Uppsatsen ämnar belysa hur Harry Martinsons Aniara (1956) förebådar postmodernismen trots att verket är rotat i den modernistiska traditionen. Analysen tar upp två aspekter med fokus på innehåll och berättarteknik där verket visar prov på en postmodern idévärld. Först behandlas miman, och resonemang förs kring att hon och hennes produktion bör ses som en masskulturell företeelse snarare än som elitistisk diktkonst. Analysen anknyter till Baudrillards teori om hyperverklighet och simulacrum och visar på hur miman skapar detta med sin kultur­produktion. Här framstår två tolkningsalternativ: ett där miman i egenskap av masskultur upp­värderar synen på masskulturen och pekar framåt mot postmodernismen, och ett andra där hon blir en negativ symbol för masskulturen. Detta eftersom hon döljer verkligheten för befolkningen så pass länge att de slutar försöka lösa sin situation. Den andra aspekten är Aniaras förhållande till metanarrativ, vilket belyses utifrån Lyotards teorier om vad som kännetecknar det postmoderna samhället. Analysen visar hur metanarrativen ses som omöjliga inom fiktionen och istället byts ut mot lokalt meningsskapande. Verket i sin helhet bjuder också på motstånd mot metanarrativ genom att (1) utge sig för att vara en klart av­gränsad händelse, (2) skriva ut ett motstånd mot djuplodande tolkningar och slutligen genom att (3) mimaroben som ska förmedla revyn över människan i tid och rum inte är pålitlig nog att lägga fram en allmän sanning. Sammantaget konstateras att verket är rotat i modernismen men att det samtidigt förebådar postmodernismen i dess syn på masskultur, hyperverklighet och meta­narrativ. / The aim of this essay is to highlight tendencies of postmodernism in Harry Martinson’s Aniara (1956), a work that has traditionally been placed in a modernist context. The analysis centers around two aspects in the text with the aim of finding traces of a postmodern world view. First the “mima”, an enigmatic machine that consoles the passengers in the first six years of the journey, is reasoned to be a mass cultural phenomenon rather than an elitist poetic device, as pre­vious studies have suggested. The cultural production of the machine is then analyzed in the light of the theories of hyper reality and simulacrum, as conceived by Jean Baudrillard. The analysis renders two possible implications, one where the machine can be viewed as a precursor to a post­modern positive attitude of mass culture, and one more modernistic where the machine in its role as mass culture numbs the passengers and prevents them from acting on their situation in time. The second part of the analysis focuses on the view of metanarratives, as expressed within the fiction and in the wok as a whole. Jean-François Lyotard and his explanation of postmodernism’s incredulity towards metanarratives is used as a theoretical standpoint. The analysis shows that metanarratives are considered impossible within the fiction of Aniara as during the course of the journey, they are replaced with more local methods of creating meaning. On the whole, the book could be seen to replace the metanarrative of human progress by one telling of the inadequacy and inert destructibility of humanity. However, the analysis shows that metanarratives are rejected all together. The construction of a new metanarrative is made impossible by (1) the fictitious accounts clearly being a local event, (2) the text openly stating the impossibility of deeper interpretation and finally (3) the work employing a narrator too unreliable to be able to convey the unarguable truths necessary to create a new metanarrative.

This dissertation examines two films directed by Quentin Tarantino, whom I have situated as a postmodern film director, within the theoretical context of the philosophies of two postmodern philosophers: Jean Baudrillard and Jean-François Lyotard. I argue that the major institutions of society, such as the family and religion, are viewed as grand narratives, in Lyotard’s sense of the term, which Tarantino repeatedly subverts. Overlapping with this intersection of Lyotard’s philosophy in Tarantino’s films is the Baudrillardian loss of the real, which manifests as hyperreality in many scenes. I suggest that Tarantino makes a conscious effort to create such hyperreality with the creation of playful signifiers in his films. I examine selected scenes to find Baudrillard’s “successive phases of the image” (Baudrillard 2010:6) that lead to the creation of a simulacrum. The compelling intersections between the creation of Baudrillardian simulacra and the subversion of Lyotard’s grand narratives are explored within selected scenes which are deconstructed by means of film narratology, semiotic analysis and narrative analysis. The combination of the various methods of media research in this thesis enables what Jane Stokes calls “a more textured understanding” (2008:27) of the films under discussion. A close reading from a semiotic point of view facilitates a deconstruction of some obscure elements, such as the embedded meaning in lyrics and dialogue or the messages implicit in the mise en scène. / English Studies / M. A.

