Post-modernism

The paper discusses the major characteristics of modernity and post-modernity presented in Passion of the Western Mind by contemporary depth psychologist and philosopher Richard Tarnas. The essay, created for a course taught by Dominican theologian Fr. Edward Krasevac on the nature and history of Western thought, summarizes Tarnas's view of the larger cultural and historical contexts in which the dominant epistemologies and perspectives of modernity and post-modernity evolved and serves as a basic introduction to some of the distinctive features of modern and post-modern philosophical criticism.

There are few detailed summaries of Derrida’s “Of Grammatology” on the Internet. It is a work which is notoriously difficult to read. While there are reasons for this, it leaves the student with a problem - which this article tries in some measure to solve.

Unlike other commentators, who tend to summaries Derrida’s main concepts and give an overview of what he seems to be saying, I shall try to take forward Derrida’s arguments point by point, in the order he raises them. However, it will often also be necessary to add my own comments and explanations which will, I hope, illuminate the text.

Uluslararası ilişkiler, günümüzde hepimizin günlük hayatını doğrudan etkileyen ve zamanımızın önemli bir kısmını kendisiyle meşgul eden bir alan haline gelmiştir. Nerdeyse bir günde izlediğimiz veya dinlediğimiz haberlerin üçte ikisi dış politika veya dünya sorunlarıyla ilgili. Bunların bazıları, Türkiye ile bir komşu ülke arasındaki ilişkilere ilişkin, bazıları, Türkiye ile ABD ya da Avrupa Birliği ülkeleriyle ilişkiler konusunda, bazıları ise bölgemizde ya da uluslararası alanda meydana gelen gelişmeler hakkında olabiliyor. Ancak pek çoğumuz ya bu konularda sorunun
geri planını bilmediğimizden ya da pek takip etmediğimizden olaylarla ilgili yapılan açıklama ve analizlerden fazla tatmin olmuyoruz. Oysa gelişmelerin çoğu geleceğe ilişkin kendi mesleğimizle ilgili doğru kararlar almamızı gerektirecek gelişmelerdir. Ekonomik ve mali sorunlar gibi görünen sorunların arkasında bir siyasal sorunun olduğunu ya da siyasal bir soruna yol açma ihtimalinin bulunduğunu fark etmeyiz.

Architecture as a media, covers the plurality of languages. Being architectural is not only ‘relating to the art or practice of designing and constructing buildings’ but also relating to constructing the textu(r)al, graphic, photo-graphic and urban space; from the canvas to the city, as an architectural object. The analysis and discussion on how the evolutions affected the perception, position and historical understanding of ‘architectural’ object, will be based on the resolution above. The relationship between media and architectural object that I defined as various ‘spaces’ are almost overlapped as thinking is ‘architectural’. Due to cultural and temporal changes, ‘space’ of text, texture, graphic and photograph has been defined, transformed, fragmented, pluralized, destructed, reproduced. Throughout the essay, spatial transformation of each language/media will be discussed through  some examples in historical evolution of media and position of artist and architect, in an accumulative approach.

El mundo fantástico de la caballería y el del
sentido común no parecían ofrecer significativas
contradicciones para el hidalgo caballero Don Quijote
de La Mancha. El mundo de la caballería se constituía
en un «subuniverso cerrado», al cual este definía como
su realidad. Cuando acontecimientos de su vida
cotidiana parecían trascender el grado de veracidad de
sus experiencias —como puede ser el choque con
posadas, rebaños de ovejas y molinos de viento, y no
con castillos, ejércitos o gigantes, como él suponía—,
los argumentos giraban en torno a explicaciones propias
de su mundo de fantasías.

