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1
Stoev, Dina. « Metamodernism or Metamodernity ». Arts 11, no 5 (21 septembre 2022) : 91. http://dx.doi.org/10.3390/arts11050091.
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The concept of metamodernism relies on our understanding of modernism, postmodernism and the bigger cultural periods that originated them. While modernism is a product of modernity, postmodernism is not situated comprehensively within a well-defined period. Moreover, when dealing with the dichotomy of movement and era in the last century, we are presented with a taxonomic dilemma of conflating eras and their aesthetical manifestations. Contrary to the prevalent view of cultural shifts, here I propose a different attempt at periodising and understanding ontologically the concepts of modernism, postmodernism and metamodernism, and the related cultural periods in which they are situated. I argue that modernism and postmodernism should be considered as a continuum in a temporal sense, but not as equal orders in a categorical sense, and that postmodernism is not an apt descriptor for the period following modernity, nor for the aesthetic paradigm following modernism. To resolve this problem, on the one hand, I propose we adopt the term metamodernity, which better reflects the new era of cultural development. On the other hand, I discuss metamodernism, which is the current aesthetical, and to a degree axiological, manifestation of this new era.
2
Бандровська, Ольга. « РЕАЛЬНІСТЬ ЯК ВИГАДКА ? ПОНЯТТЯ “МЕТАМОДЕРНІЗМ” І “МЕТАМОДЕРН” В СУЧАСНОМУ КУЛЬТУРОЛОГІЧНОМУ І ЛІТЕРАТУРОЗНАВЧОМУ ДИСКУРСІ ». Inozenma Philologia, no 134 (15 décembre 2021) : 152–64. http://dx.doi.org/10.30970/fpl.2021.134.3519.
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At the beginning of the 20th century, postmodernism has depleted its cultural and aesthetic potential, and as most critics agree, it has become a phenomenon of the past. Among the conceptions aimed at comprehending the impact of the new media and digital technologies, together with the trend towards globalization, digimodernism, automoderrnism, altermodernism, performatism, and metamodernism can be listed as the most conspicuous ones. Proceeding from the fact that metamodernism is a theoretically developed and strongly institutionalized conceptualization of both current cultural change and 21st-century fi ction, this paper focuses on its cultural and literary strategies. Primarily, the study aims to analyze the fundamentals of metamodernism elaborated in the works by Timotheus Vermeulen and Robin van den Akker and in metamodernist web manifestoes. To achieve this goal, such notions as a “structure of feeling” and “new sincerity” that refl ect an emerging cultural sensibility, along with the principle of the metamodernist oscillation between modernist and postmodernist modes, are highlighted. The claim that the Metamodern era replaces Postmodernity is also under investigation. In addition, the paper explores the main features of metamodernism in the works by David Foster Wallace, one of the most famous and infl uential US writers of his generation, a talented novelist and essayist. Application of nonlinear, rhizomatic structures at the narrative level, modeling of the reality according to the principle “what if this is true?”, and a combination of the principles of “new sincerity” and post-irony in Wallace’s novel “Infi nite Jest” are considered. The paper concludes that metamodernism as a literary trend of the recent decades suggests new fi ctional patterns of aesthetic innovations, primarily in returning multiple facets of reality into a literary text. Key words: metamodernism, Metamodern, postmodernism, Postmodern, “new sincerity”, “structure of feeling”, Vermeulen and van den Akker, “Notes on Metamodernism”, David Wallace, “Infi nite Jest”.
3
Šnircová, Soňa. « Art, Depth and Affect in Winter : Metamodernist Contexts of Ali Smith's Novel ». Studia Universitatis Babeș-Bolyai Philologia 66, no 2 (30 mars 2021) : 159–74. http://dx.doi.org/10.24193/subbphilo.2021.2.11.
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"Art, Depth and Affect in Winter: Metamodernist Contexts of Ali Smith's Novel. The paper discusses Ali Smith’s Winter through the prism of the theory of metamodernism. The novel can be related to the works of authors who reject the cynical sophistication of postmodernist art and appropriate its strategies to focus on authenticity, sincerity, and affect. Drawing on Robin van den Akker, Alison Gibbons, and Timotheus Vermeulen, who maintain that the metamodernist structure of feeling manifests through a mix of/or oscillation between pre-modernist, modernist and postmodernist tropes and devices, the author considers Ali Smith’s novel a mixture of postmodernist, modernist and romantic elements and explores how these elements function in the production of the metamodernist effect of her novel. Keywords: metamodernism, Ali Smith, Winter, art, depth, affect "
4
Ovodova, Svetlana P. « Global in the discourse of metamodernism : The problem of origins ». Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 22, no 1 (22 mars 2022) : 29–33. http://dx.doi.org/10.18500/1819-7671-2022-22-1-29-33.
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The article examines the representation of the global phenomenon in the discourses of modernity and metamodernity. In the domestic reception, metamodernism is often represented as post-postmodernism. A significant discrepancy in assessments of a fairly integral phenomenon of modern philosophy of culture, which is metamodernism, can be explained. The methodological guidelines of metamodernism are still in development. Theorists of metamodernism continue their search, the establishment of interaction between postirony, authenticity, new sincerity, depth, historicity, affect, selfhood, and superhybridity. In this regard, the analysis of the methodology of metamodernism is possible not only by studying its individual attitudes, but by referring to the foundations of the metamodern discourse. Highlighting the key models of the global in the discourses of modernity and postmodernity allowed us to assess their representation in the metamodern program. The philosophy of modernity is characterized by the idea of the global as the idea of the history taken outside of it (G. Hegel), as the idea that is formed in the process of history (K. Marx). Postmodernism reduces these models to the level of simulacra. The distinction of the local is characteristic of postmodern deconstructivism. Metamodernism in its research practice combines the discourse of the global and the local, offering options for the return of history to human life.
5
Jovanović, Smiljka. « Metamodernism and the Coronavirus (COVID-19) Pandemic ». INSAM Journal of Contemporary Music, Art and Technology, no 6 (15 juillet 2021) : 57–74. http://dx.doi.org/10.51191/issn.2637-1898.2021.4.6.57.
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Metamodernism is understood as the dominant cultural logic of the 21st century. Metamodernism’s breadth and complexity, as well as its theory’s advocacy for contemporaneity, invite for consideration whether the notion could address the most recent global events and the crises after 2020. Therefore, this study designates and explains the five key concepts of metamodernism – metaxy, abstraction, reconstruction, historicity, and a structure of feeling – and uses them to discuss the current state of affairs, the coronavirus (Covid-19) pandemic. The study evaluates the interpretative and discursive potentials of metamodernism, finding that the crisis we now live in can be well-conceptualized from the metamodern perspective, yet at the same time the enormous impact of the crisis brings the usual metamodern perspectives into question and puts the key concepts to test.
