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The nature of the church in some post-christendom models and according to some authors in the New Testament : a comparative study with missiological implicationsWeyers, Mario, 1973- 04 1900 (has links)
In this thesis the researcher has investigated which of the two concepts: believing before belonging or belonging before believing, is a more accountable perspective in regards to ministry in post-Christendom society.
With the final stages of the modern period the power of hegemonic ideologies is coming to an end as people identify less with grand ideologies and more with subcultures related to technology and social and economic networks of different kinds. The post-Christendom phase has begun and is radically challenging Christendom notions of ministry.
We have to assume that among post-Christians the familiarity with Christian concepts will fade as the decline of Christendom has meant that Christianity has been losing its status as a lingua franca, only to be understood in the long run, by those who are professing Christians. It is therefore important that the church will anticipate longer journeys towards faith and not move on to disciple new converts too quickly. Post- Christendom evangelization will consequently take longer, start further back and move more slowly.
In the context of post-Christendom, knowledge of Christianity is rather limited and people need to come to an understanding of what Christianity entails. For those seekers, exploratory participation at first is safer than making a definite commitment.
Postmodern society is also suspicious of institutions and eager to find whether Christian beliefs also work in practice and not only in theory. Therefore is belonging before believing very much necessary for seekers to test whether Christians live out in their communities what they claim to be true? / Christian Spirituality, Church History and Missiology / D. Th. (Missiology)
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Cognitive Mapping in the Postmodern Novel: Philip K. Dick's "Ubik", Kim Stanley Robinson's, The Gold Coast, and Don DeLillo's, White Noise.Starn, Natalie M. 08 May 2013 (has links)
No description available.
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Beyond Postmodern Margins: Theorizing Postfeminist Consequences Through Popular Female RepresentationMosher, Victoria 01 January 2008 (has links)
In 1988, Linda Nicholson and Nancy Fraser published an article entitled "Social Criticism Without Philosophy: An Encounter Between Feminism and Postmodernism," arguing that this essay would provide a jumping point for discussion between feminisms and postmodernisms within academia. Within this essay, Nicholson and Fraser largely disavow a number of second wave feminist theories due to their essentialist and foundationalist underpinnings in favor of a set of postmodernist frameworks that might help feminist theorists overcome these epistemological impediments. A "postmodern feminism," Nicholson and Fraser claim, would become "the theoretical counterpart of a broader, richer, more complex, and multilayered solidarity, the sort of solidarity which is essential for overcoming the oppression of women" (35). Interpreting "Social Criticism" through a feminist cultural studies model in which texts are understood to be simultaneously constituted by and reflective of their own sociopolitical spaces, I argue that the construction of Nicholson and Fraser's "postmodern feminism" is, first and foremost, neither a postmodernist critique nor a means of overcoming the pitfalls of essentialism and foundationalism. Instead, the construction of this theoretical paradigm can be shown to be complicit with postfeminist discourses, wherein an implicitly patriarchal discourse of postmodernism is called upon to repair the deficiencies of feminisms, deficiencies that postmodernisms, in some ways, helped to bring into view. To provide a conceptual backing for these claims, I move toward an examination of mass culture, surveying the similarities between "Social Criticism" and the film What Women Want. Such a comparison, I suggest, facilitates a better understanding of how "Social Criticism" can be shown to be imbedded in a postfeminist narrative structure in which feminisms are relegated to a discursively subordinate gendered position in relation to postmodernisms. Finally, in what I find to be the most important aspect of this thesis' inquiry, I ask what it means to build a "broader, richer, more complex, and multilayered solidarity" by disavowing second wave feminisms in favor of postmodernisms. I conclude that, in using postmodernisms as a panacea for feminist theories, Nicholson and Fraser curtail what might have been a rigorous interrogation of and direct engagement with second wave feminist theories that would also attend to the phallogocentric underpinnings of postmodern theories. To underline the potential consequences, I turn to a set of televisual and filmic texts including Sex and the City, Desperate Housewives, and The Devil Wears Prada to gauge what their "postmodern feminism" might represent in practice rather than what it entails as philosophy. This juxtaposition of these two differently defined and yet overwhelmingly similar postmodern feminisms, I propose, underscores the potential that Nicholson and Fraser may have instituted a postmodern feminist methodology in which it is possible that feminisms might emerge not as discourses essential for "overcoming the oppression of women" but rather as discourses that can be critiqued into oblivion.