В рецензируемой монографии Н. А. Хрущевой «Метамодерн в музыке и вокруг нее», вышедшей в 2020 году, освещается широкий круг вопросов, связанных с искусством, философией и эстетикой эпохи четвертой промышленной революции и тотального интернета. Автор рассматривает новые виды художественной коммуникации и выстраивает вертикальные смысловые связи между разными уровнями современной культуры, расширяя контекст эстетической реальности и включая в ее орбиту как профессиональные артобъекты, так и вирусные интернетмемы социальных сетей. Изучаются взаимоотношения постмодерна и метамодерна — двух стадий культуры конца XX – начала XXI века, механизмы передачи, сохранения и превращения информации, обеспечивающие с одной стороны преемственность, с другой—
различия в структуре двух культурных парадигм. В этом ракурсе рассматриваются многочисленные оппозиции: ирония постмо-дерна и стремление к прямому высказыванию метамодерна, цитирование текстов и цитирование смыслов, профессионализм и новый дилетантизм, художник и творящий обыватель etc. Выявляются специфические черты метамодерна в музыке — возвращение тональности, возвращение мелодии, возвращение песни. Не претендуя ни на истину в последней инстанции, ни на окончательность выводов, Н. Хрущева предлагает свое видение современной культурной ситуации, и развернутая в ее монографии картина эпохи привлекает своей органичностью, целостностью, смелостью концепции.

Ключевые слова:  Настасья Хрущева, постмодерн и метамодерн, осцилляция, возвращение аффекта, новый дилетантизм, минимализм.

The reviewed monograph of Nastasya Khroustcheva “Metamodern in Music and Around It”, published in 2020, covers a wide range of issues related to the art, philosophy and aesthetics of the era of the fourth industrial revolution and the total Internet. The author considers new forms of artistic communication and builds vertical semantic connections between different levels of modern culture, expanding the context of aesthetic reality and including in its orbit both professional art objects and viral Internet memes of social networks. Relationships between postmodern and metamodern, two stages of culture of the late 20th– early 21th century, are studied, as well as the mechanisms of transmission, storage and transformation of information that ensure continuity on the one hand, and differences on the other, in the structure of two cultural paradigms. From this perspective, numerous oppositions are considered: postmodern irony and the pursuit of direct expression of the metamodern, citation of texts and citation of meanings, professionalism and new amateurism, artist and creative Everyman etc. The specific features of metamodern in music are revealed — the return of tonality, the return of a melody, the return of a song. Without claiming either the ultimate truth or the final conclusions, N. Khrushcheva offers her vision of the contemporary cultural situation; the picture of the era unfolded in her monograph attracts with its inherence, integrity and boldness of the concept.

Keywords: Nastasya Khroustcheva, postmodern and metamodern, oscillation, return of affect, new amateurism, minimalism.

Liderança pode ser um desafio nessa era tecnológico, repleto de hiperconexões, em que nossa sociedade hoje é considerada pelos pós-modernistas como uma sociedade líquida, ou liquidez social (Bittencourt, 2009).  Portanto uma compreensão sobre liderança a luz da condição humana atual e o senso cultural é indispensável para aquele que será um líder também para aquele que já é.  O foco desse trabalho não é definir e esgotar todos os aspectos da liderança para a sociedade líquida, mas uma pesquisa introdutória para uma futura pesquisa nesse campo.  Apresentaremos uma definição contemporânea de liderança e como poderíamos abordar a liderança especialmente no contexto eclesiástico.

Abstract: This article claims, under the form of some coments, to explore the ambiguities and the ambivalences, as well the challenges, that historians have toface in order to rethink the place and true role of History in our postmodern society. ln fact, just after the 70s, we live under the sign ofrelativism or; as Sennett has pointed some years ago, under "the tyranny of the self" which affects the traditional faith in the reason and in the Enlightenment norms that, since Modern times, had governed social life. Can historians, in this disturbed times, resist the growing sceptical wave that seems to jeopardize the historical craft? Or is our knowledge-definitely condemned to be a rhetorical one, just an historical imagination?
Keyword: Historiografia.

My point of departure is Edward Said’s brilliant masterpiece ‘Orientalism’ (Said, 2003). I will summarise, although precisely, Said’s critique of Orientalism and will focus on the consequences of his conclusions about the fate of Islam after Orientalism that have compelled me to re-tell the story of Islam and Muslim subjectivity in a different manner. I will map the important anti-orientalist attempts influenced by Said’s work, in terms of conceptual schemas by picking up one or two representative figures that represent a particular conceptual scheme, and will then go on to offer an alternative narrative. I will try to show how Islam as Master
Signifier' (Sayyid, 1997) retroactively constitutes subjectivity, through political action of Islamists. The account will end by looking at the link between Islam and Islamism by employing the categories of ‘Availability’ and ‘Reliability’ developed by Laclau (1990).

