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Tesi sul tema "Postmodernità"
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1
Pertile, Giovanni Battista <1991>. "Thomas Pynchon, La voce invisibile della postmodernità". Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8806.
Testo completoAbstract (sommario):
L’elaborato è stato concepito al fine di presentare compiutamente l’opera dell’autore statunitense Thomas Pynchon indagando, analizzando gli otto romanzi più la raccolta di racconti brevi Slow Learner, i temi di riflessione che emergono da una attenta lettura delle complicate, enciclopediche e pregne di significato pagine che lo scrittore ha costruito durante i più di cinquant’anni di enorme sforzo intellettuale. Affinché il lavoro assumesse una maggiore stabilità di contesto si è resa necessaria un’analisi sui movimenti culturali che hanno portato alla nascita dello spirito del postmodernismo, corrente alla quale è tradizionalmente legato, nonché la messa in evidenza delle differenze ontologiche ed ermeneutiche che marcano la distanza tra postmodernismo e modernismo. In questo modo si è potuto più facilmente rendere chiara l’influenza che la voce di Thomas Pynchon esercita dall’inizio della seconda metà del ‘900 fino ai tempi odierni, una voce portatrice di una raffinata e solida critica nei confronti del dominio della tecno-scienza e delle ideologie di mercato che penetrano nel tessuto esistenziale dell’uomo oltre che in quello della storia negando una autentica esperienza antropologica di creatività e riscrittura costantemente nuova della realtà.
2
Ottaviano, Matteo <1988>. "La narrativa italiana degli anni Duemila - tra postmodernità e ipermodernità". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amsdottorato.unibo.it/10454/1/Ottaviano%20-%20Tesi%20-%20Narrativa%20anni%20Duemila%20-%20Unibo.pdf.
Testo completoAbstract (sommario):
Nel corso degli ultimi quindici anni, il dibattito letterario italiano si è rivolto soprattutto alla persistenza dei caratteri del postmoderno italiano nella produzione letteraria nazionale, e parallelamente sulla ricerca dei sintomi e dei segnali che possano dimostrare un superamento di questo periodo storico e letterario. Le posizioni prese dalla critica letteraria sono polarizzate, da una parte i sostenitori di un necessario recupero dei caratteri al contempo realisti e modernisti e dall’altra coloro che ritengono che il postmoderno sia evoluto verso una forma più matura.
In questo lavoro, sulla scorta di Luperini, Donnarumma e Cortellessa, consideriamo il postmoderno come una fase artistica e storica consumata. Pertanto, abbiamo indagato le forme che rappresentano i nodi tematici più riconoscibili della nuova produzione letteraria italiana; lo si è fatto attraverso le opere di alcuni autori che più di altri mostrano una sensibilità comune e degli elementi problematici affini, malgrado delle differenze stilistiche profonde. Abbiamo scelto di concentrarci sulla produzione di Giorgio Falco, Nicola Lagioia, Laura Pugno e Giorgio Vasta.
Nella prima parte, abbiamo osservato la presenza della corporalità in alcune opere di tali autori, alfine di verificare le modalità del ritorno alla dimensione fisica dell’esistenza. Nella seconda parte, abbiamo indagato il ritorno all’impegno, osservando la rappresentazione degli anni Settanta e Ottanta e lo sguardo degli autori verso la città diffusa del nord Italia.In the last fifteen years the Italian literary debate has specifically revolved around the persistence of Italian postmodernism features in the national literary production and, simultaneously, around the research of signs that can prove the overcoming of this historical and literary era. The literary critics have taken very different stances on the topic and are therefore still divided: on one side we find the advocates of a certain restoration of both realist and modernist features; on the other we find those who consider postmodernism to have evolved in a more mature form. In this work, on the basis of Luperini, Donnarumma e Cortellessa, we are going to consider postmodern as a concluded artistic and historical phase. The most representative and recognizable key themes of the new Italian literary production will be investigated through the work of four authors that - above others - have shown a shared sensitivity and similar problematic elements: Giorgio Falco, Nicola Lagioia, Laura Pugno, Giorgio Vasta. In the first section we have observed the presence of corporeality in some of these authors’ works, with the aim of verifying the modality of return to the physical dimension of existence. In the second part we have investigated the return to commitment through the observation of the Seventies and Eighties and an overview of the Northern Italy urban sprawl.
Au cours de ces quinze dernières années, le débat littéraire italien a notamment porté sur la persistance des caractères du postmoderne italien dans la production littéraire nationale, et parallèlement sur la recherche de symptômes démontrant le dépassement de cette période historique et littéraire. Les positions prises par la critique littéraire sont très partagées : d'une part, les partisans d'une récupération de caractères à la fois réalistes et modernistes et d'autre part, ceux qui considèrent que le postmoderne n'est pas tout à jeter et qu'il a d'ailleurs évolué vers une forme plus mûre. Dans ce travail, sur la lignée de Luperini, Donnarumma et Cortellessa, nous considérons le postmoderne comme une phase artistique et historique épuisée. Nous avons enquêté les formes qui représentent les noyaux thématiques les plus reconnaissables de la nouvelle production littéraire italienne. Cela par le biais des œuvres de certains auteurs qui plus que d’autres montrent une sensibilité commune et des éléments problématiques similaires : Giorgio Falco, Nicola Lagioia, Laura Pugno, Giorgio Vasta. Dans la première partie, nous avons observé la présence de la corporéité dans certaines œuvres de ces auteurs, afin de vérifier les modalités du retour à la dimension physique de l’existence. Dans la deuxième partie, nous avons enquêté le retour à l’engagement en observant la représentation des années Soixante-dix et Quatre-vingt et le regard envers l’étalement urbain du nord de l’Italie.
3
D'Augusta, Anna. "Organizzazione di partito e postmodernità: la de-differenziazione come ipotesi di mutamento". Doctoral thesis, Università di Catania, 2015. http://hdl.handle.net/10761/3833.