6
Šporčič, Anamarija. « A Metamodernist Utopia : The Neo-Romantic Sense and Sensibility of the Bridgerton Series ». Acta Universitatis Sapientiae, Film and Media Studies 22, no 1 (1 novembre 2022) : 122–38. http://dx.doi.org/10.2478/ausfm-2022-0015.
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Abstract The paper addresses the cultural paradigm of metamodernism as conceived by Timotheus Vermeulen and Robin van den Akker (2010). Ontologically, metamodernism is perceived as oscillating between the modern and the postmodern, whereby the tools of postmodernism (such as irony, sarcasm, parataxis, deconstruction, scepticism and nihilism) are employed to counter (but not obliterate) modernist naivety, aspiration and enthusiasm. This oscillation results in what the above authors have termed “informed naivety,” a phrase denoting a state of wilful pragmatic idealism that allows for the imagining of impossible possibilities. Vermeulen and van den Akker’s two key observations about the shift from postmodernism to metamodernism in contemporary art are discussed in this paper, namely the (re)appearance of sensibilities corresponding to those of Romanticism and the (re)emergence of utopian desires, in an attempt at a metamodernist analysis of the Netflix adaptation of the Bridgerton book series, aimed primarily at elucidating its popularity as one of the most watched programmes of the global Covid-19 pandemic.
7
Kovalova, Mariia, Zoya Alforova, Lyudmyla Sokolyuk, Oleksandr Chursin et Liudmyla Obukh. « The digital evolution of art : current trends in the context of the formation and development of metamodernism ». Revista Amazonia Investiga 11, no 56 (18 octobre 2022) : 114–23. http://dx.doi.org/10.34069/ai/2022.56.08.12.
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The involvement of gadgets and digital technologies is becoming an increasingly integral part of everyone's personal life and work life. Art has also adapted to the rapid digital evolution and computerization in all creative fields. This trajectory of development provokes a new form and philosophy of artistic development, which is called metamodern. This article examines the theoretical foundations of metamodernism and defines the main provisions of this cultural phenomenon through the prism of the development of digital technologies and the latest means of artistic direction. The main purpose of this research work is the study and in-depth analysis of the formation and development of metamodernist intentions in the modern cultural environment and the definition of the conceptual content of metamodern art. Also, the author of the article determined the purpose of distinguishing metamodernism because of the differences in its essential characteristics from the characteristics of modernism and postmodernism. The methodological approach of the research is the search and theoretical analysis of Ukrainian and foreign sources aimed at studying the phenomenon of metamodernism in view of the digital evolution of art. The author of this article used the method of analysis, cultural-historical, descriptive, comparative and theoretical-literary methods of research. As a result of scientific research, the formation and development of digital art and metamodern art were analyzed. The author also tried to identify the nearest trends in the development of the philosophy of metamodernism in the Ukrainian artistic field.
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Pipere, Anita, et Kristīne Mārtinsone. « Metamodernism and Social Sciences : Scoping the Future ». Social Sciences 11, no 10 (9 octobre 2022) : 457. http://dx.doi.org/10.3390/socsci11100457.
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At this moment, humanity is confronting several global metacrises that demand a new image of science to deal with the complex problems associated with these crises. In addition to natural sciences and humanities, social sciences can become an equally efficient resource for use in this transformation if they succeed in constructing new frameworks congruent with the new reality. The purpose of this theoretical paper in the discourse of philosophy of science is to discern the features of the social sciences within a new paradigm of metamodernism. For the first time, the authors elaborate on the new principles of metamodernist philosophy and apply them to the ontology, epistemology, axiology, and methodology of the social sciences. The set of six transversal principles comprises the ontological principle of paradoxical simultaneity, caused by oscillation, epistemological principles of paradoxical understanding of truth and grand narratives, as well as metaxis-based thinking and dia/polylogue, axiological negotiation between rhizomatic and hierarchical social relations and values, and methodological pluralism. The last principle showcases the coexistence and interlinkage of previous stages of metamodernism. The application of these principles to the social sciences was designed from the perspectives of a specific discipline, inter/transdisciplinarity, and instrumental level of social practice. The paper concludes with a discussion of additional avenues for the development of metamodernism in the social sciences.
9
Kersten, Dennis, et Usha Wilbers. « Introduction : Metamodernism ». English Studies 99, no 7 (3 octobre 2018) : 719–22. http://dx.doi.org/10.1080/0013838x.2018.1510657.
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Sazanova, Svetlana L. « On the Influence of Metamodernity on Institutional Economic Theory ». Economics of Contemporary Russia, no 3 (23 septembre 2021) : 69–76. http://dx.doi.org/10.33293/1609-1442-2021-3(94)-69-76.
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The article analyses the influence of the philosophy of metamodernism on the institutional economic theory. The author considered the philosophy of metamodernism as a complex of ideas that form the “spirit of the times” – the “era of metamodernity”, which is an external environment in relation to institutional economic theory. Having analyzed the key characteristics of modernity and postmodernity, the author proved that metamodernity is not only a synthesis of the philosophical ideas of modernity and postmodernity, but also a new worldview that embraces the entire socio-economic reality. The author formulated the features of the era of metamodernity in the context of economics-society-institutions. The author found that under the influence of the ideas of metamodernity, there have been changes in the motivation of economic agents: from the satisfaction of subjective preferences to the search for new emotional reactions. This, in turn, led to changes in collective (social) economic behavior: rejection of traditional values in favor of values of self-expression, rejection of long-term relationships in favor of long-term ones. According to the author, changes in individual and collective economic behavior occur in parallel with institutional changes at the micro, meso and macro levels: hierarchical institutional structures are being replaced by socio-economic and business ecosystems. Exploring the evolution of economic science in the context of evolution from modern philosophy to postmodern and metamodern philosophy, the author revealed the influence of the ideas of metamodernity on modern economic theory in general and institutional economic theory in particular. The author found that under the influence of the ideas of metamodernity, changes occur in the object and subject of economic research, which requires the improvement of the methodology of institutional economic theory based on an interdisciplinary approach.
11
Vermeulen, Timotheus, et Robin van den Akker. « Notes on metamodernism ». Journal of Aesthetics & ; Culture 2, no 1 (janvier 2010) : 5677. http://dx.doi.org/10.3402/jac.v2i0.5677.
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DROBYSHEVA, Elena E. « Outline of Metamodernism ». International Journal of Cultural Research, no 4 (2021) : 103–12. http://dx.doi.org/10.52173/2079-1100_2021_4_103.