Why does aesthetics matter in aesthetic education? What are the issues that this area of philosophy deals with, and what kind of questions does it raise in relation to art and the experience one has when s/he comes into contact with a work of art? Moreover, how can aesthetic theory provide sufficient justification for establishing aesthetic education as an autonomous and important field in education? In addressing these fundamental questions, the author: A) follows the development of aesthetics as a series of transformations and continual engagement with the core issues related to art and the aesthetic experience. She argues that the task of aesthetic theory is to re-examine the conditions under which both art and the aesthetic experience are approached and, in the process, to challenge unsubstantiated claims and prejudices associated with them. B) The author also attempts to show how, due to its reflective and critical nature, aesthetics could become the foundation of aesthetic education. She argues that, as a result, questions of major importance for shaping the content and aims of aesthetic education can be fruitfully answered from the perspective of aesthetic theory.

The following dissertation will explore the following selection of the word of Brian O'Nolan; At Swim Two Birds, The Third Policeman, The Dalkey Archive and his final novel An Béal Bocht, along with his columns for The Irish Times, Cruiskeen Lawn. Completed during my degree at Mary Immaculate College in Limerick City.

L'histoire est indispensable pour comprendre le présent : assurément... et voilà un lieu commun somme toute rassurant. Mais quelle(s) histoire(s), faite(s) par qui, et comment ? Y-a-t-il une manière neutre d'aborder le passé, ou plus recommandable que d'autres qui seraient trop orientées ou militantes ? Les historiens peuvent-ils s'ériger en arbitres des usages du passé – en particulier de ses usages ou instrumentalisations politiques ? Le savoir et l'érudition sont-ils en mesure de dire le dernier mot sur ce qui a eu lieu, et quelles seraient les conséquences de cette prétention ?
La pensée d'un philosophe du XIXe siècle, Friedrich Nietzsche (1844-1900), peut aider à poser ces problèmes très actuels. En 1874, dans sa deuxième "Considération inactuelle", intitulée "De l'utilité et des inconvénients de l'histoire pour la vie", Nietzsche mettait en évidence les enjeux cruciaux de la "science historique" et de notre rapport au passé. Pour en parler, "La grande H." a sollicité Dorian Astor, philosophe, germaniste et spécialiste de Nietzsche.
Motion design Jaques Muller, montage Bérénice Sevestre.
Une émission de Julien Théry.

A study of the limits of multilingual literary expression in print culture. Beginning with the insight that multilingual literature defies simple translation, Brian Lennon examines the resistance multilingual literature offers to book publication. Looking closely at the limit of multilingual literary expression and the literary journalism, criticism, and scholarship that comments on multilingual work, In Babel’s Shadow presents a critical reflection on the fate of literature in a world gripped by the crisis of globalization.

This paper deals with the poetical practices of American antropologists, which both reveal important institutional issues and the intensity of relationships which this caused. It illustrates three consecutive periods during the history of American anthropology when researchers have shown a heightened interest for poetry, either because they themselves wrote some or because they where particularly interested in studying it. The first period corresponds to the foundational period of the discipline (192061930). For this the work of Edward Sapir and Ruth Fulton Benedict is examined. More particularly, the paper focuses on the hesitation of these two représentatives anthropologists of the "culture and personality" school between a career in anthropology or poetry. The second period shows the link between the poets of the Beat Generation and the ethno-poets who founded the journal Alcheringa Ethnopoetics (1960-1970). The last period studied concerns the "poetic turn" and post-modernism (from 1980) which coincide with individual and collective publications of "field poetry" (anthropological poetry). This period corresponds to the setting up of institutions such as compétitions and prizes for anthropological poetry.
Thème : Poésie et anthropologie
Mots clés : poésie ; histoire de l’anthropologie ; culture et personnalité ; ethno-poétique ; post-modernisme ; poésie anthropologique.
Key words : poetry ; history of anthropology ; culture and personality ; ethnopoetics ; post-modernism ; field poetry.