Testo completoAbstract (sommario):
I profondi mutamenti subiti dalle organizzazioni tradizionali hanno costretto i partiti a ridefinire la configurazione delle loro strutture interne, sia territoriali sia funzionali. Dal punto di vista territoriale, si riscontra la tendenza ad alleggerire l articolazione dei subsistemi, attraverso la riduzione del numero di unità o la ricerca di formule più soft, come i centri di aggregazione tematica. Dal punto di vista funzionale (o settoriale), ciò ha comportato l esternalizzazione delle mansioni un tempo svolte all interno dei confini dell organizzazione partitica. Fra queste, l aggregazione degli interessi, la mobilitazione elettorale, la gestione della comunicazione politica, il policy making. La perdita di tali funzioni è avvenuta in concomitanza all indebolimento dei legami di appartenenza fra membership e partiti, ormai non più titolari del monopolio sulle attività di collegamento fra cittadini e istituzioni dello stato. La ridefinizione delle strutture risponde alla sovra-differenziazione e a fenomeni di ipertrofia burocratica compiutasi all interno dei partiti di massa, divenuti ingovernabili a causa di un eccessiva articolazione interna dell organizzazione che, negli anni, (hanno inquinato i meccanismi che garantivano ) compromesso la capacità di assumere decisioni in tempi ragionevoli (o di controllare le zone di incertezza). La ricerca di nuove soluzioni organizzative, flessibili e snodate, può farsi rientrare nel processo (pratica) di de-differenziazione tipico della società postmoderna, intesa come: 1) la ridefinizione dei rapporti fra i vari livelli gerarchici, sia in senso orizzontale che verticale, volta a smantellare il rigido sistema di divisione del lavoro che ha caratterizzato i partiti di integrazione di massa; 2) la tendenza a trasgredire i confini dell organizzazione attraverso la creazione di una fitta rete di scambi con l ambiente esterno. La ridefinizione delle strutture risponde alla sovra-differenziazione e a fenomeni di ipertrofia burocratica compiutasi all interno dei partiti di massa, divenuti ingovernabili a causa di un eccessiva articolazione interna dell organizzazione che, negli anni, (hanno inquinato i meccanismi che garantivano ) compromesso la capacità di assumere decisioni in tempi ragionevoli (o di controllare le zone di incertezza). La ricerca di nuove soluzioni organizzative, flessibili e snodate, può farsi rientrare nel processo (pratica) di de-differenziazione tipico della società postmoderna, intesa come: 1) la ridefinizione dei rapporti fra i vari livelli gerarchici, sia in senso orizzontale che verticale, volta a smantellare il rigido sistema di divisione del lavoro che ha caratterizzato i partiti di integrazione di massa; 2) la tendenza a trasgredire i confini dell organizzazione attraverso la creazione di una fitta rete di scambi con l ambiente esterno.
4
Golino, Antonella. "Consumo, postmodernità, responsabilità sociale. Uno studio empirico sul farmer's market in Molise". Doctoral thesis, Università degli studi del Molise, 2012. http://hdl.handle.net/11695/66259.
Testo completoAbstract (sommario):
Il presente lavoro riflette in prospettiva sociologica,sulla riscoperta degli aspetti etici del consumo.
I cosiddetti consumi critici, sostenibili e responsabili, che presuppongono un agire sociale dotato di senso, rappresentano una pratica di acquisto tesa al ben-vivere.
Il consumo da vicario della produzione -qual’ è stato per un lungo periodo- è diventato uno dei principali, se non il principale, punto di snodo della società in cui ci muoviamo.
I consum-attori postmoderni, tecnicamente più preparati e in grado di esprimere richieste al mondo della produzione e della distribuzione, sono consapevoli che l’atto di acquisto è diventato uno strumento per esprimere impegno e responsabilità nella sfera pubblica.
Tale pratica contribuisce all’affermazione e alla determinazione di nuovi modi di essere e di agire dove confluiscono nuovi valori simbolici legati all’emergere di nuove abitudini di spesa.
Partendo da tale ipotesi, la parte empirica del lavoro affronta un’analisi qualitativa prendendo in esame lo sviluppo del farmer’s market, il mercato degli agricoltori, forma ed espressione della filiera corta.
Si osserva un caso di studio nella Regione Molise allo scopo di comprendere cosa si cela dietro l’atto di acquisto e perché si predilige un atteggiamento alternativo al sistema della grande distribuzione.
Il farmer’s market è un luogo di convivialità dove è possibile fermarsi, parlare, consumare qualcosa in compagnia. E’ un’occasione in cui vengono accorciate le distanze fisiche, economiche e soprattutto sociali, in cui diventa sempre più lontana l’idea della spesa intesa come atto funzionale ed alienante tipico dell’homo consumericus.
Concezioni, abitudini e atteggiamenti che propongono il passaggio da un modello di consumi in cui l’elemento fondante è rappresentato dal benessere soggettivo -componente primario della felicità personale anche dal punto di vista identitario ed espressivo - ad un modello in cui i consumi restano fondamentali, ma come ingredienti di una migliore qualità del vivere.
La prima parte del lavoro a valenza introduttiva, ripercorre con un excursus sulla letteratura, le teorie dei classici e dei contemporanei del pensiero sociologico, tentando di fornire una definizione di consumatore postmoderno. A questa, seguono i temi della sostenibilità ambientale e responsabilità sociale che mirano ad opporsi alle logiche proprie dello spreco-consumo, radici della crisi ambientale, del degrado e del rischio globale. La questione ecologica diventa, economica e politica, e ancor più una questione sociale, frutto di una nuova logica organizzativa in materia di consumo.
La seconda parte affronta la ricerca sul campo riportando tra gli altri, i dati sulle motivazioni alla base di tale pratica di consumo e successivamente esplorando il ruolo del produttore/venditore attraverso l’attribuzione di credibilità che gli viene conferita.
Il concetto di comunità, ambito tutt’oggi aperto nel dibattito sociologico, conclude il percorso di ricerca ponendo attenzione alla riscoperta del localismo.This thesis focuses on the rediscovery of the ethical aspects of consumption. Principal consumption that is both sustainable and responsible presupposes what Weber termed a rational social action and represents an aspiration to live well. Vicarious consumption - which has existed for a long time – has become one of the principal if not the principal turning point in the society in which we live. Post-modern consumers, technically more prepared and able to express their wishes to the world of production and distribution, are aware that shopping has become an instrument with which to express commitment and responsibility in the public domain. Shopping has contributed to the affirmation and the determination of new ways of being and behaving, which converge with the new symbolic values tied to the emergence of new shopping habits. Using this hypothesis as a starting point, the empirical part of this thesis engages with a qualitative analysis of the development of the farmers’ market, the embodiment of a short distribution chain. It examines a case study in the region of Molise, with the aim of understanding what is concealed behind the act of shopping and why there is now a preference for an alternative way of thinking that goes against the model of mass production. The farmers’ market is a place of conviviality, where it is possible to stop, talk and consume something in company. It is an occasion in which physical, economic and above all social distances are diminished, where the idea of food shopping as merely an essential and alienating act, typical of the homo consumericus, is remote. Conceptions, habits and attitudes now promote a move away from a model of consumption founded on the principle of subjective well-being – a primary component of personal happiness, even when seen from the point of view of identity and expression – to a model in which consumers remain fundamental, but are now the main players in the quest for a better quality of life. The first part of the thesis, as an introduction, reviews the literature and discusses both classic and contemporary sociological theory, with the aim of producing a definition of the post-modern consumer. This is followed by a discussion of environmental sustainability and social responsibility, two concepts that are set in opposition to the logics of wasteful consumption, something that can be seen at the heart of the global environmental crisis. The ecological debate has become not only economic and political but social; the fruit of a new organisational logic in the field of consumption. The second part of the thesis deals with the field work, presenting amongst other things, data concerning the motivation at the heart of this new model of consumption. This is followed by a detailed exploration of the role of the producer/seller by focusing on the attribution of credibility which has been conferred upon them. A discussion of the concept of community, a concept still wide open in sociological debate, with a particular emphasis on the rediscovery of localism, concludes this research.
5
Scudiero, Davide <1990>. "Il cioccolato nella postmodernità. Un'analisi empirica su un campione di giovani consumatori". Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6165.
