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1
Skråge, Magnus, and Dennis Isosalo. "Postmodern counseling." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-34417.
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I detta arbete har vi haft som syfte att utreda om det postmoderna samhällets värderingar skapar ett behov av att förändra vägledningen i riktning mot en holistiskt inriktad vägledning, i arbetet betecknad som Personlig vägledning. Resultatet i arbetet tycker vi visar att det föreligger ett sådant behov. Mycket talar för att vi till stora delar redan lever i det postmoderna samhället och därför anser vi att det är angeläget att vi i vägledningskretsar diskuterar detta vidare. Vi vill även se fortsatt forskning inom området av samma skäl. Arbetet bygger på litteraturstudier och som teoretisk grund ligger Konstruktivistisk vägledning.<br>In this work, we have had as objective to investigate whether the post-modern values of society creates a need to change the guidance in the direction of a holistic guidance, the work referred to as Personal guidance. The result of the work we think shows that there is such a need. There are many indications that we largely already live in the postmodern society, and therefore we believe that it is certainty that we are in counseling circles discussing this further. We would also like to see further research in the field for the same reason. The work is based on literature reviews and theoretical basis is constructivist guidance.
2
Karman, Barbara Ann. "Postmodern power plays : a linguistic analysis of postmodern comedy /." Connect to online version at OhioLINK ETD Connect to online version at Digital.Maag, 1998. http://hdl.handle.net/1989/4784.
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3
Caraher, Paul. "The Postmodern Improvisor." TopSCHOLAR®, 1995. http://digitalcommons.wku.edu/theses/900.
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This thesis represents a revitalization of the thesis form because it has organically blossomed from an integrated consciousness. Instead of the pre-existing thesis form for a Master of Arts Degree in English bending, limiting, and shaping the content, I have shaped the form according to my own synthetic ambition, resulting in a fusion of elements from both a researched and a creative thesis. This strategy is justified since the very subject of the thesis stresses the improviser's ongoing urge to create as the spontaneous moment/impulse requires while simultaneously creating an organic frame or unique inner logic. Above all, this project is a translation of autobiographical reflections which have crystalized years of intense struggle, culminating with my hard fought liberation from the hollow shell of garage band mediocrity.
4
Morgan, Andrew Hugh, and andr morgan@gmail com. "Refrain: postmodern confessions." RMIT University. Creative Media, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080702.152100.
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The creative component of my project is a conteporary, confessional novel, Refrain. The narrator, Jake, has spent his youth chasing a life that matched his dreams - first as a would-be rock star and then by fleeing to India in search of exotic adventures with his girlfriend. Now he returns alone to the suburban backwater he'd tried so hard to escape, ready for stability and responsibility. However, his attempts to reinvent himself in this world of chronic unemployment and limited horizons are thrown into confusion by old friends, estranged fmaily members, an unresolved attachment, and by his musical successor - a volatile young woman with her own problems, who draws him back to things he'd rather forget and towards a future he isn't ready to face. Refain is a story of idealism and desire, fading hopes and unexpected opportunities, long-distance love and short-sightedness. The exegetical component of my project investigates the term 'portmodern confession' as an i ntersection of the confessional narrative mode and postmodernism, and its application to two recent texts: The sportswriter by Richard Ford, and The remains of teh day by Kazuo Ishiguro.
5
Lindberg, Simon. "Postmodern uppmärksamhet : funderingar kring filmisk estetik och filmåskådandet i en postmodern kontext." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-14558.
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I den här uppsatsen behandlas postmodernismens förhållande till filmestetiska och filmåskåderliga företeelser i vår samtid. Vad innebär postmodern film och vilken typ av filmisk estetik är att betrakta som typiskt postmodern och är det rimligt att benämna vår samtida film och dess kultur som tillhörande en postmodern epok? Centrala begrepp och teorier som ställs mot varandra och komparativt studeras är 3D-filmsestetiken och ansamlingsestetiken samt hur de perspektiv som presenteras i den äldre filmteorin, hos André Bazin och Roland Barthes, förhåller sig till vår samtids syn på film, både på ett estetiskt plan och ur ett åskådarperspektiv. Andra frågor som behandlas är huruvida 3D-filmen är att betrakta som immersiv i en postmodern epok och hur den postmoderna filmestetiken förhåller sig till åskådaren. De teoretiska resonemang vilka komparativt studeras under uppsatsens gång exemplifieras med bland annat Avatar (2009) och Jackass 3D (2010). Övriga forskare vars perspektiv tas i särskilt beaktande under uppsatsen inkluderar Jan Holmberg, Fredric Jameson, Deborah Tudor, Philip Sandifer och Pierre Gander bland andra. Vid uppsatsens slut förefaller en absolut formulering av en typisk postmodern filmestetik å ena sidan vara besvärlig att göra, men å andra sidan antyds att ansamlingsestetiken troligen är att betrakta som postmodern. 3D-filmens immersiva potential förväntas vidare hänga på filmskapares förmåga att sömlöst väva in 3D-effekten i sitt narrativ och därmed undvika att presentera den som ett isolerat spektakel, samtidigt medgives det spekulativa i att dra en sådan slutsats. Slutligen pekas sketchformatet, exemplifierat av filmen Jackass 3D, ut som ett särskilt sätt att hålla den postmoderne åskådarens uppmärksamhet fången i en epok kännetecknad av mångfaldiga distraktioner.
