This thesis is a critical examination of postmodernist pedagogy currently used in the education of visual artists. It is particularly concerned with the teaching of the traditional disciplines of painting and drawing within a postmodern context. My hypothesis is that the teaching of visual arts within a postmodern orientation more or less relies on an anti-aesthetic stance that is content-centered, with an insistence on critically and politically aware art. The overall objective of this thesis is twofold: First, to generate some questions and ideas that could be of assistance to post-secondary art instructors. Second, to establish a framework for an extended qualitative research that will address the impact of postmodernism on education of artists. The title "beyond the anti-aesthetic" does not necessarily present itself as a negation of the postmodernist paradigm. It identifies a need to revitalize visual art instruction within the postmodern model, to re-address the interplay between form and content in visual art and enhance critical thinking.

The concept of iconic architecture has been around for thousands of years. It has taken the form of great structures that have portrayed powerful messages, to impress and to intimidate society, from the pyramids and tombs of Egypt to the great Gothic cathedrals in Italy. It is by these structures that individuals have been exonerated and great nations have been identified. This concept is still very much prevalent today. Great structures and monuments fill the landscape, providing local and national identity and power to many communities and cities across the world. Today, icons bear the responsibility to represent more than just individuals and corporate structures but rather to provide an identity for every part of society. This document aims to understand this new role that icons have to play in society and how iconic architecture can facilitate the representation of a group of people through capturing their identity. This is an important opportunity for communities and nations to uplift and develop themselves as units of strength, on a local and international scale. To understand the purpose of icons, it is necessary to also understand the various characteristics of iconic architecture and how icons are made. These range from the physical identity to more representational characteristics. Both of these aspects begin to breakdown the essential ingredients that make up the powerful image of an icon. It is this image that provides identity for society. The theories of Semiology and Place Theory, as well as the concepts of Identity, Critical Regionalism, and Psychological Perception, are also used to discuss and highlight the various issues surrounding iconism and aids in the defining of icons as entities that establish and represent social identity. Throughout this document, the discussions into the various purposes of icons, portrayed through precedent studies and case studies, defines iconism for the present day. In so doing, the ways in which iconism can bring identity to a group of people, to a community and to society, is ultimately understood, and strives for a more empowered society, such as that of Durban. The outcome of the document proves the hypothesis to be true. Iconsim is a tool for social identity through its ability to portray the representation of communities as a unified whole. The redefined role of iconism to take on this responsibility is achieved through the theories of Semiotics, Place Theory and Psychological Perception. The physical presence of an icon is proved to be an important characteristic of iconism as it celebrates unique forms and the use of technology. The selected case studies are used to interpret icons in Durban, the location of the study, as well as discover the ways in which they benefit or fail the community with regards to their new defined role within society. / Thesis (M.Arch.)-University of KwaZulu-Natal, Durban, 2012.

The aims of modern education are largely Enlightenment-inspired - thus postmodernism finds an uneasy foothold within educational theory. But the needs of the present are not so much for universal reason and truth as for respect and non-violence (which it is argued are the "spirit" of postmodernity). This research report suggests that the usefulness of postmodern thought (and particularly of deconstruction) to education is not so much political as ethical. Drawing upon recent work of Jacques Derrida and commentaries upon his work by Simon Critchley and Johan Degenaar, it is argued that deconstruction is inherently a discourse of moral advocacy and that although it undermines the ultimate validity of any particular thought system this does not render it nihilistic; rather it involves responsiveness and openness towards the Other (person or system). While a reading of postmodern pedagogy acknowledges this, the intention is more often linked to particular political agendas, especially radical and feminist , than to wider ethical issues. Within educational theory a deconstructive "ethic of ethics" has implications for the kinds of knowledge which will be taught, the social relations which will be promoted, and the kinds of educational provision which will be made - but without prescription and within wide bounds of possibility. / Thesis (M.Ed.) - University of Natal, Durban, 1995.