Testo completoAbstract (sommario):
“Cibo degli Dei”: nessun termine potrebbe essere più appropriato per cogliere l’essenza stessa del cioccolato, uno dei prodotti alimentari più apprezzati dalla nostra società. Sin dalle civiltà precolombiane, il cioccolato si è contraddistinto per la sua naturale capacità di trasmettere esperienze e stimolare la creazione di legami sociali fra le persone. Queste peculiarità perdute nell’epoca moderna, riemergono con forza nella postmodernità e in parallelo con l’affermarsi dei nuovi approcci di marketing non-convenzionale. L’obiettivo di questa tesi è di analizzare come l’avvento dell’epoca postmoderna abbia generato un nuovo consumatore, più sociale, emotivo e sensoriale, obbligando di fatto le aziende che operano nel settore del cioccolato a modificare le proprie strategie di marketing. Dopo aver tracciato un breve excursus storico ed economico sul cioccolato, e approfondito il fenomeno postmoderno, analizzandolo nelle sue diverse implicazioni (sociali, economiche, culturali), si è deciso di focalizzare l’attenzione su due panacee di marketing: il marketing sensoriale e il marketing tribale. Il marketing sensoriale, che s’inserisce all’interno del più ampio approccio di marketing esperienziale, si occupa di stimolare tutti i sensi del consumatore con l’obiettivo di toccarne la mente e il cuore; il marketing tribale invece, mira a creare legami fra i consumatori che condividono la medesima passione per il prodotto o la marca. Infine, per convalidare quanto sostenuto, si è deciso di analizzare il comportamento del consumatore postmoderno di cioccolato, attraverso la somministrazione di un questionario a un campione di giovani consumatori residenti in Veneto.
6
Baofu, Peter. "After postmodernity". Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/57852.
Testo completo
7
Suparaku, Sokol <1979>. "Albanità in ebollizione : studio delle dinamiche dell'identità e delle rappresentazioni sociali degli albanesi nella transizione tra epoca moderna e postmoderna". Doctoral thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3002.
Testo completoAbstract (sommario):
Questa tesi studia le trasformazioni che l’identità culturale degli albanesi ha subìto durante il suo percorso di vita, dall’epoca moderna a quella postmoderna. Lo scopo di questa analisi è applicare il contributo degli studi antropologici alla comprensione delle logiche politiche che determinano gli sviluppi socio-culturali della società albanese nel periodo indicato. Ho voluto trattare l’argomento secondo un taglio comparatistico che parte dalla descrizione delle dinamiche dell’identità albanese postmoderna, così come compare nei discorsi dell’intellighenzia albanese, per poi scendere in un’analisi critica della nascita e dello sviluppo della modernità; un’analisi che si discosta dalla versione ufficiale della storia nazionale. Infine, ho voluto confrontare le varianti dell’albanità proposte dall’intellighenzia con quelle che si manifestano nella vita quotidiana degli albanesi; queste ultime rappresentano gli effetti che l’azione della globalizzazione, «deregolamentazione» e «de-territorializzazione», ha avuto nella formazione di spinte «localiste» e di versioni frammentate dell’identità culturale della nazione albanese.This thesis analyzes the transformations of the Albanian cultural identity in the lapse of time, since modern age to the post-modern age. The aim of this analysis is to verify the contribution of the anthropological studies in understanding the political reasons that produce the socio-cultural deve-lopments in Albanese society. I decide to face the problem in a comparative way, that start by the description of the post-modern Albanian identity, such as it has given by the Albanese intellectual elite to continue in a critical analysis of the birth and the development of modernity. This analysis distances itself from the official version of national history. Finally, I chose to compare the variation of “albanity” submitted from the intellectual elite with those that display in the everyday life of Albanese people. These ones shows the effects that the globalization action (deregulations, deterritorialization), had in the construction of localistic motivations and of fragmented versions of the cultural identity on Albanian nation.
8
MAZZUCOTELLI, FRANCESCO. "Islam e modernità: dottrine e prassi nella comunità sciita libanese". Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1078.
Testo completoAbstract (sommario):
La tesi analizza l'impatto di percorsi di reinterpretazione della tradizione religiosa sciita sul tessuto sociale e sulle forme di mobilitazione politica della comunità sciita libanese nel corso del ventesimo secolo.
La creazione di un'identità sciita distinta viene studiata nel quadro della formazione di una "ideologia islamica" e nel contesto del consolidamento del modello istituzionale confessionalista libanese, prima nel periodo mandatario e poi dopo l'indipendenza, in un intreccio fluido di fattori transnazionali e locali e di meccanismi di identità e di alterità.
Le pratiche rituali e i costrutti simbolici connessi alla commemorazione di Ashura sono, in particolare, il sito di una battaglia per la legittimazione e per la definizione dell'identità collettiva: l'interpretazione radicale di Ashura è usata per legittimare forme di dissenso e resistenza.
L'impegno religioso espresso nello spazio pubblico dà vita a numerose forme associative e assistenziali che creano un sistema alternativo di offerta di servizi sociali, rafforzando i legami comunitari e sostenendo stili di vita e modelli di comportamento islamicamente corretti, in ciò che definiamo come la sfera pubblica islamica. Questo progetto di modernità alternativa comprende anche l’assimilazione selettiva di pratiche e modelli della globalizzazione e di forme di mercificazione.
I discorsi e i documenti analizzati mostrano infine la formazione di una metanarrazione della resistenza, in cui, reinterpretando temi del paradigma di Karbala', la comunità sciita viene descritta come prima linea della resistenza contro la tirannia e l’oppressione, in una visione teleologica della storia.This dissertation investigates the impact of patterns of reinvention and reinterpretation of Shi'a religious tradition on the social fabric and the politics of the Shi'a community of Lebanon during the twentieth century. We firstly explore the theorization of doctrines that discharge "Western"-oriented modernizing projects as the only legitimate patterns of development and governance for Muslim societies. This theoretical framework is conceived and conveyed mainly by a transnational Shi'i clerical milieu. We examine how a distinct Shi'a collective identity is formed, partly as a result of the formation of an "Islamic ideology", and partly as a collateral effect of the confessionalist system that is implemented in Lebanon during the Mandate and after the independence. We observe a fluid, complex interplay of transnational, domestic, and parochial factors, and how they shape mechanisms of identity and otherness. In particular, we analyze how the ritual practices and symbolic constructs related to the commemoration of Ashura and the battle of Karbala' become a site of ideological dispute for legitimacy and self-identity. In particular, we see how a radical reading of Ashura is used to legitimize forms of political dissent and resistance. We then explore how religious commitment and forms of public piety are related to social activism and the provision of multiple services through a vast network of charitable institutions. This alternative system of social welfare and assistance strengthens communal relations and pious lifestyles, envisaging a religiously-inspired society that we define as Islamic public sphere. We also question how this project of alternative modernity is shaped by a selective assimilation of practices and models marked by globalization and commodification, where scientific and technical development is accepted but a vast array of values and behaviors are discharged as un-Islamic. We finally examine the tropes of a metanarrative of resistance through a reading of major documents of Hezbollah and public speeches. We analyze a narrative construct where the Shi’a community, as part of the disinherited and the injustly oppressed of the world, is pitted – along the same lines of Ashura and the battle of Karbala' – against the forces of oppression and tyranny, in a teleological view of human history. We evaluate how this discourse is framed in the public sphere and how it is productive of symbolic capital and legitimacy at a political and social level.
9
MAZZUCOTELLI, FRANCESCO. "Islam e modernità: dottrine e prassi nella comunità sciita libanese". Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1078.