6
Hay, Kenneth Einar. "Postmodern theory, computer technology, and education : looking forward to a postmodern education." Connect to resource, 1991. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1239981095.
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7
Parent, Marcel 1975. "Is comparative philosophy postmodern?" Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79800.
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This thesis examines the claims of Jeffrey Timm and James Buchanan that the field of Comparative Philosophy is moving in a postmodern direction. I examine their conception of the postmodern and compare to both the most influential views of postmodernism and with my own understanding of postmodernism. To evaluate their claims I examine the journal Philosophy East and West, which I argue is representative of the field of Comparative Philosophy. I analyze the works of the editors of the journal and also do a statistical analysis of the journal to determine whether the field is becoming more postmodern. I conclude that Timm and Buchanan may be correct.
8
Ng, Ho-yi Veronica, and 吳可怡. "Postmodern space in Yaumatei." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31260330.
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Franco, Marie. "SM in Postmodern America." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1532004486477585.
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10
Lopez, Delano J. Lopez. "How We Became Postmodern." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu153450213719398.
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11
Litowitz, Douglas E. "Postmodern philosophy and law /." Lawrence (Kan.) : University press of Kansas, 1997. http://catalogue.bnf.fr/ark:/12148/cb37177950p.
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12
Ng, Ho-yi Veronica. "Postmodern space in Yaumatei /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22284655.
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13
Moriyama, Takeshi. "Edo and the postmodern." Thesis, Moriyama, Takeshi (1996) Edo and the postmodern. Masters by Coursework thesis, Murdoch University, 1996. https://researchrepository.murdoch.edu.au/id/eprint/52972/.
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This thesis deals with a contradictory nexus between two terms: “Edo” and “postmodern” in certain Japanese discourses. “Edo”, firstly, refers to the “historical” period in Japan from 1603 to 1868 anterior to the nation’s “modernisation”. Its signification as “premodem” notwithstanding, “Edo” has been objectified over and over again in postmodernist discourse, particularly, in the Japan of the 1980s. This was a decade which saw the “Edo” boom and the “postmodern” boom coincide.
Karatani Kojin is concerned with this coincidence, and recognises that “Edo” has been resurrected with or by the “postmodern” via the discourses of Japan in the 1980s. Indeed in this peculiar discursive formation of the “Edo” boom, we can see many suggestions which are mostly based on the scheme: ‘premodern freedom/modem repression/postmodern liberty’ as Sakai Naoki has observed.
Largely, I owe my choice of starting point to Karatani and Sakai. Then I endeavour to develop my discussion into, firstly, the contexts which give rise to “Edo” in postmodernist debates. I am particularly concerned with a discursive formation which can be called “a genealogy of the anti/post-modern” vis-a-vis the modern of Japan.
Secondly, the thesis aims to examine the potential of “Edo” literary texts in terms of anti/post-modernist readings as well as modernist interpretations. By focusing on Ihara Saikaku’s Koshoku Ichidai Otoko (The Life of An Amorous Man), we will consider how an “Edo” text has been read within a modernist framework, and how its interpretations have been transformed in the application of the “postmodern” to Japanese discourses. This will be undertaken with special reference to Foucault’s attempt to reveal the “deception” of the modern.
“Edo-as-postmodern” discourse can be seen as a peculiar practice of demodemisation, arising within the Japanese discursive space in confrontation with the “modem-West”. Investigation of this discourse will lead hopefully to clarify some of the complexities of Japan’s relations with the West in the light of modernisation, and also problems of reading texts in the past in the contexts of the present.
14
Franklyn, Blair Scott. "Towards a Theory of Postmodern Humour: South Park as carnivalesque postmodern narrative impulse." The University of Waikato, 2006. http://hdl.handle.net/10289/2252.