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Fictions and forced forgetfulness in the plays of Edward Albee during the long 1960sVyas, Divyansh 08 1900 (has links)
Ce mémoire explore comment Edward Albee peut être perçu comme un postmoderniste,
s’appuyant sur une compréhension du postmodernisme formulée par Linda Hutcheon et le
contexte américain pendant les longues années 1960 pour examiner de façon critique deux des
premières pièces d’Albee. Les pièces en question, The Zoo Story (1959) et Who’s Afraid of
Virginia Woolf? (1962), dépeignent des personnages qui ne peuvent supporter la ligne floue
entre les faits et la fiction de la condition postmoderne, où il n’y a pas de motifs ou de vérités
incontestables. Le besoin désespéré de vivre dans la certitude absolue et l’assurance fait que
les personnages nient la condition postmoderne, et s’engagent dans un processus d’oubli forcé
de leur appréhension de la condition postmoderne et des différents événements qui les ont
amenés à elle. Les personnages des deux pièces utilisent différents métarécits pour créer un
sens et vivre leur vie avec l’illusion de la certitude complète. Le processus de l’oubli forcé sera
déduit à travers les théories de la mémoire et de l’oubli tel que compris et expliqué par Jonathan
K. Foster. Le mémoire démontre comment, en raison de leur cartographie de toute leur vie sur
la base de différentes métanarrations, les personnages finissent par vivre d’une manière aliénée
et inauthentique. L’état apathique et émasculé de leurs identités les font se livrer à des actes
extrêmes de violence et de rage. Albee montre comment les identités de ses personnages sont
compromises de différentes façons en subissant leur mort sociale. / This thesis explores how Edward Albee can be perceived as a postmodernist, relying on an
understanding of postmodernism formulated by Linda Hutcheon and the American context
during the long 1960s to critically scrutinize two of Albee’s early plays. The plays in question,
The Zoo Story (1959) and Who’s Afraid of Virginia Woolf? (1962), portray characters who
cannot bear the blurred line between fact and fiction of the postmodern condition, wherein
there are no unquestionable grounds or truths. The desperate need to live in absolute certainty
and assurance makes characters deny the postmodern condition, and engage in a process of
forced forgetfulness to forget about their apprehension of the postmodern condition and
different events which brought them to it. The characters in both plays use different
metanarratives to create meaning and live their lives with the illusion of complete certainty.
The process of forced forgetfulness will be deduced through theories of memory and forgetting
as understood and explained by Jonathan K. Foster. The thesis demonstrates how, due to them
charting their entire lives on the basis of different metanarratives, characters end up living in
an alienated and inauthentic manner. The apathetic and emasculated state of their identities
make them indulge in extreme acts of violence and rage. Albee shows how identities of his
characters get compromised in different ways by suffering their social death.
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Generation X and the Invention of a Third Feminist WaveBly, Elizabeth Ann January 2010 (has links)
No description available.
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“Why So Serious?” Comics, Film and Politics, or the Comic Book Film as the Answer to the Question of Identity and Narrative in a Post-9/11 WorldMoody, Kyle Andrew 12 August 2009 (has links)
No description available.
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A Confession of Miraculous Mythological Epistemology for Health CommunicationStonestreet, John Ryan January 2014 (has links)
No description available.
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DANCENOISE DECLARES OPEN SEASON ON THE DOCILE BODY: DANCE STUDIES AND FEMINIST THEORYKeller, Matthew J. 09 May 2017 (has links)
No description available.
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John Adams’s <i>Gnarly Buttons</i>: Issues of History, Performance and StyleTaylor, Anthony Gordon 09 October 2007 (has links)
No description available.
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Multiplicity of the Mirror: Gender Representation in Oyeyemi's Boy, Snow, BirdRowe, Rachel Marie 27 August 2015 (has links)
No description available.
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