Drei fast zugleich veröffentlichte Texte französischer Philosophen zu lesen, mag zum Nachdenken über den Zusammenhang auffordern - hier soll einmal bewußt den Unterschieden nachgegangen werden, zum Erweis der Brüchigkeit des philosophischen Diskurses, der von vielen für manifest gehalten wird. Gibt es eine postmoderne, post-strukturalistische, post-analytische Philosophie? Das ist zweifelhaft. Es gibt Fraktionen. Es gibt so verschiedene Autoren wie Jean Baudrillard, JeanFrancois Lyotard und Jean-Luc Nancy.

It’s Always Better With A Good DM is about our relationship with objects and maps as a vector for fantasy. Beginning from the premise that humans understand the world via narrative, I am concerned with the loss of imagination in adulthood in lieu of ideology, which is no more real than stories of future and fantastic places.

Title from title page of PDF (University of Missouri--St. Louis, viewed February 9, 2010). Includes bibliographical references (p. 152-165).

Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-05-28Bitstream added on 2014-06-13T20:16:51Z : No. of bitstreams: 1 nascimento_jpc_me_ia.pdf: 2213686 bytes, checksum: eb26aeb40885b6d66423313764243eb0 (MD5) / Universidade Estadual Paulista (UNESP) / Em 1979, Jean-Fraçois Lyotard publica A Condição Pós-Moderna: Relatório Sobre o Saber sob a encomenda do Conselho da Universidades do estado de Québec. Tal publicação influenciou grande parte do debate sobre pós-modernismo em diversas áreas da pesquisa acadêmica em Humanidades. Tendo em vista tal influência, o presente trabalho tem por objetivo a observação desta influência de A Condição Pós-Moderna sobre as abordagens do pósmoderno em música realizadas posteriormente a década de 1980. Para tal tarefa, será utilizada a noção lyotardiana de pós-moderno como incredulidade nas metanarrativas de legitimação do saber. Esta influência será observada perante importantes textos relativos ao pós-moderno musical e na maneira como algumas obras da música clássica de concerto realizada na década de 1990 e 2000 se relacionam com tal incredulidade. / In 1979, Jean-Fraçois Lyotard published The Postmodern Condition: Report on Knowing made to order by the Council of Universities of the Provincial Government of Québec. Such publication influenced significant part of the debate on postmodernism in different areas of the humanity academical research. In view of such influence, the present work has for objective the comment of this influence of The Postmodern Condition on the approaches of the postmodern in music carried through after the decade of 1980. For such task, the lyotardian notion of postmodern will be used as incredulity toward metanarratives of legitimation of knowing. This influence will be observed in important writings concerned to the musical postmodern and in the way as some works of the concert classical music composed in the decades of 1990 and 2000 relate with such incredulity.