The paper deals with the concepts of fragmentation and reconstruction in the field of portraiture. Taking a portrait as a large fragment of information, we look into ways in which it can be optimised and reduced such that it remains valid but becomes more efficient. The paper commences by exploring the concept of the fragment from various facets, including historically, especially from the modernist point of view, and goes forth to investigate various techniques from practices both adjunct and outside of the field of art in order to inform the portraiture process itself on how information can be collected, optimised and presented to the viewer.

The object of study is a little-known aspect of the famous Russian philosopher A. F. Losev's works, namely, his fiction. Losev's works are considered in comparison with Romanticism and Symbolism. Having a lot of philosophical commonalities, sharing their basic ideas, Losev disagrees with the Symbolists in determining consequences the idealization of man. Any kind of art, and even music, are not capable, according to Losev, of overcoming the egoistic restrictions of human individuality. In Losev's works one of the central themes of Symbolism finds its continuation-the struggle of man against the dark forces. The writer shows that they can take possession of a person and arouses in him an irresistible desire for destruction. The analysis shows that Losev has a dialectical approach to the nature of any phenomena, including belles-lettres. Based on the artistic traditions of his predecessors-Romantics and Symbolists, combined with the achievements of Russian and European classical literature of the 19th century, Losev offers his own solution to the problems of good and evil, life and death, heaven and earth. Warning the reader about the dangers of individualism and worship of the idols of science and technological progress, he maintains the idea

ספר זה הוא ניסיון לתאר את פניה המגוונות של הטראומה ואת האופן שבו היא מפרקת ומעצבת את התרבות: מעקדת יצחק ועד מלחמת וייטנאם, משֹרה אימנו ועד מרגריטה של בולגקוב, מהנס של תומאס מאן ועד דניאל של מישל וולבק, מקפקא ועד מאיר אריאל, מניטשה ועד מועדון קרב. הספר מציע אפוא קריאה חדשה בטקסטים קנוניים וזאת במטרה לחשוף את הממד הטראומטי והפוסט-טראומטי בתרבות: ספרות, קולנוע ומוסיקה עומדים בלב הדיון. בספר שמונה מסות, בכול אחת נחשף צד הקושר בין תרבות לטראומה: ההשתוקקות לעקוד ולהיעקד, המסלול האפוקליפטי של האדם הפוסט-טראומטי, הצורך לרצוח על מנת ליצור היסטוריה חדשה, תחושת הזוהמה והזרות הטוטאלית, הגוף הדחוי שהטראומה מקועקעת בו, העדר האֵם, הקשר הייחודי בין לוחמים שיצאו מדעתם, מוסיקת טכנו כשפת הטראומה וכדרך לריפוי, רוק ישראלי כביטוי של הציוני שמצא עצמו בשדות זרים. המסקנה בספר מזעזעת אפילו את הכותב עצמו: אנחנו חיים בסוף עידן; האנושיות, על החולי שבה, תמה. בקרוב, ילדינו לא יעברו את מבחן טיורינג.

This paper explores black feminist thought, its interpretive framework, critical and epistemological modes of inquiry, and the political significance underlying its terrains of contestation in and outside academia. It emphasises the limitations of additive or mutually constitutive models of social divisions and thus privileges an intersectional approach that renders the complicated experience of black women within multiple categorizations of oppression understandable. By grounding intersectionality in a set of interlocking systems of social, cultural and political violence, this research explores black women’s politics of resistance to “epistemic violence” and institutionalized racism and sexism in Toni Morison‟s Beloved- an important work that captures one of the most significant junctures in African-American history, slavery and the Reconstruction era. This work offers an opportunity for understanding how intersectionality deepens notions of gender, race, and class and how they collaborate together in marginalizing the influence of black women on the social, cultural, and intellectual arenas. Revisiting the condition of black women through the lens of intersectionality suggests a desire to reconceptualize identity formation as inseparable from the external effects that determine black women’s realities.

Linda Hutcheon describes the postmodernist text as a manuscript that “signals its dependence by its use of the canon, but reveals its rebellion through its ironic abuse of it” (130). Irony is a key word in postmodernist philosophy and a key narrative strategy in the postmodernist text. As a poetics, established through different narrative techniques including intertextuality, parody, and pastiche and it highlights a fragmented text that deliberately questions totalising systems and lacks historical or narrative continuity. Highlighting parody, pastiche and intertextuality the postmodernist literary text reveals an ironic attitude toward unifying theories and totalitarian and stabilizing concepts. Coherence, unity or continuity become challenged notions within the postmodernist convention.