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The philosopher Martin Heidegger describes humour as a response to human 'thrownness' in the world. This thesis argues that there is a form of humour which can be usefully described as postmodern humour and that postmodern humour reflects the experience of being 'thrown' into postmodernity. Postmodern humour responds to and references the fears, fixations, frameworks and technologies which underpin our postmodern existence. It is further contended that South Park is an example of postmodern humour in the way that it exhibits a carnivalesque postmodern narrative impulse which attacks the meta-narrative style explanations of contemporary events, trends and fashions offered in the popular media. South Park's carnivalesque humour is a complex critique on a society in which television is a primary instrument of communication, a centre-piece to many people's lives, and a barometer of contemporary culture, while at the same time drawing attention to the fact that the medium being satirised is also used to perform the critique. A large portion of this thesis is devoted to examining and interrogating the discursive properties of humour as compared to seriousness, an endeavour which also establishes some interesting links to postmodern philosophical discourse. This can be succinctly summarized by the following: 1. Humour is a form of discourse which simultaneously refers to two frames of reference, or associative contexts. Therefore humour is a bissociative form of discourse. 2. Seriousness is a form of discourse which relies on a singular associative context. 3. The legally and socially instituted rules which govern everyday life use serious discourse as a matter of practical necessity. 4. Ambiguity, transgression and deviancy are problematic to serious discourse (and therefore the official culture in which it circulates), but conventions of humorous discourse. 5. Humorous discourse then, challenges the singularity and totality of the official discourses which govern everyday life. Subsequently, humour has been subjected to a variety of controls, most notably the 'policing the body' documented in the writings of Norbert Elias and Michel Foucault. 6. Humour can therefore be understood to function in a manner similar to Jean-Fran ois Lyotard's concept of little-narrative's, which destabilize the totality of official meta-narratives. Furthermore, this thesis proposes strong links between the oppositional practices of the medieval carnival, as outlined by Mikhail Bakhtin, and the produced-for-mass-consumption humour of South Park. However, it also demonstrates that although South Park embodies the oppositional spirit of the carnival, it lacks its fundamentally social nature, and therefore lacks its politically resistant potency. More specifically it is argued that the development and prevalence of technologies such as television, video/DVD, and the internet, allows us to access humour at any time we wish. However, this temporal freedom is contrasted by the spatial constraints inherent in these communication/media technologies. Rather than officially sanctioned times and places for carnivalesque social gatherings, today, individuals have the 'liberty' of free (private) access to carnivalesque media texts, which simultaneously help to restrict the freedom of social contact that the carnival used to afford. Further to this, it is argued that the fact that South Park, with its explicit derision of authority, is allowed to circulate through mainstream media at all, implies asymmetric conservative action on the part of officialdom. In this sense it is argued that postmodern humour such as South Park is allowed to circulate because the act of watching/consuming the programme also acts as a deterrent to actual radical activity.
15
Herring, Lesley Virginia. "The existential and postmodern individual." Texas A&M University, 2005. http://hdl.handle.net/1969.1/2371.
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The theories of existentialism and postmodernism seem like very different ideas
at first glance. Existentialism is a philosophy of individuals, while postmodernism is a
theory focused more on society and less on individual existence. In this thesis, I will
show that both of these ideas can be merged together to be seen as an individual
philosophy. Using theories from each philosophical camp, I will describe both the
existential and postmodern being. I will explain characteristics of these individuals and
explain how they function in society. I will use several philosophers to explain this such
as Jean-Paul Sartre and Michel Foucault, and finally, I will discuss The Stranger by
Albert Camus. In The Stranger, the main character, Monsieur Meursault, exhibits the
qualities of both types of individuals. I will use him as an example of the type of person
that emerges from the philosophical ideas of existentialism and postmodernism. I
analyze Meursault through the eyes of both the existentialist and the postmodernist, and
conclude that Meursault personifies the traits and characteristics that are specific to these
philosophies.
16
Mills, Caroline Ann. "Interpreting gentrification : postindustrial, postpatriarchal, postmodern?" Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/29245.
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The topic of gentrification is employed to carry through an argument about the theorization of geographical phenomena. The thesis argues for the revival of a critical cultural geography, in conjunction with the currently dominant perspectives on economic and social change in the geography of restructuring.
Applying the realist perspective on gentrification as a chaotic conception, a critical appraisal is made of the conventional production-oriented and consumption-oriented approaches to explaining gentrification. The "production of gentrifiers" approach, which seeks to overcome their conceptual divisions, offers a base for further work. Three levels for examinating gentrification are proposed.
First, gentrification is viewed as a conjuncture of contingent social processes. The structuration of class and gender under conditions of socioeconomic restructuring is called upon to explain changing patterns of residential choice, employing the heuristic of postindustrial class relations and postpatriarchal gender relations. An extensive statistical analysis at the urban-system scale describes the pattern of incidence of gentrification between 22 Canadian Census Metropolitan Areas. High levels of gentrification are found to occur in urban contexts indicative of the presence of a postindustrial mode of class relations and a postpatriarchal mode of gender relations.
