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The beginning of the paper deals with the definition of postmodernism in the context of English literature of the 2nd half of the 20th century. It mentions theoretical postulates of postmodern literature (Eco, Barthes, deconstruction of the text). The paper focuses on the concept of intertextuality and narrative techniques in selected novels of John Fowles (The French Lieutenant´s Woman, Mantissa, and The Magus). The essence of the paper involves a literary analysis of these novels with the focus on the function and an importance of presence/ absence of the author, elements of intertextuality, an unreliable narrator, a fragmentation of narrative, a function of narration in the story, a role of metafiction and metanovel. In conclusion, the paper mentions the contribution of John Fowles to the context of English postmodern literature.

Abstract Syfte:Att med resultat baserade på World Value Surveys undersökningar, studera de postmoderna värderingarnas betydelse för befolkningars aggregerade beteenden och dess eventuella konsekvenser för politiken. Inledningsvis redogörs för problematiken kring postmoderna värderingar från ett politiskt-teoretiskt perspektiv. Därefter genomförs en teoriprövning med hjälp av regressionsanalyser för att se i hur hög grad värderingar samvarierar med utvalda beteendemönster, vilka kan tänkas vara signifikanta för befolkningar med postmoderna värderingar. Frågeställningar:Finns samband mellan graden av postmoderna värderingar befolkningar har, och följande fyra beteendemönster? 1. Hushållsskuld i förhållande till inkomst. 2. Andel enpersonshushåll.  3. Antal skönhetsoperationer.  4. Påverkan på miljön i form av globalt fotavtryck.  Finns eventuella samband kvar med kontroll för BNP/Capita? Resultat:Studien visar förhållandevis höga korrelationsgrader mellan värderingar och flera beteendemönster. Med kontroll för varandra, har dock BNP/Capita ofta en högre korrelationsgrad. Ingenting tyder på att befolkningar med postmoderna värderingar tar en större praktisk hänsyn till miljön än andra länders befolkningar, även med kontroll för BNP/Capita.

Z výše napsaného vyplývá, že tato práce, týkající se víry a s ní spjatého tématu Boha, je psána z pozic nikoliv náboženskoteologických, ale filosofických. Z pozice náboženské jsem ji nemohl napsat, neboť nestojím na žádné náboženské pozici. Pod vlivem nezávislých filosofů a religionistů vnímám náboženství (myšleno v plurální formě) jako kulturně dějinné fenomény vzniklé v určitém čase, za zcela specifických kulturně-historických a politickogeografických podmínek.