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Yegorov, D. I. « Historicization of metamodernism ». Bulletin of the Moscow State Regional University (History and Political Science), no 4 (2022) : 82–90. http://dx.doi.org/10.18384/2310-676x-2022-4-82-90.
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Morrissey, Nicholas. « Metamodernism and Vaporwave : A Study of Web 2.0 Aesthetic Culture ». Nota Bene : Canadian Undergraduate Journal of Musicology 14, no 1 (16 juin 2021) : 64–82. http://dx.doi.org/10.5206/notabene.v14i1.13361.
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With the advent of Web 2.0, new forms of cultural and aesthetic texts, including memes and user generated content (UGC), have become increasingly popular worldwide as streaming and social media services have become more ubiquitous. In order to acknowledge the relevance and importance of these texts in academia and art, this paper conducts a three-part analysis of Vaporwave—a unique multimedia style that originated within Web 2.0—through the lens of a new cultural philosophy known as metamodernism. Relying upon a breadth of cultural theory and first-hand observations, this paper questions the extent to which Vaporwave is interested in metamodernist constructs and asks whether or not the genre can be classed as a metamodernist text, noting the dichotomy and extrapolation of nostalgia promoted by the genre and the unique instrumentality it offers to its consumers both visually and sonically. This paper ultimately theorizes that online culture will continue to play an important role in cultural production, aesthetic mediation, and even personal expression as media becomes more integrated into our systems of meaning.
15
Khrushcheva, Nastasia Alekseevna. « Simeon Ten Holt's Canto ostinato as a manifesto of the musical Metamodern ». PHILHARMONICA. International Music Journal, no 5 (mai 2022) : 10–18. http://dx.doi.org/10.7256/2453-613x.2022.5.33593.
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The object of research in the article is the cult music of Simeon ten Holt Canto ostinato (1976-79), which is considered using the optics of metamodernism. The authors of the concept of metamodernism were the Dutch Timotheus Vermeulen and Robin van den Acker, who created the manifesto of metamodernism (2010), another manifesto was subsequently created by the Briton Luke Turner (2011). This music, as well as the whole concept of metamodernism in music, represents one of the concepts of culture-after-postmodernism and proclaims the return of affect, semantic oscillation as a constant oscillation between direct utterance and irony, a new actualization of the meta-narratives devalued by postmodernism, which replaced postmodern total irony with post-irony. The novelty of the stated perspective is that for the first time in Simeon ten Holt's opus "Canto ostinato" such tendencies of musical metamodernism as new simplicity, the return of melody and tonality, the actualization of song and dance, the flickering affect of melancholy and euphoria, the purpose for the listener of a new type and the features of "sentimental minimalism" are revealed. Despite the fact that this music was created long before the Fourth Industrial Revolution, which became the cause of metamodernism, one can see such obvious features of metamodernism in it that one would like to see in this opus a manifesto of the musical metamodern looking into the future.
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Listvina, E. V. « Modern socio-cultural situation : the problem of value orientations ». Aspirantskiy Vestnik Povolzhiya 22, no 3 (24 septembre 2022) : 41–43. http://dx.doi.org/10.55531/2072-2354.2022.22.3.41-43.
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Aim to identify value orientations within the concept of metamodernism. The article notes that after several decades of postmodernism, society turns to metamodernism as a new attempt to grasp its position in a constantly varying present, as an attempt to respond quickly to the proposed challenges of time.
The author considers main features of metamodernism, and on their basis offers a characteristic of current value orientations, replacing the modernist attitudes: recognition of the value of "to stay between", the value priority of feeling and sensation, orientation on deep meanings, the desire to be involved in the great history. We conclude that metamodernism offers new ways of comprehending social being and, within their framework, the construction of a new hierarchy of value orientations.
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Baciu, Ciprian, Muşata Bocoş et Corina Baciu-Urzică. « Metamodernism – A Conceptual Foundation ». Procedia - Social and Behavioral Sciences 209 (décembre 2015) : 33–38. http://dx.doi.org/10.1016/j.sbspro.2015.11.226.
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Piro, Jody S. « Integral education within metamodernism ». Educational Philosophy and Theory 50, no 14 (25 novembre 2018) : 1455–56. http://dx.doi.org/10.1080/00131857.2018.1461401.
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Podlednov, Denis. « The Phenomenon of Metamodernism in Contemporary Russian Art (On the Example of Paintings by V. Pushnitsky) ». Ideas and Ideals 13, no 1-2 (19 mars 2021) : 425–41. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-425-441.
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The article is devoted to the analysis of the functioning of metamodernism in the field of Russian contemporary art. Researchers of metamodernism talk about the revival of historicity, depth and affect that were lost with the era of postmodernism. Metamodernism is characterized by oscillation, metaxis, new sincerity, neo-romantic sensuality, reconstruction, etc. In this paper, the author attempts to analyze markers of metamodernism in the visual arts using the example of the artist Vitaly Pushnitsky (St. Petersburg). The material for the study was a research interview with the artist V. Pushnitsky, as well as a semiotic and formal-stylistic analysis of his works (2015-2020). The author comes to the conclusion that through such markers of metamodernism as oscillation, reconstruction and appeal to new sincerity, the artist V. Pushnitsky seeks to show the reality in which the artist is at the stage of searching for new artistic means of expression. Along with this, through certain compositional and color features, V. Pushnitsky pays tribute to such artists as Pierre-August Renoir, Claude Monet, Leonardo da Vinci, Francis Bacon, as well as the Japanese poet I. Kosugi.
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Lushnikova, Galina I., et Tatiana Yu Osadchaia. « Metamodernism in contemporary literature (On Dave Eggers' novel “The CIRCLE”) ». Slovo.ru : Baltic accent 13, no 3 (2022) : 124–41. http://dx.doi.org/10.5922/2225-5346-2022-3-7.
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Currently, the literary process is witnessing the emergence of a new trend — post-postmodernism, developing along several lines. The article offers a review of theoretical works of Russian and foreign authors, devoted to the study of post-postmodernism, its main characteristics, and terminology. On the basis of the novel "The Circle" (2013), written by the American writer Dave Eggers, which has not yet become the subject of study in Russian literary criticism,the authors explore the main features of metamodernism as one of the directions of post-postmodernism. The methodology of the study is based on the principles of interpretive analysis and comparative historical observation. The analysis of several contemporary English-language novels suggests that post-postmodernism attempts to reconstruct what has been deconstructed in postmodernism while retaining some of its attitudes. A detailed examination of Eggers' novel shows that it exhibits both postmodernist (a complex combination of genre forms) and metamodernist characteristics. A closer look at Eggers' text shows that it exhibits both postmodernist (a complex combination of genre forms) and metamodernist features (rejection of the postulate of ' the death of the author' and explication of the authorial position, post irony, neorealism, an appeal to ‘new sincerity’). The results of this study may be used in further research in this field, as well as in the development of teaching material for philological disciplines at universities.