At the second level of investigation, gentrification is treated as a context for the negotiation of social conduct. An intensive ethnographic methodology is applied in one Vancouver neighbourhood, drawing upon resident interviews. "Thick Description" draws out the strategies by which gentrifiers respond to changing socioeconomic conditions. Gentrification itself is an environmental tactic allowing them to construct workable and satisfying styles of life. The geographic context enables a complex articulation of domestic life with the public realm of work.
At the third level, which has been neglected elsewhere in the literature, gentrification is investigated as a constituent in the construction of social identity. The emergent meaning of the inner city is examined, especially with respect to gentrifiers' images of "the urban". Drawing upon the literature on landscape as text, a third heuristic—the postmodern— explores the inner city as a terrain of meaning, and the interactions of textual communities of landscape "producers" and "consumers".<br>Arts, Faculty of<br>Geography, Department of<br>Graduate
17
Hall, Karen Alexandra. "Luce Irigaray, postmodern or essentialist." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20789.pdf.
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Farrell, J. Michael. "Dramatic arts and the postmodern." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0001/NQ41066.pdf.
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19
Arndt, Kenneth G. "Sermon contextualization for postmodern ears." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p068-0610.
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20
Rhind, Neil James. "Alasdair Gray and the postmodern." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3426.
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The prominence of the term ‘Postmodernism’ in critical responses to the work of Alasdair Gray has often appeared at odds with Gray’s own writing, both in his commitment to seemingly non-postmodernist concerns and his own repeatedly stated rejection of the label. In order to better understand Gray’s relationship to postmodernism, this thesis begins by outlining Gray’s reservations in this regard. Principally, this is taken as the result of his concerns over the academic appropriation of his work, and his suggestion that ‘postmodernism’ is an entity wholly constructed and primarily active within critical theory, with a tendency to elide the political dimension of literature under its own assumed apolitical solipsism. While acknowledging these reservations, this thesis goes on to explore the extent to which theories elaborated under the ‘postmodern’ heading possess utility as an approach to Gray’s work, primarily focussing on the extent to which they necessarily stand at odds with his political concerns. To this end, subsequent chapters go on to read Gray’s major works in parallel with appropriate theoretical models drawn from the diverse configurations given postmodernism. Comparison between Gray’s project in Lanark of providing contemporary Glasgow with imaginative depiction and the cognitive mapping demanded in Fredric Jameson’s account of the postmodern not only highlights their similarities, but identifies this notion of the ‘epic map’ as a central aspect of the political dimension of Gray’s writing. The ‘epic map’ recurs in consideration of 1982, Janine, which explores the potential political agenda in its narrators’ seemingly postmodern fabulism, and its relationship to seemingly less ‘postmodern’ concerns of the novellas The Fall Of Kelvin Walker, McGrotty and Ludmilla and Something Leather. Likewise, ‘mapping’ also plays a part in approaching Poor Things in the context of postmodern historiography as described by Jameson and Linda Hutcheon. The penultimate chapter explores A History Maker as a complex negotiation with the very notion of postmodernism, installing, rejecting and subverting tropes drawn from postmodern theories, principally those of Fukuyama, Baudrillard and Jameson. In the concluding chapter, while no final conclusion is reached regarding a fixed relationship between Gray and the postmodern – a notion taken as impossible, given the heterogeneity of the values ascribed to the term – a degree of utility, and certainly of relevance, in approaching even Gray’s political concerns is thus established.
21
Whitehouse, Ian Paul. "A reading of the postmodern." Thesis, Cardiff University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.254593.
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Gane, Nicholas B. "Max Weber and postmodern theory." Thesis, London Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297506.
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23
Darougari, Baharak. "Hyperfiction, creativity and postmodern novel." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC021/document.