Testo completoAbstract (sommario):
La tesi analizza l'impatto di percorsi di reinterpretazione della tradizione religiosa sciita sul tessuto sociale e sulle forme di mobilitazione politica della comunità sciita libanese nel corso del ventesimo secolo.
La creazione di un'identità sciita distinta viene studiata nel quadro della formazione di una "ideologia islamica" e nel contesto del consolidamento del modello istituzionale confessionalista libanese, prima nel periodo mandatario e poi dopo l'indipendenza, in un intreccio fluido di fattori transnazionali e locali e di meccanismi di identità e di alterità.
Le pratiche rituali e i costrutti simbolici connessi alla commemorazione di Ashura sono, in particolare, il sito di una battaglia per la legittimazione e per la definizione dell'identità collettiva: l'interpretazione radicale di Ashura è usata per legittimare forme di dissenso e resistenza.
L'impegno religioso espresso nello spazio pubblico dà vita a numerose forme associative e assistenziali che creano un sistema alternativo di offerta di servizi sociali, rafforzando i legami comunitari e sostenendo stili di vita e modelli di comportamento islamicamente corretti, in ciò che definiamo come la sfera pubblica islamica. Questo progetto di modernità alternativa comprende anche l’assimilazione selettiva di pratiche e modelli della globalizzazione e di forme di mercificazione.
I discorsi e i documenti analizzati mostrano infine la formazione di una metanarrazione della resistenza, in cui, reinterpretando temi del paradigma di Karbala', la comunità sciita viene descritta come prima linea della resistenza contro la tirannia e l’oppressione, in una visione teleologica della storia.This dissertation investigates the impact of patterns of reinvention and reinterpretation of Shi'a religious tradition on the social fabric and the politics of the Shi'a community of Lebanon during the twentieth century. We firstly explore the theorization of doctrines that discharge "Western"-oriented modernizing projects as the only legitimate patterns of development and governance for Muslim societies. This theoretical framework is conceived and conveyed mainly by a transnational Shi'i clerical milieu. We examine how a distinct Shi'a collective identity is formed, partly as a result of the formation of an "Islamic ideology", and partly as a collateral effect of the confessionalist system that is implemented in Lebanon during the Mandate and after the independence. We observe a fluid, complex interplay of transnational, domestic, and parochial factors, and how they shape mechanisms of identity and otherness. In particular, we analyze how the ritual practices and symbolic constructs related to the commemoration of Ashura and the battle of Karbala' become a site of ideological dispute for legitimacy and self-identity. In particular, we see how a radical reading of Ashura is used to legitimize forms of political dissent and resistance. We then explore how religious commitment and forms of public piety are related to social activism and the provision of multiple services through a vast network of charitable institutions. This alternative system of social welfare and assistance strengthens communal relations and pious lifestyles, envisaging a religiously-inspired society that we define as Islamic public sphere. We also question how this project of alternative modernity is shaped by a selective assimilation of practices and models marked by globalization and commodification, where scientific and technical development is accepted but a vast array of values and behaviors are discharged as un-Islamic. We finally examine the tropes of a metanarrative of resistance through a reading of major documents of Hezbollah and public speeches. We analyze a narrative construct where the Shi’a community, as part of the disinherited and the injustly oppressed of the world, is pitted – along the same lines of Ashura and the battle of Karbala' – against the forces of oppression and tyranny, in a teleological view of human history. We evaluate how this discourse is framed in the public sphere and how it is productive of symbolic capital and legitimacy at a political and social level.
10
Drinkwater, Christopher. "Ecology and postmodernity". Thesis, University of Leeds, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268672.
Testo completo
11
Bewes, Timothy R. T. "Cynicism and postmodernity". Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318571.
Testo completo
12
Craven, Greg. "Foucault, modernity, and postmodernity". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0007/MQ40641.pdf.
Testo completo
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Ebdon, Melanie. "Remembering identity after postmodernity". Thesis, Bangor University, 2003. https://research.bangor.ac.uk/portal/en/theses/remembering-identity-after-postmodernity(c881585c-7917-405a-bcc2-77e2ce7f76a6).html.
Testo completoAbstract (sommario):
This study focusses on the outcomes of postmodernity with particular emphasis on memory and the reconstruction of identity after postmodern theories of the fragmented self. Chapter Two analyses Graham Swift's Waterland, lain Banks's The Crow Road and Margaret Drabble's The Peppered Moth which show the reconnection of identity to cosmological, geological, genetic and familial history, and demonstrate the necessity of the subject's connection to the formerly denounced metanarrative of history. Drabble's text also highlights a gender issue concerning representations of women and motherhood in contemporary fiction. In Chapter Three, Ian McEwan's The Child in Time and Margaret Atwood's Cat's Eye illustrate the way in which the new physics has influenced concepts of identity as being interconnected. The Child in Time shows how this model also risks creating an a-historical, de-politicised subject, particularly if existing problematic constructions of gender are not reformed. This reformative project is one of the main achievements of Cat's Eye in which Atwood revises archetypal female iconography. Chapter Four discusses three texts from postcolonial India: Salman Rushdie's Midnight's Children, Anita Desai's Clear Light of Day and Arundhati Roy's The God of mall Thin s. These novels demonstrate the specific difficulties in constructing a coherent sense of self in a fractured political situation which mourns the broken connection to the motherland. Cultural imperialism and its psychological effects are brought to the fore here, showing the ways in which imperial ideals force the postcolonial subject to accept a hybrid identity. Women are doubly oppressed in these situations by both the machinations of an Imposed Western patriarchal system and the indigenous caste hierarchy and also by association with the motherland ideal of a culturally authentic, pre-colonial India. Chapter Five brings together the themes of gender, history, memory, colonisation and the reconstruction of the self in an analysis of Toni Morrison's Beloved and Anne Michaels's Fugitive Pieces. The effects of slavery and the Holocaust, respectively, are explored in these texts and both novels conclude with the necessity of finding ways to mourn loss and go on to represent modes of subjectivity as historically and socially connected. Communal memory is reclaimed as a necessary antidote to institutionalised violence and dispossession, thereby constructing a form of identity which progresses from postmodernity.
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Cagney-Watts, Helen. "The contradictions of postmodernism : a feminist critique of postmodernism". Thesis, University of Hull, 1991. http://hydra.hull.ac.uk/resources/hull:6975.
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Proulx, Isabelle. "Création théâtrale, inhumain et postmodernité". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq28455.pdf.
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16
Zaidi, Ali Hassan. "Postmodernity and new social movements". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0022/MQ34328.pdf.
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17
Chiu, Cha. "European postmodernity in Asian films". Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3199.
