukraine» : кваліфікаційна робота магістра спеціальності 035 «Філологія» / наук. керівник Л. О. Костецька. Запоріжжя : ЗНУ, 2020. 72 с.
UA : Кваліфікаційна робота магістра «Рецепція людини метамодерну в збірці Артема Чапая «The Ukraine»» містить сторінок. Для виконання роботи опрацьовано 61 наукове джерело. Мета роботи полягає в спробі системного дослідження формування образу українця в національному контексті як людини метамодернізму в книжці Артема Чапая «The Ukraine». У ході написання роботи виконано такі завдання: – проаналізовано явище метамодернізму та подано визначення поняття рецепції; – окреслено поняття колажу як жанрової структури та техніки творення мистецьких об’єктів у панорамі часових і просторових меж; – проаналізовано засоби творення образу України в творах української літератури та збірці Артема Чапая «The Ukraine», зокрема просторових образів географічних і адміністративно-територіальних об’єктів та просторових концептів; – подано характеристику окреслених автором типажів українських характерів, змальованих у романі, в контексті метамодернізму. Об’єкт дослідження: збірка Артема Чапая «The Ukraine» (2018). Предмет дослідження: образ української людини в національному контексті явища метамодернізму в книжці Артема Чапая «The Ukraine». Методи дослідження. В роботі було використано теоретично-критичний, структурно-семіотичний, типологічний, порівняльний методи наукового вивчення явищ художньої літератури, здійснено контент-аналіз для виявлення кількісних характеристик вживання географічних назв. Наукова новизна роботи полягає в тому, що було зроблено спробу розглянути явище метамодернізму в українській літературі і виокремити основні характеристики цього явища, визначити поняття колажу як форми побудови цілісного образу. В ході дослідження було розроблено класифікацію колажних образів, а також визначається колаж як перспективний жанр сучасної української літератури за двома основними тематичними напрямками: як біографічна проза та твори про українське буття. У роботі окреслено основні образи творення образу України, які умовно можна поділити на три групи: 1. Топоніми. 2. Естетика простору, топоси, хронотоп, архетипи. 3. Характери персонажів, герої, образи, типи та ін. Сфера застосування. Робота може бути використана для подальших досліджень з питань жанру колажу в літературній творчості, творів про російську агресію на Сході України, тревелогу в українські літературі, а також в опануванні курсу «Сучасна українська література».
EN : Magister's qualification work "Reception of metamodern man in the collection of Artem Chapay" The Ukraine "" consists of 72 pages. While writing 61 sources were worked. The aim of the work is to try to systematically study the formation of the image of Ukrainians in the national context as a man of metamodernism in Artem Chapay's book "The Ukraine". During the writing of the work the following tasks were performed: - the phenomenon of metamodernism is analyzed and the definition of the concept of reception is given; - the concept of collage as a genre structure and technique of creating art objects in the panorama of temporal and spatial boundaries is outlined; - the means of creating the image of Ukraine in the works of Ukrainian literature and the collection of Artem Chapay "The Ukraine", in particular, spatial images of geographical and administrative-territorial objects and spatial concepts; - a description of the types of Ukrainian characters outlined by the author, depicted in the novel, in the context of metamodernism. Object of research: Artem Chapay's collection "The Ukraine" (2018). Subject of research: the image of the Ukrainian man in the national context of the phenomenon of metamodernism in Artem Chapay's book "The Ukraine". Research methods. The paper used theoretical-critical, structural-semiotic, typological, comparative methods of scientific study of the phenomena of fiction, content analysis was performed to identify quantitative characteristics of the use of geographical names. The scientific novelty of the work is that an attempt was made to consider the phenomenon of metamodernism in Ukrainian literature and to identify the main characteristics of this phenomenon, to define the concept of collage as a form of constructing a holistic image. During the study, a classification of collage images was developed, and collage is defined as a promising genre of modern Ukrainian literature in two main thematic areas: as biographical prose and works about Ukrainian life. The paper outlines the main images of the image of Ukraine, which can be divided into three groups: 1. Toponyms. 2. Aesthetics of space, topos, chronotope, archetypes. 3. Characters, characters, images, types, etc. Scope. The work can be used for further research on the genre of collage in literary works, works on Russian aggression in eastern Ukraine, travelogue in Ukrainian literature, as well as in mastering the course "Contemporary Ukrainian Literature".

Theorists and management in the South African non-profit sector agree that strong stakeholder relationships are essential in negotiating the challenges faced by the South African non-profit sector. Despite the acknowledgement from the non-profit sector that strong relationships are key to achieving organisational goals, there is an apparent lack of knowledge and strategic thinking amongst them pertaining to the concept of stakeholder relationship management. Against this background the purpose of this study was therefore to develop a metamodern model for stakeholder relationship management, aimed specifically at the South African non-profit sector, that could be implemented by NPO management in a practical manner. The blurring lines between the opposing views of modernism versus postmodernism motivated the choice of metamodernism as a relevant worldview for this study. Metamodernism does not imply a balance between these poles, but rather a constant swinging of the pendulum during which metamodernism negotiates between modernism and postmodernism. It is the construction of a workable, interrelated worldview, recognising the intimate relationship between modernism and postmodernism. It was therefore concluded that a metamodern worldview in which both modernism and postmodernism feature, would not only make it possible for nonprofit organisation managers to understand and join the discussion on stakeholder relationship management, but also to implement the proposed metamodern stakeholder relationship management model. The resultant metamodern stakeholder relationship management model for non-profit organisations is framed by so-called modernistic communication and stakeholder relationship management theories, but it was done in line with the metamodern worldview of the study, allowing for initiative and innovation. The flexible, organic and cyclic nature of the proposed model echoes this worldview. A qualitative, exploratory and interpretative research design was implemented to test a conceptual framework and face-to-face semi-structured interviews were conducted with senior management in the non-profit sector. The design of the framework and subsequent model was guided by a number of assumptions and propositions arising from a thorough literature review, all of which were supported and confirmed by the research results. The most significant contribution of the study is the application of a metamodern worldview emanating from a reluctance to choose between a modern or postmodern stance when discussing communication science and stakeholder relationship management practices. It is therefore foreseen that it would offer the field of communication science new and creative means of combining modernism and postmodernism approaches when studying communication phenomena. It will also expand the responsibility for communication and stakeholder relationship management beyond that of the communication specialists to senior management in the non-profit sector.
Communication Science
D. Litt. et Phil. (Communication)