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Depuis l’invention du terme hypertexte par Ted Nelson en 1965, il y a eu des débats fréquents à propos des mérites et des dangers des textes numériques, pour savoir si le développement des technologies informatiques causerait l’obsolescence des supports imprimés. Les prophéties étaient apocalyptiques et l’avenir des livres semblait sombre. Environ cinquante ans plus tard, tant les supports imprimés qui étaient condamnés que les hypertextes numériques qui semblaient être leurs exécuteurs existent encore. Les romans sont toujours populaires et les hypertextes aussi. Nul n’est dépassé ou éradiqué par l’autre. Au contraire, la coexistence des livres et leurs homologues numériques a affecté notre perception des textes, des lecteurs, des auteurs et de l’expérience de lecture. Plus important, l’échange entre les deux médias a eu comme résultat l’apparition d’une fiction expérimentale exceptionnelle à la fois sur écran et sur papier. La conjonction entre la fiction et les technologies numériques est au centre de ce projet qui vise à d’étudier l’hyperfiction, ses racines dans la fiction traditionnelle et ses descendants imprimés<br>Since Ted Nelson coined the term “hypertext” in 1965, there have been frequent debates on the merits and dangers of digital texts and whether the development of digital technology would outdate the print-based medium. The prophecies were apocalyptic and the future of books seemed bleak. About fifty years later, the doomed print-based medium and the digital hypertexts, their would-be executioners,both still exist. Novels are still popular and so is hyperfiction. Neither outdated or eradicated the other. Instead, the coexistence of books and their digital counterparts has affected ourperception of text, reader, writer and the reading experience. More importantly, the exchange between the two media has resulted in exceptional experimental fiction both on screen and on paper. The conjunction between fiction and digital technology is of concern to this project which attempts to study hyperfiction, its roots in fiction and its printed descendants
24
Slocombe, Will. "Postmodern nihilism : theory and literature." Thesis, Aberystwyth University, 2003. http://hdl.handle.net/2160/740d7998-8998-4ef7-9514-4174d05cec4a.
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This thesis examines the relationship between nihilism and postmodernism in relation to the sublime, and is divided into two parts: theory and literature. Beginning with histories of nihilism and the sublime, the Enlightenment is constructed as a conflict between the two. Rather than promote a simple binarism, however, nihilism is constructed as a temporally-displaced form of sublimity that is merely labelled as nihilism because of the dominant ideologies at the time. Postmodernism, as a product of the Enlightenment, is therefore implicitly related to both nihilism and the sublime, despite the fact that it is often characterised as either nihilistic or sublime. Whereas prior forms of nihilism are 'modernist' because they seek to codify reality, postmodernism creates a new formulation of nihilism – 'postmodern nihilism' – that is itself sublime. This is explored in relation to a broad survey of postmodern literature through a series of interconnected themes. These themes – apocalypse, the absurd, absence, and space – arise from the debates presented in the theoretical chapters of this thesis, and demonstrate the ways in which nihilism and the sublime interact within postmodern literature. Because of the theoretical and literary debates presented within it, this thesis concludes that it cannot be a thesis at all.
25
Shagufta, Iqra. "Postmodernity and Pakistani Postmodern Literature." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707404/.
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Though scholars have discussed postmodernism in Islam and South Asia before, they tend to (i) assume Muslims as a monolithic group, bypassing the diversity of different cultures and the interaction of these cultures with indigenous practices of Islam; (ii) study postmodernity synchronically, thereby eliding histor(ies) and the possibility of multiple temporalities; and (iii) compare postmodernity in non-Western countries with Western standards, and when these countries fail this test, declare them not-yet-postmodern, or even modern. Negligible and scant discussions of postmodernity that do take place inside Pakistan, most of which are published in newspaper articles, tend to focus on Western postmodernity and its evolution and contemporary position. There is no book-length discussion of postmodernity and postmodernist literary texts from Pakistan and its curious sociopolitical blend of Indo-Muslim and Anglo-Indian influences and interaction with the Islamic political foundations of the country. This project discusses postmodernity and postmodern literature in Pakistan. I argue that, because of a different political, cultural, and literary climate, postmodernity and postmodern literature in Pakistan are distinct from their Western counterparts. Because of technological advancement and neoliberal globalization, Pakistan experiences a different kind of postmodernity resulting in the production of a different kind of postmodern literature. I trace the historical employment of postmodern literary tropes from Indo-Islamic genres, i.e. dastan, to contextualize this conversation. Then I discuss experimental works of fiction like Sultana's Dream (1908), Bina Shah's Before She Sleeps (2018), and Soniah Kamal's Unmarriageable (2019). The last chapter explores the relationship of postmodernity, postmodern politics, and Pakistani and Muslim historiographic metafictional literary texts: The Satanic Verses (1988) and A Case of Exploding Mangoes (2008). Hence, the work is regional and national, as well as comparative and transnational.
26
Johnston, Graham. "Biblical preaching to postmodern listeners." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Stiller, Brian. "Preaching parables to the postmodern." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
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Venegas, Robinson Hugo F. "Preaching in a postmodern context." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Cox, Nicholas Michael. "Storytelling in the postmodern context." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p062-0318.
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de, Vries Kees. "Oscar Wilde and postmodern thought." Thesis, Bangor University, 2013. https://research.bangor.ac.uk/portal/en/theses/oscar-wilde-and-postmodern-thought(7e7e1241-5610-45a3-b4b5-e17e18747cd7).html.