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Safron, Elena S. « Dilogy “Vita Nostra” by M. and S. Dyachenko as an example of metamodern prose ». Philological Sciences. Scientific Essays of Higher Education, no 5 (septembre 2022) : 129–35. http://dx.doi.org/10.20339/phs.5-22.129.
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This article proves that the dilogy by M. and S. Dyachenko, consisting of the novels “Vita Nostra” and “Vita Nostra. Work on mistakes”, whose genre nature is determined by urban fantasy (due to the presence of an urban chronotope, the principle of two worlds, a special type of protagonist experiencing an acute mental crisis) should be considered for the presence in it of tendencies of the direction that replaced postmodernism and conditionally called as metamodernism. The author singles out such signs of metamodernism as: the presence of a neo-romantic component (the motive of striving for the unrealizable, the motive of a doppelganger, a romantic hero); the oscillation between modernist enthusiasm and a postmodernist disappointed and cynical view of reality (On the one hand, the teachers of the main character are soulless Schemes — the projections of people, on the other hand, the heroine herself seeks to plunge into all possible extremes: not only to know the true structure of the universe, but also to gain happiness in love with a man); the orientation to humanistic values; “super-hybridity”, which allows to combine completely dissimilar components through a game form. It turns out that the metamodernist revival of interest in psychologism is fully consistent with the idea embedded in all the works of M. and S. Dyachenko — the idea of the necessity to explore human nature in a literary text.
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Ovodova, Svetlana N., et Anton Y. Zhigunov. « Metamodernistic mediadiscourse in modern culture : from global silence to deep sincerity ». Herald of Omsk University 25, no 4 (28 décembre 2020) : 94–101. http://dx.doi.org/10.24147/1812-3996.2020.25(4).94-101.
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The article demonstrated an attempt to measure the content of modern media taking into account the existing metamodernism attitudes. Some signs of metamodernism formed in the media and indicate their functional transformation were considered. It was made an attempt to analyze the implementation of the phenomenon of "new sincerity" and the break with silence in modern Internet-media and blogosphere. Interviews and documentaries were described from the point of view of the principles of the theories of trauma studies and memory studies, as well as fixing the manifestation of ethical attitudes of metamodernism. Conclusions were made about the prerequisites for the formation of a new metamodernistic media-discourse.
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Nechaeva, Ekaterina A. « Metamodernism as a discourse of a new anthropological myth ». Current Issues in Philology and Pedagogical Linguistics, no 1(2021) (25 mars 2021) : 191–202. http://dx.doi.org/10.29025/2079-6021-2021-1-191-202.
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The present paper concerns the discourse of metamodernism problem as a type of the anthropological myth. The anthropological myth is considered as a project for describing reality, which models a systematic consistent idea of a human being, reality, status of reality and develops ethic, aesthetic, axiological views of a subject. The article aims to determine the peculiarities of metamodernism as a fictional discourse of the anthropological myth on the basis of XXI century European novel analysis. The analysis is carried out with the use of the comparative method, contextual description methods, axiomatic method, discourse analysis method etc. The topicality of the undertaken research is determined by the appearance of a new fictional discourse in art at the beginning of the XXI century as well as a new aesthetic paradigm, not described yet. The texts of Western European novels written in the first two decades of the XXI century reveal authors’ consistent refusal of the principles traditionally viewed as post-modernist – novels featuring a simulated nature of reality, novels problematizing the relationships between the signifying and the signified, decentralizing the subject etc. The attempts to describe a particular cultural situation as an alternative to postmodernism have been taken since the 80’s of the XX century; metamodernism acts as one of such projects for describing the modern cultural situation. The paper analyzes the interpretation models referring to XXI century art on the basis Western European novels of XXI century. The author of the paper concludes that metamodernism as a fictional discourse of the new anthropological myth reflects a different idea of the reality. Metamodernism as a cultural project aims to “return” ontology, assume the availability of reality outside the cognizing subject’s consciousness, and surpass the iconic nature of reality. From the epistemological point of view, metamodernism offers cognition of the world and “Ego” via experience of “Another Ego”.
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Ovodova, Svetlana N., et Dmitry V. Dobrotvorskiy. « The narrative of science and irony in «Rick and Morty» : metamodernism vs postmodernism ». Herald of Omsk University 25, no 3 (28 décembre 2020) : 54–60. http://dx.doi.org/10.24147/1812-3996.2020.25(3).54-60.
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The article reveals how the ideas of metamodernism influence the phenomena of mass culture. As an example, the animated series "Rick and Morty" is analyzed in detail, where the mechanisms of work of metamodern humor, oscillations, "new sincerity", post-irony are revealed, the narrative of science is analyzed from the standpoint of metamodernism. A distinction is made between the irony of postmodernism and the irony of metamodernism. In the animated series, the swing from irony, parody and pastiche to sincerity and seriousness is carried out when representing the topics of raising children in an incomplete family, suppressing information about the ecological situation, aggressive colonialist policy, cultural trauma, globalism and capitalism, the status of science in modern society.
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Sazanova, S. L., et L. Žák. « Value management in the Economy 5.0 ». Vestnik Universiteta 1, no 8 (1 octobre 2021) : 20–24. http://dx.doi.org/10.26425/1816-4277-2021-8-20-24.
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The article considers the value management concept in the context of the changing epochs of postmodernism and metamodernism, as well as the challenges of the Economy 5.0. The main elements of the concept of value management and their relationship with the ideas of postmodernism and metamodernism have been revealed. The strengths and weaknesses of value management in modern companies have been determined. The role of institutions of the micro-, mesoand macrolevels in changing the values of economic activity has been recognized. The authors concluded that there is a cumulative, accumulative relationship between technological, value, institutional and economic changes. The potential of value management of organizations in the Economy 5.0 in the context of the era of metamodernism has been clarified.
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Markova, Anna S., et Galina I. Mamukina. « METAMODERNISM : OVERCOMING DISCRETENESS AND INDIVIDUALISM ». Bulletin of the Moscow State Regional University (Russian philology), no 1 (2019) : 89–98. http://dx.doi.org/10.18384/2310-7278-2019-1-89-98.
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Solomatova, Victoriia. « SCIENCE-ART IN THE CONTEXT OF METAMODERNISM DEVELOPMENT TRENDS ». CULTURE AND ARTS IN THE MODERN WORLD, no 23 (30 juin 2022) : 193–99. http://dx.doi.org/10.31866/2410-1915.23.2022.261014.