In Discourse, Figure and The Postmodern Condition, Jean François Lyotard hints to another aspect of the ironic postmodernist practice, namely ‘the language game’. From a postmodernist perspective, language as a communication as well as reference system falls within the excluded category of universal, totalitarian, and authoritarian grand narrative. The structuralist point of view concerning the linguistic system is called into question within the postmodernist frame of thought. A whole agenda, which can be referred to as postmodernist politics, is indeed responsible for such ironic narrative practises. The apocalyptic vision of endism characterising the postmodern era has actually paved the ground for these ironic narrative practises and this sense of playfulness in the literary text. Such an apocalyptic vision of endism is reproduced by postmodern theorists like Ihab Hassan, Jean François Lyotard, Jean Baudrillard and Hans Bertens who state that through such a cynical discourse, “the postmodernists have accepted chaos and live in fact in a certain intimacy with it” (Natoli 45).

Key Words: Irony, postmodernism, poetics, politics

This paper/project theorizes an epistemological rupture between the scopic regimes of Cartesian Perspectivalism and the “Post-Digital” and how these influence conceptions of reality, identity, and subjectivity. Through an analysis of the progression of perspectivalism from the 15th
century to the digital image, the photograph is theorized as operating concomitantly with realism and positivism, and through digital mediation, as having been commodified and weaponized by capitalism for the purposes of subjugating its subject. This subjugation is theorized as producing a pervasive dysphoria, as the simulacrum of reality engendered by digital visuality causes the semiology of reality to dissolve. The “post-digital,” then, serves as a negation of this subjugation through a reflexive and hyper-mediated visuality that employs surrealist strategies to ground the spectator in their own subjectivity. The photographic component is an inquiry into how I, as a digital subject, utilize aesthetic strategies in order to ground my own subjectivity within this paradigm.

ENG:
This paper deals with the evolution of the exhibition space in the modern and post-modern history of art. It investigates the changes in approach to space, and the works places inside it, in the last 100 years of progress. This progress is illustrated by a series of examples, which played an instrumental role, and helped towards the so-called “re-discovery of context”. Another part of the paper also deals with the problematic of the participatory role of the viewer in post-modern and conceptual art, which is a thriving topic of the contemporary discourse.
Brian O’Doherty's essay “Inside The White Cube” was one of the key & inspirational resources for this work. However, it is accompanied, side-by-side, by works written by Sol LeWitt, Boris Groys and other authors relevant to the field.
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CZ:
Tato práce se zabývá vývojem výstavního prostoru v moderní a post-moderní historii umění. Zkoumá, jak se přístup k prostoru a k dílům do něj vloženým proměňuje, a jaké změny v tomto přístupu zaznamenalo posledních 100 let vývoje. Tento vývoj je popsán prostřednictvím několika příkladů, které v tomto vývoji sehrály významnou roli a které napomohli k tzv. “znovuobjevení kontextu”. Část textu se rovněž věnuje problematice divácké percepce post-moderního a konceptuálního umění, které je neutichajícím tématem soudobého diskurzu.
Stěžejním a inspirativním pramenem k této práci byla esej “Uvnitř Bílé Krychle” Irského teoretika Briana O’Dohertyho, po boku této eseje se ale v této práci také objeví například úryvky z prací Sol LeWitta či Borise Groyse a dalších relevantních autorů.

Autor: Norbert Engst, Bauingenieur und Landschaftsarchitekt, 1. Preis in der Hauptkategorie des Sächsischen Landespreises für Heimatforschung 2020.

Der Band spannt einen Bogen von der Geschichte von Chemnitz Süd über die Bebauungspläne der 1920er und 1930er Jahre bis zum Bau des Wohngebietes "Fritz Heckert". Er widmet sich dem Leben im "Heckert" wie der unterirdischen Infrastruktur und zeigt auf, warum das Fritz-Heckert-Gebiet letztlich unvollendet blieb aber auch seine Zukunftschancen.