Made available in DSpace on 2014-06-11T19:28:17Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-29Bitstream added on 2014-06-13T20:57:45Z : No. of bitstreams: 1 pereira_al_me_mar.pdf: 717691 bytes, checksum: 6742ff014e9da9d4822196d5f840c675 (MD5) / A presente pesquisa pretende discutir os limites e as possibilidades de se conceber, no tempo presente, a práxis educativa, pela qual se define as relações pedagógicas e comunicativas estabelecidas pelo professor e pelo aluno nos espaços escolares, como portadora de uma dimensão artística e estética em seus processos de produção e recepção dos saberes sistemáticos transmitidos em sala de aula, como um meio de resistência política ao acentuado predomínio dos núcleos científicos que caracterizam esse ofício e, no limite, à racionalidade instrumental para a qual a reflexão sobre os sentidos dessa atividade tornou-se irrelevante. Para tanto, recorre-se à obra de Theodor W. Adorno, particularmente às suas conferências e debates sobre a educação e à sua teoria estética, e ao pensamento de Jean François Lyotard, sobretudo ao seu diagnóstico sobre a pós-modernidade, com o intuito de analisar as possíveis correspondências entre a produção artística e a recepção estética e o processo comunicativo que compreende a relação pedagógica escolarizada, focalizando a dimensão artística e estética dessa atividade, os problemas decorrentes dessa abordagem, particularmente o da relação entre experiência e linguagem, e as implicações estéticas do ofício do educar que poderiam se tornar objetos da reflexão filosófica do professor. Especificamente, pretende-se demonstrar que a mimese artística e o sentimento do sublime, tal como esses conceitos teriam sido apropriados por Adorno e por Lyotard, revelam não apenas a possibilidade de uma arte pedagógica que contenha, em seu processo de comunicação, uma afinidade aconceitual ética e estética com uma experiência irreconciliável, mas que, para além do sentimento apaziguador suscitado pela beleza, os indivíduos envolvidos nessa relação poderiam ser surpreendidos por um espanto sublime em função... / This research discusses the limits and possibilities of conceiving, at the present time, the educational praxis, by which one defines the pedagogical relations and communication established by the teacher and the student in school spaces, as having an artistic and aesthetic dimension in their production and reception of transmitted systematic knowledge in the classroom as a means of political resistance to the sharp predominance of scientific cores that characterize this trade and, ultimately, the instrumental rationality to which the reflection on the significance of this activity has is irrelevant. For this, one relies on the work of Theodor W. Adorno, particularly to his lectures and debates on education and his aesthetic theory, and the thought of Jean Francois Lyotard, especially to his diagnosis of post-modernity, in order to analyze the possible correlation between artistic production and reception aesthetics and communicative process which includes the pedagogical relationship educated, focusing on artistic and aesthetic dimension of this activity, the problems arising from this approach, particularly the relationship between experience and language, and aesthetic implications of the letter that the school could become objects of philosophical reflection the teacher. Specifically, we intend to demonstrate that artistic mimesis and the feeling of the sublime, as these concepts have been appropriated by Adorno and Lyotard, reveal not only the possibility of teaching an art that contains, in its communication process, an affinity aconceitual ethics and aesthetic experience with an irreconcilable, but that, apart from feeling aroused by the beauty reliever, individuals involved in this relationship could be surprised by a sublime awe in the light of which the dimensions and conceptual structures, which have traditionally been associated conditions a priori of empirical knowledge... (Complete abstract click electronic access below)

Persuasion and Signs: Semiotics and Rhetoric as Complementary Disciplines The hypothesis we consider in this dissertation is that of complementarity of semiotics and rhetorics, both in symstematical and historical context. The first part deals with the late modern interpretation of the history of rhetorics, sophistry and sophistical rhetoric (showing why i tis necessary to discriminate between these terms). This is illustrated by the discussion about pragmatics and interpretation of ancient rhetoric in the anglo-saxon philosophy of the late 20th century. Topic of persuasion is considered as the main point of investigation for its being common both to rhetoric and semiotics. This is elaborated in the second part of thesis, which concentrates on the analysis of Ch. S. Peirce's late work, especially his classification of signs, semiotics as pure rhetoric, with emphasis on his concept of pragmatism. The pragmatism is the point where semiotics and rhetoric coincide. In the conclusion it is find out, that semiotics and rhetoric are complementary disciplines, at least for their specific account of the notion of sign and persuasion. Keywords Rhetoric, rhetoric, semiotics, semeiotic, sophistry, Lyotard, Vitanza, Nietzsche, Peirce, Deleuze.

Persuasion and Signs: Semiotics and Rhetoric as Complementary Disciplines The hypothesis we consider in this dissertation is that of complementarity of semiotics and rhetorics, both in symstematical and historical context. The first part deals with the late modern interpretation of the history of rhetorics, sophistry and sophistical rhetoric (showing why i tis necessary to discriminate between these terms). This is illustrated by the discussion about pragmatics and interpretation of ancient rhetoric in the anglo-saxon philosophy of the late 20th century. Topic of persuasion is considered as the main point of investigation for its being common both to rhetoric and semiotics. This is elaborated in the second part of thesis, which concentrates on the analysis of Ch. S. Peirce's late work, especially his classification of signs, semiotics as pure rhetoric, with emphasis on his concept of pragmatism. The pragmatism is the point where semiotics and rhetoric coincide. In the conclusion it is find out, that semiotics and rhetoric are complementary disciplines, at least for their specific account of the notion of sign and persuasion. Keywords Rhetoric, rhetoric, semiotics, semeiotic, sophistry, Lyotard, Vitanza, Nietzsche, Peirce, Deleuze.