La "música postmoderna" es una categoría epistemológica creada con objeto de describir determinadas manifestaciones contemporáneas en la que los presupuestos estéticos de la modernidad se ven radicalmente cuestionados. No obstante, al igual que otros términos que jalonan nuestro vocabulario artístico (neoclasicismo, etc.), esta categoría está dando lugar a numerosos debates. Nuestro estudio parte de un examen crítico de las diversas aproximaciones esgrimidas hasta el momento y plantea posteriormente una nueva perspectiva con objeto de superar algunas de las contradicciones en las que éstas incurren.La mayor parte de estas definiciones señalan dos direcciones a la hora de abordar la música postmoderna: la aparición de rasgos estilísticos (discontinuidad, fragmentación, etc.) que desmienten el ideal moderno de una estructura cerrada y una tendencia a recuperar lenguajes reconocibles frente a la abstracción sonora que había caracterizado el serialismo de posguerra. Sin embargo, estas definiciones no alcanzan una distinción neta entre ambos planteamientos estéticos, dado que la creación de formas fragmentarias y la reutilización de materiales preexistentes son rasgos igualmente presentes en compositores modernos: Mahler, Berg, Debussy, Stravinsky, entre otros. Esta disertación doctoral caracteriza la música postmoderna como un paradigma estético dotado de unas coordenadas conceptuales y operativas específicas que la distinguen claramente de la estética moderna. Las confusiones generadas, sin embargo, podrían deberse al hecho de que ambos planteamientos estéticos responden a unas mismas problemáticas vinculadas con la evolución del lenguaje musical en la sociedad contemporánea y, más concretamente, con el cambio de condiciones de creación y recepción que se produce con el paso del Antiguo Régimen a un nuevo régimen de mercado. De ahí que el primer capitulo de nuestra disertación esté dedicado a un análisis de estas nuevas condiciones: la concepción de la propiedad artística (derechos de autor, la obra como mercancía, etc.); la emergencia de nuevas categorías como son el concepto de obra musical autónoma, la historia de la música, la música pura o la noción de una esfera autónoma del arte; y la evolución que el lenguaje musical sufre dentro de estas coordenadas. Posteriormente se analiza la articulación distinta que reciben estas categorías de la obra musical, la música pura, etc. en cada uno de estos planteamientos estéticos, relacionando para ello las teorías que surgen en el ámbito de la música con los discursos sobre la modernidad y postmodernidad desarrollados en el terreno de la filosofía.El apartado dedicado a la música moderna describe la articulación dialéctica que reciben estas categorías y descubre la existencia de dos vertientes estéticas diferentes: una vertiente clásica correspondiente a los principios de la dialéctica hegeliana, donde se inscriben el relato de un progreso histórico del material y el concepto de una forma autónoma y cerrada; y otra vertiente alternativa que hemos calificado de "modernista", correspondiente a la dialéctica negativa de Adorno, donde se defienden formas fragmentarias y una continuidad histórica compatible con la reutilización de materiales del pasado. Hemos examinado así mismo la presencia de estas dos vertientes en la obra musical de tres compositores: Schoenberg, Debussy y Stravinsky.En el apartado de la postmodernidad, analizamos la desarticulación de esta mediación dialéctica y la deconstrucción que se opera de las categorías que vertebraron la estética moderna: el concepto de no-obra; la disolución de una tradición histórica; la hibridación entre medios artísticos en las prácticas intermedia; y la deconstrucción de la autonomía del arte en manifestaciones que se sitúan en la brecha entre arte y vida. Estas coordenadas postmodernas han sido igualmente estudiadas en la obra de tres músicos experimentales del territorio español: Llorenç Barber, Carles Santos y Pepe Iges. / Postmodern music is an epistemological term which was created to describe certain contemporary musical expressions in which the aesthetic principles of modernism are radically contested. However, this nomenclature, like others that constitute our artistic vocabulary (neoclassicism, etc.) has provoked great controversy. Our research departs from a critical analysis of the various approaches developed and sets a new perspective with the objective of overcoming some of the contradictions which these generate.The majority of these definitions point in two directions when dealing with postmodern music: the use of a number of stylistic features (discontinuity, fragmentation, etc.) that challenge the modern ideal of a closed structure and the practice of recovering recognizable languages as an answer to the sound abstraction that characterised the post war serialism. Yet these definitions do not reach a clear distinction between the two aesthetical approaches, as the creation of fragmentary forms and the recovery of preexisting materials are equally present in modern composers such as Mahler, Berg, Debussy and Stravinsky among others. This dissertation is based on the assumption that postmodern music constitutes an aesthetical paradigm characterised by specific conceptual and operative keystones that undoubtedly distinguish it from modern aesthetics. But the existing confusion could arise due to the fact that both aesthetics respond to the same questions linked to the evolution of musical language in contemporary society and, more specifically, to the change in the conditions of creation and reception of music brought about by the decadence of the Ancien Régime in favour of a market economy. Therefore, the first chapter of our dissertation is dedicated to an analysis of these new conditions: the conception of artistic property (copyright, the work of art as a commodity, etc.); the emergence of new categories such as the concept of autonomous work, the history of music, pure music or the notion of an autonomous sphere of art; and the evolution of musical language under these conditions. There follows an analysis of the different forms adopted by these categories the musical work, pure music, etc. in each of these aesthetic approaches, relating thus the theories arising in the study of music to the discourses of the modern and postmodern developed in philosophy.The section dedicated to modern music describes the dialectical form that these categories adopt and the existence of two different aesthetic tendencies: a classical one corresponding to the principles of Hegelian dialectics, defending a historical progress of the material and the concept of a closed and autonomous form; and an alternative one, so-called "modernist", corresponding to the negative dialectics of Adorno, defending fragmentary forms and historical continuity as compatible with the reutilization of former materials. We have examined the presence of these two tendencies in the music of three composers: Schoenberg, Debussy and Stravinsky.In the section on postmodernism, we analyse the disarticulation of this dialectical mediation and the deconstruction applied to the categories that vertebrated modern aesthetics: the concept of unwork; the dissolution of historical tradition; the hybridising of artistic media in intermedia practices; and the deconstruction of the autonomy of art in productions situated in the breach between art and life. These postmodern keystones have been equally researched in the works of three Spanish experimental musicians: Llorenç Barber, Carles Santos and Pepe Iges.