Testo completoAbstract (sommario):
The works of Tsai Ming-Liang and Kim Ki-Duk, two directors in contemporary Asian cinema, qualify as postmodern films transgressing the hegemonic dominance of classic text, aesthetic and structure manifested in the blockbuster Hollywood films that are overwhelming in Asia. The characters in Tsai’s and Kim’s films are social marginal and outcast excluded from main- stream society. They seem to be disengaged from their past and future, simply floating in different presents as a carrier of desire. One difference between is that the major figures in Tsai’s films are marginal young men and women presenting a sense of alienation and solitude among the residents of the city, and their intimate behavior is portrayed in enclosed spaces. Kim’s films, the major figures are abandoned by and isolated from society, either brutal men or solitary prostitutes. Tsai and Kim always make ample use of the residual in everydayness in order to produce the incessant different present-becoming. These becoming- presents are constituted by unpredictable contingency without the association of cause and effect between event and event. Therefore, for Tsai and Kim, time depicted in the cinematic temporality is enunciated by the permanently present discourse, which is absent from its past and is still unknown for its future, but only produces the infinite moment. In other words, this temporal prolongation is ahistorical, lacking depth and merely progresses in action linking action. Thus it also becomes a fragmentary and not a linear development for its lack of commencement and an end, being an endless present-becoming. There is no connection between narrative spatiality in Tsai and Kim’s films. This has become detached from its related and logical linkage prescribed in the classical narrative structure, but randomly, coincidentally and unforeseeably merged together, imbedded with the linguistic system of scission revealing no beginning and end but only providing the characters, Taipei and Seoul residents, like nomadic tribes wandering around without indicating the direction of their coming and going. In other words, these spaces in both post-colonial cities can be regarded as temporary and transitional spaces and create the ephemeral mirage of a playground. Tsai and Kim’s cinematizations of the urban spaces of Taipei and Seoul respectively have been constituted by the present discourse, which makes the spatial marking, to which personal memory as well as collective history attaches, vanish. These are the most salient traits in the postmodern text and structure, which can be viewed from both directors’ masterful works among Asian cinema. Moreover, their non-historical discourses, non-moralistic and non-ethical and dehumanized and dystopian text in describing social life as well as non-linear and non-classical narrative structure in constituting cinematic text also make Tsai and Kim’s films catch the international gaze. Nevertheless, there is still a lack of a full postmodern exploration of both directors’ works. This has motivated me to construct a passage from European postmodernity to Asian postmodern films.
18
Shagufta, Iqra. "Postmodernity and Pakistani Postmodern Literature". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707404/.
Testo completoAbstract (sommario):
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.
19
Viires, Piret. "Postmodernism eesti kirjanduskultuuris /". Tartu : Tartu Ülikooli Kirjastus, 2006. http://dspace.utlib.ee/dspace/bitstream/10062/763/5/viirespiret.pdf.
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20
Sawada, Chikako. "Muriel Spark's postmodernism". Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1561/.
Testo completoAbstract (sommario):
This study explores the shifting notions of postmodernism developed through Muriel Spark’s fiction, and thereby clarifies this artist’s own postmodernism. I use Jean-François Lyotard’s definition of the notion in his The Postmodern Condition (1979), that there is no grand narrative, as my starting point, and deploy various postmodernist theories, which can illuminate Spark’s art and can in turn be illuminated by her art, in my arguments. Throughout the thesis, I focus on two of Spark’s most important themes as crucial keys to understanding her postmodernism: the theme of individual subjectivity and the theme of the interplay of life and art. The thesis begins with the claims Spark makes for her individuality and her individual art through the voice of “I”. Chapter I considers issues about being a woman and an artist, which Spark raises around the narrator-heroine of a fictional memoir, A Far Cry from Kensington (1988). Here I present this heroine as a definition of the strength of Sparkian women who liberate themselves by practicing art. Chapter II discusses Loitering with Intent (1981), a fictional autobiography of a fictional woman novelist, alongside Spark’s own autobiography and her various biographical works. This section illustrates Spark’s notion of the “author” in relation to the “work” - and an author in control in her sense - by investigating the dynamic interplay of life and art in the form of this novel. Chapter III analyses The Driver’s Seat (1970), the novel which most shockingly elucidates the postmodern condition according to Spark and demonstrates her postmodernist narrative strategies. Her concern with the crisis of the “subject” in the world in its postmodern phase is observed in the figure of the heroine, a woman who has tried and failed to be an author in control. I argue that Spark here theorises the notion of subject, by providing her own version of the psychoanalytical “death drive” and also represents the Lacanian real as the unfigurable with this figure. Chapter IV and Chapter V follow the developments of Spark’s discussion of the crisis of the “subject” in two of her later novels. Chapter IV concentrates on the theme of Otherness in Symposium (1990). Chapter V discusses Reality and Dreams (1996), in which Spark pursues the theme of excess and opens up the contradictions inherent in this notion to bring about a new philosophy of life by art as excess.
21
Yu, Kit-yee Flora, e 余潔儀. "Postmodernism and photography". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31950152.
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22
Barry, Marie Porterfield. "Lesson 22: Postmodernism". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/24.
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23
Chinna, Stephen. "Politics, performance, postmodernism". Thesis, Chinna, Stephen (1995) Politics, performance, postmodernism. PhD thesis, Murdoch University, 1995. https://researchrepository.murdoch.edu.au/id/eprint/52823/.
Testo completoAbstract (sommario):
In debates concerning the concepts of modernism and modernity, postmodernism and postmodernity, a recurring critique has been the denial of a political function for postmodernism due to its presumed lack of any effective means of intervention in political processes - chiefly through the putative existence of a gap between theory and practice. It will be argued that this critique is based on the acceptance of modernist criteria for what constitutes political effectivity as well as an endorsement of that dualism which sets up a fundamental separation between theory and practice. This thesis will argue that both postmodern performance and politics resist modernist appeals to metanarratives of totality and the centre, along with the dialectic and dualistic metaphysics which underpin these modernist criteria. This will require an interrogation of the polarising tendencies of both modernist politics and theatre which sought either to separate or collapse the incessant binaries of performance practice - such as those between mind and body, process and product, and representation and reality. It will be proposed that the deconstructive strategies of postmodernism serve to subvert this either/or dualism and set up in its place a performance model which acknowledges the space of play between the poles of these binary oppositions.
In short, the thesis will explore the relationships between politics, performance and postmodernism, specifically in order to argue that performance is the paradigm for postmodernism, and that postmodern politics and postmodern performance share a deconstructive mode of operation: a meansoriented process towards specific objectives, not final resolutions. The postmodern will be defined as a performance model – like deconstruction, endlessly deferring unequivocal meaning and final closure. It is the provisional and contingent strategies of performance which set the model for the postmodern. In turn, it will be argued that postmodern performance practices are not only more relevant than modernist political theatre forms in presenting political actualities as well as potentialities, but that they are also more accurate "representations" of the political and ontological "realities" of the late-twentieth century.
The thesis is in three parts. Part One analyses the relationships between modernism and postmodernism, focusing on the largely negative constructions of the postmodern and in turn, defining a postmodernism that evades the modernist criteria of its critics. The epistemologies and politics of both modernism and postmodernism are addressed - the former in terms of its adherence to a narrative model based on neo- Aristotelian prescriptions; the latter in terms of its performance characteristics - which work to evade entrapment in the dialectic.
Part Two addresses the concept of performance - firstly in modernist theatre, then in the diverse avant-gardes, and finally how it is defined in the postmodern. Major forms of Western modernist theatre are addressed - with a focus on Naturalism, and Dada - leading to the neo-avant-garde performance art of the 1960s to 1980s. It is argued that underpinning all of these forms is entrapment in a hierarchised binary model. Furthermore, it is argued that all of these avant-garde forms were, and are, eventually co-opted and absorbed due to their acceptance of the dialectic that necessarily demands an anti-movement.