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The purpose of the article is to reveal the development features of the modern movement Science-Art through the prism of metamodernism trends. Research methodology. The method of theoretical research, analytical, historical and cultural, systematic and structural, typological method, as well as the method of culturological and comparative analysis, are applied, which allowed us to identify the main trends of metamodernism and study the development of modern movement Science-Art. Scientific novelty. Based on culturological analysis, the concept of metamodernism is considered in the context of a new artistic sensuality characteristic of modern art trends that do not correspond to the aesthetics of postmodernism. The Science-Art movement is studied on the example of E. Kac (Genesis, 1999, GFP Bunny, 2000, Eighth Day projects, 2001) and M. de Menezes (The Nature? project), and special features of its development are revealed. Conclusions. Current trends in the development of visual culture demonstrate the desire to create irrational experiences, new contemplative or bodily experience in the process of direct immersion in the atmosphere as an emotional state that corresponds to the concept of metamodernism. The characteristic trends of metamodernism are the appeal of artists to unpopular materials and at the same time — the transformation of reality into media reality. Such tendencies are especially acute in Science-Art, which is characterised by an organic combination of traditional expressive methods with scientific and research ones; an artistic way of presenting scientific data, and inventions that acquire aesthetic value in the process of representation; the development in many areas of modern science. The study revealed that Science-Art is a current cultural trend of the active interpenetration of scientific research and artistic practices, characterised by a new aesthetics that is directly related to the philosophy of contemporary art.
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Ryazanova, G. N. « THE ERA OF METAMODERNISM AND ITS IMPACT ON THE MODEL OF INTERACTION OF AGRARIAN ENTERPRISES ». Vestnik Universiteta, no 3 (29 mai 2020) : 94–101. http://dx.doi.org/10.26425/1816-4277-2020-3-94-101.
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The period of the change of the era of postmodernism to metamodernism (metamodern) has been considered. The features of metamodernism, as the ambiguous orientation of philosophical and worldview concepts and its impact on the economic space of different levels of the hierarchy have been revealed. It has been emphasized, that the consequences of the metamodern era especially sharply reflected in the Russian economy of the 1990s, since the systemic ties that developed during the modern and postmodern periods were destroyed due to political transformations and the import of liberal institutions into the country’s economy. The level of a microeconomic agent on the example of enterprises in the agricultural sector has been reviewed. The stages of evolution of the development of agricultural enterprises have been identified. The transformation of the interaction model of agricultural enterprises with other microeconomic agents in the era of metamodernism has been traced.
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SARI, Mehmet. « THE UPCYCLING OF MODERNISM AND POSTMODERNISM IN CINEMA : THE METAMODERN STRUCTURE OF FEELING IN BAD LUCK BANGING OR LOONY PORN ». Moment Journal 9, no 1 (27 juin 2022) : 115–35. http://dx.doi.org/10.17572/mj2022.1.115135.
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Postmodernism, which puts irony and skepticism in a central position, has started to be insufficient in making sense of contemporary visual culture and art and has lost its hegemony, resulting in the need for new explanatory frameworks. Metamodernism, as a discourse pointing to transforming sensibility and the zeitgeist, is characterized by oscillations such as between modern and postmodern, hope and nihilism, irony and sincerity. In this study, the manifestation of metamodernism in cinema has been discussed through Bad Luck Banging or Loony Porn (Radu Jude, 2021). The production of the metamodern effect in cinema has been investigated by examining the intricate use of modern and postmodern cinematic narrative strategies. Moving through dualities, the film oscillates between the hope and progress aimed by modernism and the cynical and ironic approach of postmodernism. It implements the ‘upcycling’ strategy of metamodernism, which tries to overcome modernism and postmodernism without denying them. It embodies the metamodern structure of feeling with its post-ironic, sincere and carnivalesque qualities.
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Radchenko, Simon. « Bleeding Edge of Postmodernism : Metamodern Writing in the Novel by Thomas Pynchon ». Interlitteraria 24, no 2 (15 janvier 2020) : 495–508. http://dx.doi.org/10.12697/il.2019.24.2.17.
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Many different models of co ntemporary novel’s description arose from the search for methods and approaches of post-postmodern texts analysis. One of them is the concept of metamodernism, proposed by Timotheus Vermeulen and Robin van den Akker and based on the culture and philosophy changes at the turn of this century. This article argues that the ideas of metamodernism and its main trends can be successfully used for the study of contemporary literature. The basic trends of metamodernism were determined and observed through the prism of literature studies. They were implemented in the analysis of Thomas Pynchon’s latest novel, Bleeding Edge (2013). Despite Pynchon being usually considered as postmodern writer, the use of metamodern categories for describing his narrative strategies confirms the idea of the novel’s post-postmodern orientation. The article makes an endeavor to use metamodern categories as a tool for post-postmodern text studies, in order to analyze and interpret Bleeding Edge through those categories.
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Artemenko, A. « Transition to Metamodernism : Anthropology of Space ». Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no 1 (février 2021) : 101–6. http://dx.doi.org/10.33625/visnik2021.01.101.
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The article presents the evolution of views on the state of contemporary culture in the framework of postmodern and metamodern concepts. The relevance of this study is associated with the formation of a new attitude to visuality in the metamodern concept. The proposed approach demonstrates a new principle of working with the phenomenon of visualization, both in terms of detail and generalization. The author explores the concept of a loft-style in the context of general trends in visual practices during the transition from the postmodern culture to the metamodern one. The analysis of the loft aesthetics makes it possible to see the development of postmodernism as a common worldview paradigm of the late twentieth century. In turn, changes in the loft-style technique become markers of the transition to the metamodern. The loft object demonstrates the layering of senses and meanings, historical eras and aesthetic preferences. The loft style reflects the influence of aesthetic, technical and communicative preferences on the formation of a specific human-environment paradigm. A comparison of the loft-style and the collage art practices allows to make definite conclusions as to the post-modern art space practice and its implementation in an urban concept. This appears as a single process of the postmodern paradigm development realized on a different scale. The loft and art collage techniques of the last quarter of the 20th century served as the basis for the metamodern technology of constructing the historicity (authenticity) of the environment. At the same time, an important moment of space is the entourage of authenticity, combined with cutting-edge urban technology. Metamodern understands the visual image as a phenomenon of consciousness, inscribed in the complex system of interactions, where physicality, sociality, psychology, and other anthropological projections are viewed as conditions, not as the means of expressing meanings. The article proposes the original approach to the phenomenon of visualization: visual image is presented as a result of the formation of a complex semiotic system which reflects the experience of the multi-level spatial environment.