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Ohanyan, Rima. "The Theatre of a Thousand Plateaus : How can architecture accommodate the postmodern conceptions of the theatre and provide spaces for non-conventional theatricals where narrative is deconstructed and the audiences are active co-creators or co-participants?" Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-174995.
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Today’s world has undergone through a variety of changes shifting from metaphysical way of thinking into postmodernism which has left its footprint in the aspects of literature, art and theatre. But architecture doesn’t reflect those changes in the theatrical world because buildings are not adjusted to the postmodern performances. In this research I made a journey through postmodern philosophy, literature, art, architecture, and theatre and tried to analyze the main tools of postmodernism, such as deconstruction of narrative, displacement etc. Then I applied them into my project which makes an attempt to translate the postmodern mind into a physical space and create a theatrical area. It tries to answer the question whether architecture is able to accommodate postmodern conceptions and performances where the audiences are the creators and active participants of their own narratives. The case study of the performance Sleep No More has become the concept for my design proposal where I also used displacement to combine several objects in a new context. The analysis and the design method have shown that architecture can accommodate all the cultural developments and can transform from postmodern conceptions into a physical space with the help of the same tools that are used in postmodern literature, art and philosophy. A building can become the embodiment of a post modernistic idea.
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Prette, James Andrew. "Preaching to the postmodern congregation an exploration of the sermon process among ten postmodern preachers /." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p068-0627.
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Lee, Hyun-Min. "Postmodern epistemology and schooling / Hyun-Min Lee." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1137.
Texte intégralRésumé :
One of the core and primary functions of the school is to transmit knowledge from one
generation to the next. The theory and practice of schooling (teaching and learning) should
be founded on a sound concept of knowledge. A change in epistemology entails a change in
approach to schooling. This study investigates how the postmodern idea of knowledge may
affect schooling both in theory and practice.
The author traces how the concept of knowledge has changed from modern to the
postmodern era, in order to find the general features of the recent view of knowledge. The
postmodern idea of knowledge is characterised by doubt about objective knowledge, the shift
from universal reason to plural reason, criticism of foundationalism and awareness of the
peculiar role of language.
This study focuses on Richard Rorty's theory to analyse the postmodern idea of knowledge
and its educational implication. In order to figure out the problems of postmodern
epistemology, the author criticises Rorty's idea of knowledge immanently and
transcendentally. Not only self-contradictions but also hidden foundations (or beliefs) in
Rorty's idea of knowledge are revealed. This study comes to conclude that although the
postmodern idea of knowledge reveals the shortcomings of the modern idea of knowledge, it
also has many flaws in achieving a sound concept of knowledge.
This study indicates an alternative view of knowledge from a Reformational perspective in
order to overcome the shortcomings of postmodern epistemology. The author suggests a
new possibility of objective knowledge based on the notion of creational law, and also various
kinds of legitimate knowledge based on the multi-dimensional modality of reality. As a final
point, this study suggests the notion of stewardship in education. Schooling should open up
the multidimensional reality for students to become responsible stewards who care for the
world and their fellow human beings.<br>Thesis (Ph.D. (Education))--North-West University, Potchefstroom Campus, 2007.
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Ferret, Fortuny Jordi. "L'efecte hipnòtic en el cinema postmodern." Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7274.
Texte intégralRésumé :
L'efecte hipnòtic en el cinema postmodern desenvolupa una aproximació al discurs postmodern a través de la categoria estètica d'allò sinistre (das unheimliche), com el camí que senyala l'ombra i el fantasma, el desplaçament del subjecte i la representació de l'inconscient, el real del desig, per mitjà de la metàfora de la hipnosi aplicada al cinema.<br/>Hypnotic effect in postmodern cinema develops an approach to postmoden theories throught the sinister aesthetic category (das unheimliche), understood as the way that shows the shadow and the ghost, the subject displacement and the unconsciousness representation, the real of the desire, by the metaphor of hypnosis applied to cinema.
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M, Ferreira Maria José. "Information technology and the postmodern community." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq31285.pdf.
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Hart, Susan Elizabeth. "Traditional war memorials and postmodern memory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0015/MQ54346.pdf.
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Cromb, Brenda. "Ambivalent passion : Pedro Almodóvar's postmodern melodrama." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/4074.
Texte intégralRésumé :
This thesis considers the films of Spanish director Pedro Almodóvar as
postmodern melodramas. The crux of my argument is that melodrama is known for its
expressiveness and its attempt to restore a spiritual element to a post-sacred world, and is
used by Almodóvar to make clear the problems and contradictions inherent in the
destabilized world of postmodernity. This definition of melodrama draws primarily on
the work of Peter Brooks, Christine Gledhill and Linda Williams; it is modified to apply
to postmodernism as defined by Jean Baudrillard and Frederic Jameson. The conclusion
reached is that Almodóvar is deeply ambivalent about postmodernity.