Postmodern phenomena in law Abstract This thesis examines postmodernity and its manifestation in law and legal science. The first part is dedicated to achieving as precise definition of the term postmodernity as possible, as there is no general consensus, due to the fragmentary nature and instability of postmodern philosophy. Because of a limited quantity of comprehensive resources, describing postmodernity, available the historical perspective was applied in order to build a clear and compact narrative. The modernity movement is defined as it precedes postmodernity historically and philosophically. Postmodernity arose in reaction to the historical events which shaped the world of the twentieth century. From the detailed historical narrative are then synthesized the main defining characteristics of postmodernity. Those characteristics are: erosion, plurality, globalization, the fragmentary and liquid nature of society. The second part is predominantly dedicated to the topic of plurality as it is the basic element of postmodern thought. The comparative approach was chosen due to the ongoing globalization. Plurality as a postmodern phenomenon manifests itself significantly in the form of legal pluralism. The emphasis is put on defining legal pluralism, the additional meta-questions that head towards pondering...

This project reflects how the Seventh-Day Adventist Church is up to with challenges of postmodernism. The first part is about founding the Seventh-Day Adventist Church in context of paradigm of modernism. The second part talks about the church versus themes of postmodernism and the third part is about real steps that the church makes in order to stay in contact with this postmodern society. The goal of this project is to describe the current situation in the most objective way and also to show the possible risks and solutions that members of this church are facing.

The relation between sociology and literature opens up a broad field for discussion because of their closeness. The diploma thesis pursues a rather uncommon approach to literature that searches for manifestations of sociological thought in literature in order to use them within contexts of thematically similar sociological theories. A considerable attention is paid to definition of this approach, especially in relation to standard methods of sociology of literature, and to subsequent formulation of its methodological starting-points. Sociological reading as introduced in the text interprets a literary work in the perspective of selected sociological theories to which the interpretation is reversely related in the following step. In the thesis the novel White Noise by Don DeLillo, a classical work of American postmodern fiction, is taken as an object of such interpretation. The theme of effects of the mass media in contemporary society marked out widely in the beginning is specified by selected theories of Jean Baudrillard and Niklas Luhmann. In the case of Baudrillard's theory of hyperreality and simulation, changes in relation between reality and representation, respectively disappearance of their traditional opposition, are concerned. Luhmann's social systems theory is used to explore the...

I detta arbete har vi haft som syfte att utreda om det postmoderna samhällets värderingar skapar ett behov av att förändra vägledningen i riktning mot en holistiskt inriktad vägledning, i arbetet betecknad som Personlig vägledning. Resultatet i arbetet tycker vi visar att det föreligger ett sådant behov. Mycket talar för att vi till stora delar redan lever i det postmoderna samhället och därför anser vi att det är angeläget att vi i vägledningskretsar diskuterar detta vidare. Vi vill även se fortsatt forskning inom området av samma skäl. Arbetet bygger på litteraturstudier och som teoretisk grund ligger Konstruktivistisk vägledning. / In this work, we have had as objective to investigate whether the post-modern values ​​of society creates a need to change the guidance in the direction of a holistic guidance, the work referred to as Personal guidance. The result of the work we think shows that there is such a need. There are many indications that we largely already live in the postmodern society, and therefore we believe that it is certainty that we are in counseling circles discussing this further. We would also like to see further research in the field for the same reason. The work is based on literature reviews and theoretical basis is constructivist guidance.