This thesis argues for new theoretical and methodological approaches to the viewing and description of archival photographs. Many archivists continue to focus on photographic subject content, ignoring photographs’ contexts of creation, context of later use and the multiple ways photographs can be viewed. The thesis first charts the implications of postmodernist viewpoints on archival records generally. It then traces, in the context of the Canadian archival community, the gradual spread of a postmodernist regard for photographs specifically. The thesis then draws on the theories and methodologies of a range of other disciplines to suggest fresh approaches to the viewing and description of photographs. It applies these suggestions to a series of photograph albums held by the Archives of Manitoba. These applied suggestions reveal that photographs are richer archival sources when considered as evidence of both creator and viewer intent rather than as transparent windows onto the past.

Šiame darbe bus tyrinėjama Lietuvos postmodernizmo stilistinės krypties architektūra, apžvelgiant skirtingus jos raidos etapus – ištakas, kurios randamos dar sovietmečiu (8 – 9 dešimtmečiais), ankstyvosios nepriklausomybės etapą, bei laikotarpį po 2000 m. Darbe bus pristatoma postmodernizmo architektūros raida pasaulyje, jos estetinis ir idėjinis pagrindas, pagrindinių teoretikų suformuoti svarbiausi šios stilistikos bruožai. Mėginama išanalizuoti, kaip ši architektūros stilistinė kryptis vystėsi pasaulyje ir kaip – Lietuvoje. Darbe nagrinėjama raida nuo pirminių projektų iki užbaigtų pastatų. Dalis objektų atrinkta pagal analizuojamo laikotarpio architektūrinę spaudą, kita dalis analizuota natūrinių tyrimų metu. Nagrinėjant konkrečius objektus, ieškoma būdingų bei vertingųjų savybių, priskiriamų šiai stilistinei krypčiai. Taip pat darbe apžvelgiama šiandieninė situacija naujausių laikų architektūros ir paveldo apsaugos santykyje, nagrinėjami bei lyginami Lietuvoje ir užsienyje keliami su postmodernizmo architektūros įpaveldinimo bei apsaugos galimybėmis susiję aspektai, svarstoma ir apie šios stilistinės krypties, kaip neatskiriamo bendros architektūros istorijos etapo, pastatų galimo įtraukimo į pažintinius - turistinius maršrutus galimybę. / In this work author will research postmodernistic architecture in Lithuania, overlooking three different stages of it‘s development – early stage during the Soviet years, early independence stage (1990 – 2000) and period after 2000 years. In this work author presents development of postmodernism architecture in the world, its aesthetical and ideological basis, the main features of this architectural stylistic formulated by leading theoretics. Author trying to analyse how this stylistic evolved in the world and how – at Lithuania, this evolution will be overlooked from the very beginnings, primary projects to the finished buildings. This evolution researching through examples found in architectural press, as well as through ones, which was analysed during nature research. In analysing of each example author is searching typical and valuable characteristics, whose are common in the postmodernism stylistic of architecture. Also in this work author overlooks today‘s situation in the field of new architecture and it‘s preservation, research and compare it‘s aspects in Lithuania and other countries, also considers the possibilities of postmodernistic buildings involvement in educational – touristic routes.

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The problem addressed by the student was the creation of private, separate spaces within a larger area. It was determined that folding screens could be utilized in a variety of settings and situations thereby providing a flexible solution.As the creation of the folding screens progressed, the student was exposed to ideas and motivating concepts within the artworld which influenced him to consider a more sculptural response to the problem. A shift of the emphasis from the purely functional to a viewer oriented. perceptual interaction with the sculptural space was the result; although the sculptures did not have the obvious usefulness of the folding screens, the student found the sculptures to be personally useful in his artistic development.The primary method of constuction utilized was welding. Several of the sculptures were the result of combining wooden elements and assemblages with welded steel. Sevendifferent artworks were created, three being folding screens and four being sculptural barriers. / Department of Art