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James, David, et Urmila Seshagiri. « Metamodernism : Narratives of Continuity and Revolution ». PMLA/Publications of the Modern Language Association of America 129, no 1 (janvier 2014) : 87–100. http://dx.doi.org/10.1632/pmla.2014.129.1.87.
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The task for contemporary literature is to deal with the legacy of modernism.—Tom McCarthy (2010)A century separates us from an iconic moment of aesthetic metamorphosis: 1914 witnessed the appearance of James Joyce's Dubliners, Gertrude Stein's Tender Buttons, Mina Loy's “Parturition,” and the vorticist journal Blast. It was the year Dora Marsden and Harriet Shaw Weaver, aided by Ezra Pound, started the literary review the Egoist in London and Condé Nast and Frank Crowninshield launched Vanity Fair in New York. Arnold Schoenberg's atonal symphonic works assaulted classical sonorities; Wassily Kandinsky elevated the purity of geometric form above the functional work of visual representation. Most crucially, 1914 saw the assassination of Archduke Ferdinand in Sarajevo and the subsequent outbreak of the First World War. Cutting a bloody, four-year swath across Europe, the war took almost forty million lives and rendered all subsequent formal innovation inseparable from cultural devastation: thus the intricate, ruptured literary architectures of The Waste Land (1922), Ulysses (1922), and To the Lighthouse (1927).
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Koprivica Lelićanin, Marija, et Bojana Radenković Šošić. « Metamodernism and Language : Pandemic Era Advertising ». Issues in Ethnology and Anthropology 16, no 4 (14 décembre 2021) : 1101–22. http://dx.doi.org/10.21301/eap.v16i4.5.
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In cultural theory, metamodernism becomes a new cultural paradigm of the twenty-first century, epistemologically with (post) modernism, ontologically between (post) modernism, and historically beyond (post) modernism. It appears in the context of political changes following the fall of the Berlin Wall and the environment of digital progress, but also in periods of financial and ecological crises. Rather than simple “zeitgeist”, metamodernism as an arriving cultural paradigm is to be understood more as a “structure of feelings” or sentiment so pervasive that it becomes structural. Metamodernism is symbolically presented by the dual nature of God’s messenger Eros, who operates between the worlds of mortals and immortals. Another metaphor to illustrate metamodernism is a pendulum that constantly fluctuates between opposites such as modern hope and postmodern melancholy, empathy and apathy or enthusiasm and irony. This paper examines Italian advertisements during the largest contemporary health crisis, the SARS-CoV-2 virus outbreak. The semiotic textual analysis is performed on the audio-visual commercials of well known companies, such as Vodafone and Barilla. In addition to this, several print advertisements of a local company for funeral services Taffo are considered. Different metamodern characteristics are recognised in all examined texts. In already confirmed pandemic narratives (such as “the celebration of being Italian and patriotic solidarity”, “the juxtapositioning of the “inside” and the “outside”, and the “humanization of technology at the service of human affections and emotions''), now the metamodern characteristics, as a new structure of feeling that brings hope, continuous oscillations between contrasted polls and a certain quirkiness, are being identified. The most relevant morphosyntactic, lexical and semantic traits of the Italian language in pandemic advertising are being compared with the same language tools in postmodern Italian advertising. Finally, different stylistic and pragmatic, rhetorical and semiotic tools are being interpreted and analysed, defining more closely the unique characteristics of “metamodern” pandemic advertising.
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D.I., Drozdovskyi. « THE POSTCOLONIAL BASIS OF TRANSMODERNISM AND METAMODERNISM IN A. PAVLOV’S THEORETICAL VIEWS ». South archive (philological sciences), no 88 (16 décembre 2021) : 54–62. http://dx.doi.org/10.32999/ksu2663-2691/2021-88-6.
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Purpose is to outline the epistemological core of metamodernism and transmodernism, defining the forms of intersection between them and clarifying A. Pavlov’s concept of post-postmodernism Methods. The typological analysis of two theories of post-postmodernism is used in the work: transmodernism and metamodernism (comparative-historical approach).Results. The author states that the concept of transmodernism has typological similarities with the concept of metamodernism; however, this aspect was not discussed in A. Pavlov’s dissertation. The crystallization of both theories became possible because of postcolonial transformations that took place in Western societies in the second half of the XX – early XXI century. It is investigated that A. Pavlov’s theoretical ideas need to be clarified in terms of outlining the specifics of contemporary culture and, in particular, literature. Metamodernism and transmodernism denote political and sociocultural tendencies that took place in Western communities in the last decades. The differences between the versions of transmodernism and metamodernism have been analyzed and the common epistemological core of both phenomena has been characterized. It is determined that the theories studied so far were perceived as antipodes, because the postcolonial specifics of both phenomena were not taken into account. The key concepts of the theories are emphasized, e. g. the integrated chaos, glocal space, monolithic thinking, etc.Conclusions. The concepts of transmodernism and metamodernism are the result of postcolonial transformations of Western societies, which led to the formation of a special paradigm that combines those concepts and phenomena that have been considered antagonistic. Transmodernism and metamodernism are not homogeneous: within them there are different versions and opposing views, which are the result of different interpretations of postmodernism and instability in views on previous cultural and historical periods. A. Pavlov’s views on metamodernism as a theory that emerged in post-postmodernism and that has the most sufficient chances for future developments is explained: today it is appropriate to spotlight several stages in the development of this theory, which has gained prospects mainly due to philological approaches and literary studies.Key words: post-postmodernism, integrated chaos, new sensuality, literary theory. Мета статті – охарактеризувати епістемологічне ядро метамодернізму та трансмодернізму шляхом визначення форм перетину двох теорій та уточнення концепції постпостмодернізму О. Павлова.Методи. У роботі використаний типологічний аналіз двох теорій постпостмодернізму: трансмодернізму та метамодернізму (порівняльно-історичний підхід).Результати. Автор обґрунтовує, що концепція трансмодернізму має типологічні схожості з концепцією метамодернізму, на що не звертає уваги О. Павлов у своїй дисертації. Кристалізація обох концепцій стала можливою в результаті постколоніальних трансформацій, що мали місце в західних суспільствах у другій половині ХХ – на початку ХХІ ст. Досліджено, що теоретичні міркування О. Павлова потребують уточнення у плані окреслення специфіки сучасної культури, зокрема літератури. Проаналізовано відмінності між різними версіями трансмодернізму та метамодернізму, охарактеризовано спільне епістемологічне ядро обох напрямів. Визначено, що дотепер досліджувані теорії сприймалися як антиподи, оскільки не було взято до уваги постколоніальну специфіку обох напрямів. Наголошено на ключових концептах обох теорій і проана-лізовано такі з них, як інтегрований хаос, глокальний простір, монолітне мислення тощо.Висновки. Концепції трансмодернізму та метамодернізму є результатом постколоніальних трансформацій західних суспільств, які зумовили формування особливого світосприйняття, що поєднує ті концепти і явища, які вважалися антагоністичними. Теорії трансмодернізму й метамодернізму не є гомогенними: у межах цих концепцій існують різні версії та протилежні погляди, які є результатом відмінного трактування постмодернізму й неусталеності в поглядах на попередні культурно-історичні періоди. Справедливим є твердження О. Павлова щодо того, що саме концепція метамодернізму з-поміж усіх теорій, що виникли в лоні постпостмодернізму, має найбільше шансів для власного утвердження. Так, сьогодні доцільно говорити про декілька етапів у розвитку цієї концепції, яка здобула перспективи з огляду на залучення філологічних підходів і літературознавчих досліджень.Ключові слова: постпостмодернізм, інтегрований хаос, нова чуттєвість, теорія літератури.