Chapter 2 considers the twin issues of representation and sexuality in
Almodóvar’s first six films: Pepi, Luci, Born (Pepi, Luci Born y otras chicas del montón,
1980), Labyrinth of Passions (Laberinto de pasiones, 1982), Dark Habits (Entre
tinieblas, 1983), What Have I Done To Deserve This? (Qué he hecho yopor merecer
esto!, 1984), Matador (1986), and Law ofDesire (Le ley del deseo, 1987); with a special
eye to the representation of sexual violence, it establishes how Almodóvar develops his
ambivalent melodramatic imagination.
Chapter 3 considers fashion as a discourse and argues that Almodóvar’s next four
films use clothing to place different versions of femininity in dialogue, and uses this as a
springboard to consider Women on the Verge ofa Nervous Breakdown (Mujeres al borde
de un ataque de nervios, 1988), Tie Me Up! Tie Me Down! (I Atame!, 1990), High Heels
(Tacones lejanos, 1991), and Kika (1993) as postmodern “women’s pictures.”
Chapter 4 considers the appearance of the explicitly political along with the
symbolism of the image of the map in The Flower of My Secret (Laflor de rni secreto,
1995), Live Flesh (Came trémula, 1997), and All About My Mother (Todo sobre mi
madre, 1999).
Chapter 5 uses the metaphor of ghosts to consider the draw of the past in Talk To
Her (Hable con ella, 2002), Bad Education (La mala educación, 2004), and Volver
(2006), pointing to both the emptiness of the present and the impossibility of returning to
that golden past.
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Bradley, Jessica. "Postmodern bodies and feminist art practice." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69635.
Texte intégralRésumé :
This thesis examines, from a feminist perspective, conceptions of the body proposed by poststructuralist philosophy and postmodernist art practice. Within both feminist and postmodern critiques of the humanist subject, the body has come to be understood as a site of cultural inscriptions. In tracing the relationship between postmodernism and feminism, the thesis addresses specifically the shift from celebratory, affirmative female imagery typical of feminist art in the seventies, to the semiotic analysis of images of women which, in the eighties, problematized the question of sexual difference as one of representation. During the eighties women artists generally eschewed figurative representations of the female body in recognition of its over-determined socio-sexual status. Within this historical framework, the tension between the "de-materialized" body of postmodernity and the insistently present body of gendered experience is explored both in the work of feminist theorists and contemporary women artists. In conclusion, three corporeal sites--the cultural, the epistemological and the psycho-sexual--are analysed in the postmodern practices of Jana Sterbak, Nell Tenhaaf and Kati Campbell.
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Sung, Mei-yee, and 沈美怡. "Likeness and unlikeness in postmodern fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B26791973.
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Yu, King-lun Sunny, and 余經綸. "Gender and crime in postmodern cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29793233.
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Moore, Gregory. "Art and action : exploring postmodern aesthetics." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1456.
Texte intégralRésumé :
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Sciences<br>Political Science
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Goodman, Steve. "Turbulence : a cartography of postmodern violence." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/36343/.
Texte intégralRésumé :
This thesis maps the end of the millenium in terms of the geostrategic flux of the post Cold War world system. Using the concept of turbulence developed in the physics of fluids, and Gilles Deleuze & Felix Guattari's liquid microphysics of the war machine, a materialist analysis of violence is developed which cuts through the binary oppostions of order/chaos, law/violence, war/peace to construct a cartography of speeds and slowness, collective compositions and power. Sector 1 defines postmodernity in terms of cybernetic culture, delineating the distinction between Deleuze & Guattari's concept of cartography and steering the problem out of the remit of a juridico/politico/moral discourse telwards physics. Sector 2 develops a fluid physics of turbulence and connects it to a materialist analysis of social systems by mapping turbulent and laminar flow onto Deleuze & Guattari's war machine and apparatus of capture. A fluid dynamics of insurgency is then outlined with reference to the geo-strategic undercurrent constituted by Chinese martial theory. Sector 3 reconfigures social evolution in relation to the non-linear social physics developed in Sector 2, unmasking the racism and Imperialism of linear narratives of progress. Instead of progression from one historical phase to another, the planet is seen to be composed of a virtual co-existence of modes stretched out on a continuum of war. This continuum connects the martial modes of despotic states, disciplinary states and packs. These modes differ in their degree of compositional laminarization. Sector 4 deploys the cartography on the emergence of a planetary cybernetic culture and its relation to a global machinery of war. Postmodern control is designated as turbulence simulation or programmed catastrophe- a runaway process of accident or emergency quantizing typified by implosive turbulence in the core of the world system and its overexposure. Sector 5 pushes the cartography towards an antifascist fluid mechanics otherwise denoted as an ethics of speed or a tao of turbulence.