This thesis argues for new theoretical and methodological approaches to the viewing and description of archival photographs. Many archivists continue to focus on photographic subject content, ignoring photographs’ contexts of creation, context of later use and the multiple ways photographs can be viewed. The thesis first charts the implications of postmodernist viewpoints on archival records generally. It then traces, in the context of the Canadian archival community, the gradual spread of a postmodernist regard for photographs specifically. The thesis then draws on the theories and methodologies of a range of other disciplines to suggest fresh approaches to the viewing and description of photographs. It applies these suggestions to a series of photograph albums held by the Archives of Manitoba. These applied suggestions reveal that photographs are richer archival sources when considered as evidence of both creator and viewer intent rather than as transparent windows onto the past.

Aim: The aim of this study was to examine a way to measure students’ knowledge development by using a self-made measure instrument based on William Doll’s postmodern curriculum. Question: Is it suitable to use an self-made measure instrument based on William Doll’s post-modern curriculum theory to measure development of knowledge? Methods: The study was based on process-hermeneutics and was focused on analysingcollege students’ written and oral reflective thoughts. The data was collected over three lessons, where six students’ written reflective thoughts were handed in. An observation was carried out each lesson for an extra control of validity. A group of nine students was taken as a control of the measure instrument’s reliability. The measure instrument was built from Doll’s categories: Richness, Recursion, Relations and Rigor. Each category was divided by three levels of thinking. Each reflective task was judged by two judges. An extra text analysing was done to control whether there was a knowledge development outside the measure instrument. Results: The results of the judged reflective tasks was tested with both Cohen’s Kappa and Cronbach’s alpha. Cohen’s Kappa revealed the accordance of k= -0.047 n=9 for the control group and k= 0.364 n=14 (reflective tasks) for the test group. Cronbach’s alpha revealed a consistency of 0.645 n=9 (students) in the control group and 0.351 n=6 in the test group. After three lessons, judge one considered 66%, judge two 33% of the students demonstrated acquired development of knowledge. One criteria, Rigor, showed a low rate of acquired knowledge development. The reason behind that could be in the nature of the theory behind Rigor itself, and the students’ understandings of it. Conclusion: The results does not support the premises of this study. The tests of reliability fail to support the claim that the measure instrument should be reliable enoughto be used to measure knowledge. The instrument needs to be altered to be able toserve as a reliable tool for measurement. Further research is needed in order to reveal if the instrument and Doll’s 4R theory are useful as curriculum and measuring tool for knowledge development.

This study proposes that modernity is constitutively based upon a synchronic temporality which perpetuates the present of the ego. Within this matrix, history is subject to the processes of subjectivization and the 'otherness' of the past disappears. Postmodernism, it is argued, designates the attempt to disinter a properly historical thinking, or historicity, from the recursive temporality of the modern. This attempt is predicated upon the retroactive temporality of the future perfect which, whilst also a synchrony, arises from a productive tension between the past, the present and the future. The self-divisive time of the future perfect expedites the discomfiture of the ego and its concomitant subjectivization of the past and, by so doing, registers the historicity of that past. The relation between the modern and the postmodern forms of temporality is expressed by the Lacanian distinction between the imaginary and symbolic orders. It is argued, moreover, that this distinction is manifest in the narrative forms of the contemporary novel. Whilst the modern form of the contemporary novel replicates the structures of an egocentric repletion of synchrony, the postmodern novel displaces this imaginary problematic to the symbolic. By employing a variety of techniques founded upon retroactivity, postmodern novels are thereby shown to foster a disclosure of the structure of historicity. Within this rubric five novels are given extended consideration: William Gibson's Neuromancer, Bret Easton Ellis's American Psycho, Thomas Pynchon's The Crying of Lot 49, Kurt Vonnegut's Slaughterhouse-Five and John Banville's Doctor Copernicus.