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Gardabkhadze, Iryna, et Anna Antonova. « Archetypes of Greek Myths in the Fashion Design of the XХI Century from a Metamodern Viewpoint ». Demiurge : Ideas, Technologies, Perspectives of Design 4, no 1 (2 juillet 2021) : 70–82. http://dx.doi.org/10.31866/2617-7951.4.1.2021.236124.
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The purpose of the article consists in clarifying the features of the archetypal structures functioning (in this case – archetypes of Greek myths) in modern fashion design and also in the analysis of the fashion design methodology peculiarities in the conditions of metamodernism. The realization of this purpose is planned by developing the method of designing modern clothing, taking into account the principles and characteristics of metamodernism. Research methodology. The complex problem of analyzing the features of fashion design development in the environment of metamodernism is solved based on interdisciplinary system analysis with a combination of subject, historiographic and morphological analyzes.Scientific novelty. For the first time, it was shown that modern design trends, such as in-personal empathy and situational expressiveness, more careful consideration of aesthetic guidelines, psychological attitudes, and user expectations, are most harmoniously reflected in the principles of metamodernism. It was demonstrated that in the conceptual space of the metamodern, the principle of oscillation corresponds to a choice between two competing primary sources of an image generation in fashion design. The images of Greek mythology gods were chosen as traditional elements of the design project, and prototypes of modern clothing models were chosen as competitive elements. Conclusions. As a result of the research, we conclude that in the practice of fashion design, it is expedient to solve the project approach in a balanced way between the factors of the creative source, the personal qualities of the individual, and the archetypes manifested in it. The methods for elements of Greek myths heroes’ images synthesizing with elements-carriers of fashion trends was proposed, taking into account the tendencies of metamodernism. Experimental approbation of the research results was carried out by assessing the artistic and aesthetic qualities of modern women’s clothing models collection based on Greek myths motives. Thus, the results of the collection design confirmed the feasibility of turning to archetypal forms to find innovative design solutions.
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Mishatina, N. L. « Methodological linguoconceptology : resetting in the era of metamodernism ». Russian language at school 83, no 4 (22 juillet 2022) : 7–16. http://dx.doi.org/10.30515/0131-6141-2022-83-4-7-16.
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The paper considers the relevant methodological solutions provided by methodological linguoconceptology within the theoretical framework of a new cultural paradigm, namely metamodernism, and in the conditions of the digital transformation of education. These conditions include adjusting the content of school language education with the aid of the international transdisciplinary construct of "big ideas"; using the philosophical-pedagogical category "self-concern" as an interdisciplinary category in the applied discourse of methodological linguoconceptology; mastering the conceptual sphere of the Russian language. It is concluded that the formation of national-cultural identity, patriotic and civic self-awareness of the metamodernism generation requires a new content and methodologically adjusted (i. e. adaptive) anthropological practices.
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Dienizhna, S. O., et M. O. Sova. « PSYCHOLOGICAL ORIENTATION OF THE ART OF METAMODERNISM ». Habitus, no 19 (2020) : 54–60. http://dx.doi.org/10.32843/2663-5208.2020.19.9.
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Gerrie, Vanessa. « On metamodernism : Virgil Abloh’s borderless fashion practice ». Critical Studies in Men’s Fashion 7, no 1-2 (1 décembre 2020) : 73–90. http://dx.doi.org/10.1386/csmf_00018_1.
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The contemporary global fashion system is at a unique point of convergence between ‘high’ and ‘low’ culture and across creative disciplines and representational spaces. Fashion designers are no longer confined to the catwalk, nor to the physical object of clothing, but are multi-hyphenate creators bringing together design principles from other fields such as architecture, graphic design and fine art. Within this shifting design landscape, ‘meta’ has entered the millennial colloquial vernacular to describe anything that is self-referential, and has become a trait common to a generation whose cultural production and direct way of communicating is based upon digital social networks such as Instagram and Facebook. The ‘metamodern’ is a nomenclature paradigm proposition for contemporary culture beyond that of postmodernism and proposes an oscillation between principles characteristic of both the modern and postmodern. This new metamodern paradigm will be aligned within this article and mapped against developments in the contemporary popular ‘fashionscape’. This will include the close analysis of multi-hyphenate interdisciplinary design practitioner Virgil Abloh and examples of the global practice he has established including: his streetwear brand Off White™, his collaboration with Nike and the curation of his 2019 exhibition in Chicago, Figures of Speech.
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McCloskey, Donald N. « Minimal statism and metamodernism : Reply to Friedman ». Critical Review 6, no 1 (janvier 1992) : 107–12. http://dx.doi.org/10.1080/08913819208443256.
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GARDNER, LAUREN. « Metamodernism : A New Philosophical Approach to Counseling ». Journal of Humanistic Counseling 55, no 2 (juillet 2016) : 86–98. http://dx.doi.org/10.1002/johc.12026.
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Shatin, Yu V. « Rhetorical Methods of Reconstructing the Image of the Hero in Modern Journalism. The Era of Metamodernism ». Vestnik NSU. Series : History and Philology 20, no 6 (11 août 2021) : 299–305. http://dx.doi.org/10.25205/1818-7919-2021-20-6-299-305.