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Long, Nigel Jeremy. "Aspects of a radical postmodern theatre." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267225.
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Barnes, Lucy Dawn. "Performances of law under postmodern conditions." Thesis, University of Kent, 2010. http://eprints.kingston.ac.uk/21028/.
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Swindells, Rachel Justine. "Stylistic fusion in a postmodern context." Thesis, University of Leeds, 1999. http://etheses.whiterose.ac.uk/7849/.
Texte intégralRésumé :
The purpose of this study is to examine the links between postmodernism and music ‘fusing’ what are commonly described as popular and classical styles. Much postmodern theory has discussed the relationship between ‘high’ and ‘low' and recognised eclecticism within art, but how does fusion connect with this? An investigation of terminology and definitions together with a discussion of historical precedents for contemporary cross-influences provides a base from which to explore fusion and the postmodern. A framework oulining postmodernism’s background and its relevance to music is used in conjunction with an analysis of works by Talk Talk, Mike Oldfield and Graham Fitkin. Developing the concept of what might constitute the postmodern in music, theargument moves beyond the consideration of inherent traits which may or may not suggest postmodernism. A broader concept based on a sense of postmodern spirit is developed, recognising the importance of the roles of context and aesthetic as well as characteristics within the text. A detailed analysis of various works by the chosen artists allows exploration of both the concept of fused music and the application of postmodern theory. It will be suggested that, although these musicians produce music which displays a number of traits which are considered by many to reflect postmodernism, the music in question does not necessarily represent a postmodern aesthetic: the most postmodern of the works considered is also the least fused. It will be argued that the characteristics of music itself cause considerable problems in the application of postmodern theory, and that fusion, by its very definition and because of the connotative qualities that specific musical references often carry, does not correlate to concepts of the postmodern.
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Bejo, Ermir. "Postmodern Multiplicities in Three Original Works." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062830/.
Texte intégralRésumé :
My recent compositions are situated within a postmodern theoretical framework. The heterogeneity of materials and hybridity of musical formation in these works are interpreted and contextualized within a personal reading of postmodern theories. The critical essay traces my aesthetics through a historical investigation into the definition of musical postmodernism. Through extensive citation and analysis of the writings of Julius T. Fraser, Italo Calvino, and Richard Rorty, the essay aims to provide a theoretical context for the interpretation of the musical examples. The creative documentation contains three newly-composed musical works: Piano Trio from Opus 3/c, Opus 6 for Violin, and Opus 7 for Piccolo. The works' postmodern features include creative approaches to the fragmentation of musical time into separate levels, historical allusions, and the exploration of multiplicity.
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Philibert, Céline Lydia Germaine. "French postmodern cinema : desire in question /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487760357819381.
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Jaccaud, Sabine Jeanne. "The postmodern city : architecture and literature." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:90ac276d-030a-4a8f-8743-018c21c5f50f.
Texte intégralRésumé :
This thesis explores Postmodern architecture and narrative representations of the city as an emblem for the presence of the past in a contemporary environment. The architectural theory of Aldo Rossi is a model for this perception of the city as a locus of memory. Berlin, London and Paris are the places I will consider. Part I presents examples of architectural practice of the 1980s. A project for a museum of German history in Berlin, the Sainsbury Wing of the National Gallery in London and the Place de Stalingrad in Paris re-work urban historical traces. Chapter 4 outlines the theories behind each project and how they develop notions of memory within the city. Part II pursues this thread by focusing on examples of narrative representations of cities. In relation to Germany and Berlin, Wim Wenders' film Per Himmel über Berlin, Walter Abish's novel How German Is It. Christa Wolf's Kindheitsmuster and Hugo Hamilton's Surrogate City are my main sources. I discuss London through Peter Ackroyd's novel Hawksmoor and Paris through examples of Patrick Modiano's writing. A fourth and more theoretical chapter outlines how Postmodern narrative represents history and problematises memory. Two images direct this discussion: the detective and the palimpsest. My sources rely on the model of urban inquests and portray the city as a space shaped by a lamination of traces from superimposed eras. Part III connects architecture and narrative through examples of recent developments in Postmodern museology, mainly the Holocaust Museum. They construe historical narratives by endowing building and contents with a communicative function. As a conclusion, I establish that Postmodern concerns with history focus on the importance of bearing witness to the past, however problematic its representation has become. As the city houses memory, it is a priviledged location for historical traces which define contemporary identity.
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Kroschel, John A. "Dialectic preaching in a postmodern ethos." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
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Morris, Russell Alexander. "A biblical paradigm for postmodern ministry." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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