[Quelle: https://chemnitz.de/chemnitz/de/aktuell/publikationen/broschueren/14721.itl]

William S. Burroughs, one of the founding members of the counterculture literary movement of the Late-Modernist period known as the Beat Generation, added fuel to the Beat fire when he published his novel, Junky, in 1953, ushering in a heavy dose of in-your-face reality, offering himself as the heroin-ripened sacrifice. The novel, with its self-deprecating, dark subject matter written in linear prose, is an essential example of what makes a novel “Beat” and represents the epitome of Late-Modernism as a departure from other, more mainstream modernist novels. Fast forward six years to Naked Lunch, and we see a Burroughs who has abandoned linearity for radical literary experimentation while still holding fast to his go-to theme of massive drug abuse, though with the added element of exuberant homoerotic exercise. The differences between the two novels are as extreme and uncompromising as artistically possible. Therefore, by comparing the subject matter and linear cohesiveness of his first novel, Junky, to that of his nonlinear, severely disjointed, and often stomach-churning second novel, Naked Lunch, it can be concluded that Burroughs left behind what could be considered Modernism, and moved the world with all literary abandon into a brand new era beyond even Late-Modernism.

The meta-narrative of bourgeois-capitalism is an artificial, i.e., man-made construct, designed solely to indoctrinate, subjugate, and dominate, the general-population in service of a state-financial-corporate-aristocracy, that is, a select few, who are its active material and ideological agents. All the empty-promises and fools-possibilities, the meta-narrative of bourgeois-capitalism has showered unto the workforce/population has, in all intent and purpose, come to naught. These empty-promises and fools-possibilities have only served to occupy the workforce/population, while, the agents of bourgeois-capitalism have robbed the workforce/population of its property, i.e., capital, both quantifiable and unquantifiable. Consequently, although the Enlightenment has not been wholly vanquished to the dustbin of history, since, the Enlightenment meta-narrative of bourgeois-capitalism continues to stalk the planet, the Enlightenment must not be resurrected, by any means. It must not be re-animated, all-over again, so that it can enact its tyranny over humanity, all-over again. The way forward is to leave the past in the past, where it belongs. The way forward is towards the Nth degree of heterogeneity, equality and plurality, devoid of any overarching, meta-narrative, especially the cunning hydra, that is, the Enlightenment meta-narrative of bourgeois-capitalism.

Bu araştırma Walter Benjamin hakkında yapmış olduğum bir dönem ödevinin taslağı niteliğindedir. Araştırmanın amacı modernizmi soyut kavramlarla açıklayan Benjamin'i daha yakından tanıyabilmek adına bakış açısını en sade şekilde dile getirmektir. Araştırma, tüm intihal kurallarını göz önüne alarak yapılmıştır.

A 16 page essay on Brian Eno's installations and how, in reflection, they relate to the Long Now. Eno coined the term “Long Now” from which the Long Now Foundation acquires it’s name. He is a founding member and has, even in his first installations, always shown an approach to slower/better thinking. This was a student essay submitted for an Art History class.

This Seminar introduces students to the relation between Christ and the theology of history and to the complex intersection of Christology and the "Being in Time" issues of Martin Heidegger and some who have engaged with him and his commentators.

It seems deeply intuitive that as humans we try to create art that is permanent. Legacy in objects and ideas is a way to ensure our remembrance for generations and counteract our own mortality. The desire for permanence is embedded in our existential anxiety, both on the part of the individual who wants to make a lasting contribution or be remembered, and the institution who wants to collect, create, and assign objects with economic and cultural value. This is demonstrated in the decisions individuals and institutions make when creating or handling art objects, from material choices to the employment of conservation tactics. The creation of permanent art objects also establishes and perpetuates an economy of art possession that has become intertwined with capitalism and consumerism, fostering a disparity between the accessibility of art ownership and viewing. However, since the mid-twentieth century, numerous artists have found ways to radically subvert permanence and its implications through various modes of art-making. Perhaps the most poetic examples being the installations of Felix Gonzalez-Torres (1957-1996), whose work explores mortality, desire, relationships, love, and absence through sculptures that are in a continuous cycle of loss and regeneration. Often open about his personal life and political views,