Part Three first focuses on modernist political theatre in terms of its embracing of the dialectic and its inherent didacticism, and then on postmodern performance - and the attacks on it (as with postmodernism in general) for its seeming lack of an overt political stance, or programme. It is argued that the criteria used to define the political in these attacks are modernist criteria, and are no longer applicable to the postmodern. A major focus in this section is on the role of the spectator (in both modernist and postmodernist performance).
In the final chapter, the issue of a postmodern ethics will be addressed. It will be argued that it is the postmodern definition of aesthetics as differance which deconstructs universalist appeals to reason, truth, and justice - as well as a rigid subject/object dichotomy. The thesis concludes with a reinforcement of the argument: performance is the paradigm for postmodernism and its political practices. That is to say, performance is a deconstructive mode of do-ing, constantly aware of the tendency to lose self-reflexivity and seek closure rather than embrace the endless deferral of differance.
24
Arnaldi, Maude. "Sacré, Éducation et postmodernité : le sacré comme fondement de l'éducation à l'épreuve de la postmodernité". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2024/document.
Testo completoAbstract (sommario):
La postmodernité, modifiant les repères essentiels de l'humanité que sont la durée, l'espace, la constitution du sujet, le statut de la mort et de l'absence, a affecté en profondeur le contexte dans lequel s'élabore le concept de sacré. Il en résulte une forme moderne de sacré dévoyé procédant davantage d'une mythologie résiduelle, d'une initiation tronquée ou, selon les mots de Mircea Eliade, de ritualismes dégradés, que d'un sacré systémique ayant une portée décisive, notamment, dans la détermination des valeurs et l'élaboration d'un destin commun. Or, la crise de l'éducation serait entée sur le déclin du sacré,départi de sa dimension structurelle. Le sujet contemporain, qui se cherche entre jouissance immédiate et relativisme désenchanté, ne semble plus pouvoir compter sur le potentiel fédérateur d'une éducation fragilisée, et l'altération de celle-ci paraît inéluctable, à moins que, nous engageant dans un autre temps nous n'admettions l'évidence de notre attachement phénoménologique et que nous ne sachions, en la préservant dans le langage, accepter la négativité du mondePostmodernity, modifying humanity's reference points - duration, space, subject's formation, status of death and non-attendance -, deeply affects the context in which the concept of sacred usually develops. The outcome is a kind of modern sacred, proceeding from a residual mythology, a rigged initiation or, in the own words of Mircea Eliade, from degraded ritualisms, and not a systemic sacred that would have any decisive impact on values determination or would draw up any common destiny.The education crisis would be a consequence of the declining sacred, deprived of its structural dimension. The contemporary subject, who is wavering between instantaneous enjoyment and disenchanted relativism, can't trust anymore the federating power of a weaken education, unless we admit the obvious of our phenomenologic statement and we are able to agree, preserving it inside the language, the negativity of the world
25
Mosconi, Léa. "Emergence du récit écologiste dans le milieu de l'architecture 1989-2015 : de la réglementation à la thèse de l'anthropocène". Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC1104.
Testo completoAbstract (sommario):
Novembre 1988, la création du GIEC médiatise, institutionnalise, légitimise l’idée d’une « crise environnementale » et se propose d’en prendre la mesure. Les années 1990 et 2000 sont ponctuées d’événements politiques souvent mondiaux, qui participent à faire, de ce que l’on appellera alors le développement durable, une question sociétale majeure. Comment ce récit sur l’écologie pénètre-t-il le milieu de l’architecture ? Quel champ lexical convoque-t-il ? Quels acteurs s’emparent-ils de ce sujet ? Quelles institutions portent ces thèmes et vers quelles directions ? Quelle influence a-t-il sur la production architecturale française ?L’ambition de cette recherche est de comprendre la généalogie du récit écologiste dans le milieu de l’architecture, des questions réglementaires et énergétiques des années 1990 au changement de paradigme qui s’opère à la fin des années 2000, notamment avec l’émergence de la thèse de l’anthropocèneNovember 1988 the establishment of the IPCC mediates, institutionalized, legitimized the idea of an "environmental crisis" and intends to take the measurement. The 1990s and 2000s are often punctuated by global political events, participating to do, what we then called sustainable development, a major societal issue. How he gets this story on ecology the architectural environment? What lexical field he summons? Which actors do they seize it? What institutions are these themes and to which directions? What influence he has on the French architectural?The aim of this research is to understand the genealogy of the environmental story in the architectural environment, regulatory and energy issues in the 1990s paradigm shift taking place in the late 2000s, especially with the emergence the thesis of the Anthropocene
26
Higgins, Jennifer R. 1952. "Vanguards of postmodernity : rethinking midlife women". Monash University, School of Political and Social Inquiry, 2001. http://arrow.monash.edu.au/hdl/1959.1/8896.
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27
Surrency, Donald. "The proliferating sacred : secularization and postmodernity". [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002283.
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28
Chan, Kim-mui Eileen, e 陳劍梅. "Postmodernity and recent Hong Kong cinema". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B3121390X.
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29
Wilkin, Negre Marie-Aude. "La postmodernité et ses émergences psychopathologiques". Montpellier 3, 2005. http://www.theses.fr/2005MON30052.
Testo completoAbstract (sommario):
Au fil d'une pratique de psychologue clinicienne à l'écoute du sujet souffrant venant au service des urgences, nous avons été particulièrement sensibles à la diversité de signes et symptômes inédits présentés par ces sujets. Ce travail de recherche se propose de répondre à une interrogation : Qu'est-ce qui est à l'origine des nouvelles modalités du malaise dans la culture qui trouvent leur expression dans les émergences psychopathologiques de la postmodernité. A l'aide de la théorie psychanalytique et de ses auteurs de référence, en particulier Freud et Lacan, nous verrons comment, du fait de la disparition de la morale freudienne et de la carence de la métaphore paternelle dans notre société, la difficulté est de plus en plus grande pour les hommes d'entretenir entre eux des rapports de convivialité, résultant de l'impossibilité à dépasser le complexe d'intrusion. Cette recherche est étayée par l'étude de cinq cas cliniques issus de notre pratique hospitalièreWorking as psychologist clinician listening the suffering subject coming to the emergency word, we specially appreciate the diversity of signs end news symptoms presented by these subjects. This research work proposes to answer an interrogation: What is at the beginning of the new mode of uneasiness in the culture, which find their expression in psychopathological emergences of the postmodernity. Using the psychoanalytical theory and its reference authors, especially Freud and Lacan, we will see how, because of the disappearance of Freud's morals end the deficiency of the paternal metaphor in our society, the difficulty is increasingly great for the men to maintain between them the user-friendliness relations resulting from impossibility to exceed the intrusion complex. This research is supported by the study of five clinical cases resulting our hospital practice
30
Chan, Kim-mui Eileen. "Postmodernity and recent Hong Kong cinema /". Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18539191.
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31
Warden, Lisa Todd. "The paradox of postmodernism". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0011/NQ34708.pdf.
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32
Hippolyte, Idara. "Jamaican dancehall and postmodernism". Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433373.
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33
Tam, Pui-kam Ada, e 譚沛錦. "Postmodernism and popular culture". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26902448.
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34
Abdullah, Sarena. "Postmodernism in Malaysian art". Phd thesis, Department of Art History and Film Studies, 2010. http://hdl.handle.net/2123/9457.