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The article studies the methods of deconstructing the image of the hero in journalistic texts of the 21st century from the metamodernism perspective. Based on the works of the main theorists of metamodernism R. Akker and T. Vermeulen, the author of the article focuses on the reception of post-irony, which due to the oscillation (fluctuation of sense) blurs the line between irony and seriousness. Being a universal culture phenomenon, post-irony as means of deconstruction has penetrated various types of art and has dominated certain sectors of the modern media space. Based on the exam ples of two genres of modern journalism – newspaper obituary and interview – the author identifies the main rhetorical devices of deconstruction, which mainly rely on post-irony.
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Kolesnikov, A. Y. « Postmodernism is dead, and I’m not quite yet ». Voprosy literatury, no 2 (27 mai 2019) : 42–49. http://dx.doi.org/10.31425/0042-8795-2019-2-42-49.
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The article polemicizes about the state of Russian Postmodernist culture in general and the country’s Postmodernist literature, in particular. The author finds that contemporary culture exists at the intersection of two paradigms: a dwindling Postmodernism and a nascent Metamodernism, giving rise to new literary vectors and phenomena. Mass culture appropriates Postmodernist methods and techniques: irony, intertextuality, and play-mode rethinking of classical subjects and ideas. The author observes a transformation of Postmodernism into an assembly line for mass production and consumption. At the same time, Metamodernism inevitably becomes an alternative cultural paradigm. Analyzing the cultural situation, the author references works by the writer V. Pelevin (his novels Generation P, iPhuck 10), rapper poet Oxxxymiron (M. Fyodorov), and other prominent figures of modern Russian culture. The article’s major focus is on Postmodernist irony.
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Radchenko, Simon. « Metamodern Gaming : Literary Analysis of The Last of Us ». Interlitteraria 25, no 1 (30 juin 2020) : 246–59. http://dx.doi.org/10.12697/il.2020.25.1.20.
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Among numerous ways to describe the culture and literature after postmodernism metamodern is becoming more and more popular. Its main features – oscillation, affect, desire for structure and (re)construction etc. – appear in many products of contemporary culture. This article reflects the endeavour to apply metamodernism and its trends to the literary analysis of cybertext. Crucial trends of metamodernism are briefly described and implemented in the analysis of a video game. The features of cybertext that influence the analysis are considered. All these instruments were used to show the metamodern nature of the game by Naughty Dog, The Last of Us (2013). The article attempts to analyze a cybertext through the methods of literary analysis and reveal metamodern ideas in The Last of Us using main metamodern categories as a tool for text study.
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ZIBOROV, Oleg, Natalja MEDUSHEVSKAYA et Konstantin SIGALOV. « The Sociocultural Context in Law : Modernism - Postmodernism - Metamodernism ». WISDOM 1, no 1 (15 décembre 2021) : 232–45. http://dx.doi.org/10.24234/wisdom.v1i1.682.
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This article analyses the socio-cultural aspects of modern law in terms of philosophical and legal analysis and in the context of the changes that take place in the culture of the 19th-21st centuries. The objective of this work is to identify the discourse of today’s cultural strategies and their reflection in law and legal culture. The article uses an arsenal of methodological tools of philosophical and legal analysis, a cultural methodology through which the values of modern society are revealed, as well as a methodology of historical and philosophical research. The main result of the work is to establish that modern law cannot be understood outside and regardless of its contextuality, as well as in accordance with the cultural logic and peculiarities of civilisational development in the context of globalisation. The main conclusion of the article is that the emergence of post-postcapitalism and the deepening of the consumer society result in a crisis of law and its excessive bureaucratisation and formalisation. The emerging cultural logic of metamodernism refers to such concepts as “structure of feeling”, “oscillation”, “communication”, “post-truth”, “totality” in order to restore the subject-orientation of law and give anthropological substance to the traditional concepts of “human dignity”, “freedom” and “justice”.
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Vermeulen, Timotheus, et Robin van den Akker. « Utopia, Sort of : A Case Study in Metamodernism ». Studia Neophilologica 87, sup1 (décembre 2014) : 55–67. http://dx.doi.org/10.1080/00393274.2014.981964.
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Viires, Piret. « Timotheus Vermeuleni ja Robin van der Akkeri metamodernism ». Methis. Studia humaniora Estonica 8, no 11 (juin 2013) : 146–48. http://dx.doi.org/10.7592/methis.v8i11.1007.
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Levytskyi, Vlad. « Donald Trump : Fascism in the Era of Metamodernism ». NaUKMA Research Papers. History and Theory of Culture 1 (2 janvier 2019) : 42–45. http://dx.doi.org/10.18523/2617-89071153523.
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Bekbaev, Rauf R. « LUDWIG FEUERBACH, FRIEDRICH NIETZSCHE, RENE GUENON : THE ANTHROPOLOGICAL TURN, THE DEATH OF GOD AND TRADITIONALISM ». Globus : human sciences 8, no 1(39) (19 février 2022) : 45–47. http://dx.doi.org/10.52013/2713-3087-39-1-7.
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In this article the author analyzes some aspects of the philosophical concepts of Ludwig Feuerbach, Friedrich Nietzsche and Rene Guenon. Considering the anthropological and religious-philosophical doctrines of this philosophers, the author determines the essential importance of the human problem in modern philosophical science, which is gradually moving from postmodernism to metamodernism.
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Suciu, Andreia-Irina, et Mihaela Culea. « Adam Thirlwell’s Kapow ! – the Montage Book ». Folia linguistica et litteraria X, no 28 (26 décembre 2019) : 27–44. http://dx.doi.org/10.31902/fll.28.2019.2.
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In the context of new times, new types of writing are created in order to meet the demands and wishes of the contemporary public. Printed books make no exception especially given that the reading of (especially printed) books has declined, despite variable statistics over the years. The book reading habits have thus decreased, so making printed books attractive to readers has been a matter of concern for contemporary writers like Adam Thirlwell, as illustrated in his novella Kapow! (2012). In line with the contemporary mind-set of revolutionizing the way in which narrative is presented and the technique in which it is composed, Thirlwell plays with readers’ conceptions and expectations about literary texts, producing a highly experimental work. Along with the montage/collage technique, which will be discussed in the present paper, such concepts as ergodicity, autofiction, metatextuality, paratextuality, metamodernism or altermodernism are central to a proper understanding of how Thirlwell’s novella works and represent highlights of the exploratory undertaking of this article. Keywords: ergodic literature; metamodernism; altermodernist fiction; contemporary autofiction; revolution of the text; intra-notes; collage/montage.
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Artemenko, Andrii P., et Yaroslava I. Artemenko. « From Postmodernism to Metamodernism : The Formation of Modern Visual Practices ». Vestnik Tomskogo gosudarstvennogo universiteta. Filosofiya, sotsiologiya, politologiya, no 58 (1 décembre 2020) : 47–58. http://dx.doi.org/10.17223/1998863x/58/5.
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