Thesis (PhD) -- University of Stellenbosch, 2002. / ENGLISH ABSTRACT: Philosophy has traditionally been concerned with the question of reason and rationality, as its central focus. From the perspective of the modern metaphysical tradition, this focus has developed around the theme of subjectivity in general, and the assumption of an ahistorical transcendental subject in particular. The idea of reason was thus foundational for the articulation and validation of the notions of truth and freedom. From the perspective of modernity, reason has thus been the condition of the possibility of enlightenment, freedom and moral progress. The debate between Habermas and the representatives of postmodern thinking represents the latest chapter regarding the question of reason, its limits, and its possibilities. What makes this debate particularly challenging is that Habermas, while he defends the idea of reason against its critique by the postmodernists, is actually in agreement with them in their dismissal of the tradition of metaphysical thinking. In view of his defense of the idea of reason, however, Habermas has invariably been accused of defending an outmoded and discredited form of philosophical thinking, while his opponents have generally been hailed as progressive thinkers who have succeeded in effecting a radical break with the conceptual legacy of the metaphysical tradition. In my dissertation I argue that the exact opposite position is the case, namely, that it is Habermas, and not his postmodern opponents, who has effected a radical break with metaphysical thinking. It is his ability to transform the idea of reason, from a transcendental into a postmetaphysical concept, in terms of which the question of reason and rationality, and the related ideas of truth and knowledge, are recast in fallibilistic terms, that, in my view, represents the overcoming of metaphysics. The postmodern turn, on the other hand, in view of its reluctance to consider the question of reason from an alternative model of rationality, finds itself still trapped within a form of transcendental thinking in which it seeks to enquire into the (im)possibility of reason, in the absence of a transcendental subject. In the final analysis, I argue that it is postmetaphysical rather than postmodern thinking, that offers us a practical alternative to the problematic conception of reason, bequeathed by the tradition of metaphysical thinking. / AFRIKAANSE OPSOMMING: Die fenomeen van die rede en die betekenis van rasionaliteit vorm tradisioneel 'n sentrale fokus van die filosofie. Vanuit die perspektief van die moderne metafisiese tradisie het hierdie fokus ontwikkel rondom die tema van subjektiwiteit in die algemeen, en die aanname van 'n a-historiese transendentele subjek in die besonder. Die rede was dus fundamenteel vir die artikulasie en legitimering van die konsepte van waarheid en vryheid. Vanuit die perspektief van moderniteit was die rede dus die voorwaarde vir die moontlikheid van verligting, vryheid, en morele vooruitgang. Die debat tussen Habermas en die verteenwoordigers van postmoderne denke verteenwoordig die mees onlangse hoofstuk van die verhaal van die vraag na rede en rasionaliteit - die beperkings daarvan, asook die moontlikhede daarvan. Hierdie debat bied besondere uitdagings omdat Habermas, terwyl hy die idee van rede verdedig teen die kritiek van die postmoderniste, eintlik met hulle saamstem vir sover hulle die tradisie van metafisiese denke verwerp. In die lig van sy verdediging van die idee van rede, is Habermas egter voortdurend daarvan beskuldig dat hy 'n uitgediende en gediskrediteerde vorm van filosofiese denke bly voorstaan, terwyl sy opponente in die algemeen voorgehou is as progressiewe denkers wat suksesvol 'n radikale breuk gemaak het met die konseptuele erfenis van die metafisiese tradisie. In my dissertasie beweer ek dat die teenoorgestelde inderwaarheid die geval is, naamlik dat dit Habermas, en nie sy postmoderne opponente nie, is wat hierdie radikale breuk met metafisiese denke suksesvol uitgevoer het. Dit is sy verrnoe om die idee van die rede te transformeer vanaf 'n transendentale na 'n post- metafisiese konsep, in terme waarvan die vraag na rede en rasionaliteit, en die verwante idees van waarheid en kennis, omskep is in fallibilistiese beg rippe, wat, soos ek aantoon, 'n (die!) suksesvolle transendering van die metafisika bewerkstellig. Die postmoderne wending, aan die ander kant, in die lig van die traagheid daarvan om 'n alternatiewe en verruimde konsepsie van rasionaliteit te ontwikkel, bly vasgevang in 'n vorm van transendentele denke waarin dit probeer om ondersoek in te stel na die (on)moontlikheid van die rede ten aansien van die afwesigheid van 'n transendentele subjek. Uiteindelik beweer ek dat dit die post-metafisiese eerder as die postmoderne denke is wat aan ons 'n praktiese alternatief bied vir die problematiese konsep van die rede, soos ons dit qeerf het by die tradisie van metafisiese denke.