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35
Gordon, Alex. "Zwischenmensch : contradiction, postmodernity and American-Jewish identity". Thesis, University of East Anglia, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246952.
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36
Benedetti, Davia. "Danser en Corse entre identité et postmodernité". Corte, 2011. http://www.theses.fr/2011CORT0005.
Testo completoAbstract (sommario):
Cette thèse qui émane d’une recherche qualitative et une observation participante s’appuyant sur la Grounded Theory, analyse le processus d’identification des acteurs des danses scéniques créées en Corse. Elle étudie le rapport de ces derniers à l’espace dans la pratique du quadrille, de la granitula et des créations de danse contemporaine des six compagnies insulaires. De ce terrain en évolution, ancré dans un contexte local et postmoderne, émerge la coexistence complexe de catégories : celles d’identification transculturelle universalisante et de différenciation territorialisée à la Corse, celle d’un espace dansé concret et imaginaire et celle d’un corps existentiel dansant. Ce corps propre est étudié dans son engrenage entre motricité dansée, espace scénique et représentations. Il est une construction novatrice, instrument et incarnation du sens de la danse. Il est signe et processus d’une relation intentionnelle aux autres et à l’environnement. Sa logique existentielle oscille de l’unité fusionnelle à l’unification partenariale chez les acteurs de la danse en Corse. Elle permet à travers un processus d’identification pluriel, leur cohésion et sociabilité. En découle une organisation sociétale gérant les différences et un vivre-ensemble construit sur des attitudes communicationnelles et des comportements communautariensThis thesis, which emanates from qualitative research, participant observation, and the perspective of Grounded Theory, analyzes the process of identification of the actors of the theatrical dances created in Corsica. It studies their relation to space in the practice of the quadrille, granitula and the creations of contemporary dance of six island companies. From this field in evolution, which is anchored in a local and postmodern context, emerges the complex coexistence of the following categories: cross-cultural universal identification and differentiation territorialized in Corsica, concrete and imaginary danced space and the dancing existential body. This body in itself is studied in its relation between danced movement, scenic space and representations. It is an innovative construction, an instrument and an embodiment of the meaning of the dance. It is sign and process of a deliberate relation to others and environment. Its existential logic oscillates from a total solidarity to unification through partnership amongst Corsican dance participants. It enables, through a plural process of identification, their cohesion and sociability. From this, there ensues a societal organization which manages the differences and a way to live together constructed on communicational attitudes and communitarian behaviour
37
Valenzuela, Meseguer Ollin Rafael. "¿Cómo haremos para desaparecer? La disolución del sujeto en la literatura postmoderna". Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/400008.
Testo completoAbstract (sommario):
La tesis titulada “¿Cómo haremos para desaparecer? La disolución del sujeto en la literatura postmoderna” pretende definir el concepto de Postmodernidad para colocar la figura del sujeto en su interior, objetivo que permite analizar los textos seleccionados desde un marco teórico riguroso. La tesis no se ciñe a un territorio concreto sino a una tradición, pues justamente basa gran parte de su argumento en la red de relaciones que se establecen entre los textos sin respetar fronteras. Esto ha aumentado la dificultad de elegir un corpus textual que lograse representar de manera adecuada esa tradición. Sin obviar los trabajos realizados sobre los diferentes autores analizados, el trabajo intenta “escuchar” los textos para extraer el “mensaje” o “mensajes” y para enfocarlos desde un punto de vista determinado, esto es, la certeza de la tradición postmoderna y del sujeto como principal elemento de análisis, para así aportar una visión renovada del asunto.
Aunque en principio podría dar la impresión de que el tema de la tesis es inabarcable pues podría llevar a la apertura de un sinfín de líneas argumentales, el trabajo se mantiene cohesionado gracias a un discurso interno construido con agilidad. Por una parte, se establecen los conceptos cardinales, es decir, los que llevan el peso del discurso (la postmodernidad, el sujeto y la nada o el vacío), a partir de los cuales se van desprendiendo conceptos que conectan con los principales teóricos sobre la época. Por otra parte, el discurso se fundamenta en el trinomio construcción, duplicación y disolución, lo que permite observar una consecución natural del argumento de principio a fin, manteniendo unidos los distintos hilos del discurso. El resultado de esto es un trabajo sólido a pesar del amplísimo ámbito al que pertenece.
Entre los aportes de la tesis podemos mencionar: una sistematización clarificadora de los conceptos ligados a la postmodernidad, una visión renovada del concepto y una aproximación, no definitiva, a su definición; el tratamiento de la figura del sujeto dentro de la postmodernidad y una definición de esta figura; un análisis riguroso de los textos propuestos que agrega elementos nuevos y originales para su comprensión.
Finalmente, hay que destacar la amplitud del tema tratado y las dificultades que conlleva el tratamiento de una teoría tan compleja, así como la complicada selección bibliográfica que abarca autores de muy diversos ámbitos, como la filosofía, la neurobiología, la física, la literatura y de amplísimo marco temporal, desde Descartes hasta Heidegger.The thesis entitled “How will we manage to disappear? The dissolution of the individual in postmodern literature” intends to define the concept of Postmodernity in order to place the individual in its inside, an aim which allows us to analyze the selected writings from a strict theoretical frame. The thesis does not adhere just to a concrete field but to a tradition since it is based on the network of relationships which are established between writings, beyond any borders. This has increased the difficulty of the texts choice which could accurately depict this tradition. Although there has been no intention of omitting the writers being analyzed, this work pretends to analyze the writing to extract the “message” or “messages” and to approach them from a certain point of view. In short: the certainty of postmodern tradition and the individual as the main element to be analyzed in order to give a renovated approach to the topic. Although at first it might give the impression that the subject of the thesis is too wide since it could open endless lines of argument, the work is consistent thanks to the internal discourse built with agility. On the one hand, it establishes the cardinal concepts, those which carry the weight of the discourse (Posmodernity, individual, and nothingness or the void), from which the concepts that connect with the main theorists about this period originate. On the other hand, the discourse is based on three concepts: construction, duplication and dissolution, which permit to observe the logical completion of the plot from the beginning to the end, holding together the different threads of discourse. As a result, this is a solid work despite the wide range of issues it refers to. Some of the contributions thes thesis offers are: a clarifying systematization of the concepts connected with Postmodernity, a renovated view of the concept and a non-definitive approach to its definition; the treatment of the individual inside Post modernity and its definition; a thorough analysis of the writings involved which adds new and original elements to its comprehension. Finally, it is to point out the wide range of the chosen topic and the difficulties that go with the treatment of such complex theory and the complicated bibliographical selection which, from Descartes to Heidegger, refers to writers from many different fields, such as philosophy, neurobiology, physics, literature.
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Nygren, Anna, e Johanna Berg. "There is something about postmodernism". Thesis, Stockholm University, School of Business, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6201.
Testo completoAbstract (sommario):
Förändring och utveckling råder på media - och reklammarknaden. Ökad gränslöshet och tillgänglighet skapar å ena sidan nya kommunikativa vägar, å andra sidan en medveten och kritisk konsument. Aktörerna på marknaden tvingas finna nya sätt att tränga igenom informationsbruset och nå ut med sina budskap. Detta kräver nya kommunikativa uttryck, former och mönster. TV som kommunikationskanal har fler uttrycksmöjligheter. Reklamfilm kan via ljud och rörlig bild kommunicera sådant andra medier inte förmår. Det förekommer en förflyttning av fokus och stil inom reklamfilm. Produktinformation och kännetecken är inte längre det väsentliga i reklambudskapet. Fokus riktas istället mot imaginära och emotionella värden som tar avstånd från kärnproduktens funktion, egenskap och särdrag. Denna nya form av uttryck och innebörd kan ses som ett resultat av den utveckling media – och reklammarknaden undergår. Den yngre generationen tilltalas av nya värden och den aktuella formen av reklamfilm är ett sätt att sticka ut från mängden av budskap. I denna studie undersöker vi bakgrunden till den nya formen av reklamfilm samt hur unga människor uppfattar reklamfilm. Mer specifikt studerar vi om unga människor uppfattar och tilltalas av reklamfilm som är typisk postmodern. Våra resultat visar att unga människor uppmärksammar och tilltalas i större utsträckning av reklamfilm som uppvisar postmodernistiska drag. Postmoderna egenskaper som; fragmentering, hyperreality och fokus på stil och utseende på bekostnad av substans och innehåll visade sig vara särskilt framträdande och betydande enligt vårt empiriska material. Våra resultat visar även på värdet av att reklamfilmen ska vara annorlunda, oväntad, anspela på ideal verklighet samt skapa en känsla. Innebörden av våra resultat tenderar till att postmodernism bör betraktas som ett verktyg i kommunikationen mot unga konsumenter. Postmoderna faktorer tilltalar och uppmärksammas av den yngre generationen och kan därmed fungera som ett kommunikativt vägval med syfte att sticka ut i informationsbruset.
39
Kirca, Mustafa. "Postmodernist Historical Novels: Jeanette Winterson". Phd thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12610813/index.pdf.
Testo completoAbstract (sommario):
The aim of this dissertation is to study postmodern historical novels, which are labeled &ldquohistoriographic metafictions&rdquo
(Hutcheon 1989: 92), in terms of their allowing for different voices and alternative, plural histories by subverting the historical documents and events that they refer to. The study analyzes texts from feminist and postcolonial literature, Jeanette Winterson&rsquo
s The Passion and Sexing the Cherry, and Salman Rushdie&rsquo
s Midnight&rsquo
s Children and Shame as examples in which the transgression of boundaries between fact and fiction is achieved. Basing its arguments on postmodern understanding of history, the thesis puts forward that historiography not only represents past events but it also gives meaning to them, as it is a signifying system, and turns historical events into historical facts. Historiography, while constructing historical facts, singles out certain past events while omitting others, for ideological reasons. This inevitably leads to the fact that marginalized groups are denied an official voice by hegemonic ideologies. Therefore, history is regarded as monologic, representing the dominant discourse. The thesis will analyze four novels by Winterson and Rushdie as double-voiced discourses where the dominant voice of history is refracted through subversion and gives way to other voices that have been suppressed. While analyzing the novels themselves, the thesis will look for the metafictional elements of the texts, stressing self-reflexivity, non-linear narrative, and parodic intention to pinpoint the refraction and the co-existence of plural voices. As a result, historiographic metafiction is proved to be a liberating genre, for feminist and postcolonial writers, that enables other histories to be verbalized.
40
Charles, Alec. "James Joyce, modernism and postmodernism". Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284287.
Testo completo
41
Brown, Alistair. "Demonic fictions : cybernetics and postmodernism". Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2465/.
Testo completoAbstract (sommario):
Whilst demons are no longer viewed as literal beings, as a metaphor the demon continues to trail ideas about doubt and truth, simulation and reality, into post- Enlightenment culture. This metaphor has been revitalised in a contemporary period that has seen the dominance of the cybernetic paradigm. Cybernetics has produced technologies of simulation, whilst the posthuman (a hybrid construction of the self emerging from cultural theory and technology) perceives the world as part of a circuit of other informational systems. In this thesis, illustrative films and literary fictions posit a connection between cybernetic epistemologies and metaphors of demonic possession, and contextualise these against postmodern thought and its narrative modes. Demons mark a return to pre-Enlightenment models of knowledge, so that demonic (dis)simulation can be seen to describe our encounters with artificial others and virtual worlds that reflect an uncertainly constituted and unstable self. By juxtaposing Renaissance notions of the demon with Donna Haraway's posthuman "cyborg," psychoanalytic demons with the robots of the science fiction film Forbidden Planet (1956), and Descartes' "deceiving demon" with Alan Turing's artificial intelligence test, I propose that the demon proves a fluid, multivalent trope that crosses historical and disciplinary boundaries. The demon raises epistemological questions about the relationship between reality, human psychology, and the representation of both in other modes, particularly narrative fictions. When this framework is applied to seminal science fiction (2001: A Space Odyssey and Do Androids Dream of Electric Sheep? [both 1968]), conventional readings of cyborgs as monstrous Others have to be revised. These fictions are engaged with cybernetic technologies with an epistemological rather than ontological concern, and consequently lend themselves to the kind of sceptical doubt about reality that characterises postmodern thought. Contrary to Descartes, who sees foundational truth through the deceptions of his "deceiving demon," later films like Blade Runner (1982) and The Matrix (1999) use the motif of cybernetic technologies to highlight the inescapability of the postmodern condition of the hyperreal. Finally, however, literary fictions like Umberto Eco's Foucault's Pendulum (1988) and A.S. Byatťs A Whistling Woman (2002) and Possession (1990) draw attention to their narrative mechanisms through metafiction, and set the creation of literary meaning against computer-generated texts. Consequently, they defy both the determinism of cybernetic sciences, and the postmodern pretence that the "real" is irrecoverably evasive.
42
Cheng, Kam-man Kammy, e 鄭錦文. "Postmodernism and Hong Kong culture". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31950164.
Testo completo
43
Tsang, Tak-sing, e 曾德成. "Postmodernism in China's cultural modernization". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29939136.
Testo completo
44
Chan, Yat-ping, e 陳逸屏. "Postmodernism: a study of dance". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29938594.
Testo completo
45
Maltby, Paul Leon. "Dissident postmodernists : Barthelme, Coover, Pynchon". Thesis, University of Sussex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277407.
Testo completo
46
Parsons, Paul H. "Postmodernism and the English Puritans". Theological Research Exchange Network (TREN), 2000. http://www.tren.com.
Testo completo
47
Maltby, Paul. "Dissident postmodernists : Barthelme, Coover, Pynchon /". Philadelphia (Pa.) : University of Pennsylvania press, 1991. http://catalogue.bnf.fr/ark:/12148/cb35701930x.
Testo completo
48
Heise, Ursula K. "Chronoschisms : time, narrative and postmodernism /". [S.l.] : Cambridge, 1997. http://catalogue.bnf.fr/ark:/12148/cb37529958k.
Testo completo
49
Cheng, Kam-man Kammy. "Postmodernism and Hong Kong culture". [Hong Kong : University of Hong Kong], 1991. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13018838.
Testo completo
50
Lewis, Ruby Christiaan. "Die skep en voorstelling van 'n postmoderne karakteridentiteit in die prosa / Ruby Christiaan (Sanko) Lewis". Thesis, North-West University, 2006. http://hdl.handle.net/10394/1717.
Testo completo