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Postmodern nihilism : theory and literatureSlocombe, Will January 2003 (has links)
This thesis examines the relationship between nihilism and postmodernism in relation to the sublime, and is divided into two parts: theory and literature. Beginning with histories of nihilism and the sublime, the Enlightenment is constructed as a conflict between the two. Rather than promote a simple binarism, however, nihilism is constructed as a temporally-displaced form of sublimity that is merely labelled as nihilism because of the dominant ideologies at the time. Postmodernism, as a product of the Enlightenment, is therefore implicitly related to both nihilism and the sublime, despite the fact that it is often characterised as either nihilistic or sublime. Whereas prior forms of nihilism are 'modernist' because they seek to codify reality, postmodernism creates a new formulation of nihilism – 'postmodern nihilism' – that is itself sublime. This is explored in relation to a broad survey of postmodern literature through a series of interconnected themes. These themes – apocalypse, the absurd, absence, and space – arise from the debates presented in the theoretical chapters of this thesis, and demonstrate the ways in which nihilism and the sublime interact within postmodern literature. Because of the theoretical and literary debates presented within it, this thesis concludes that it cannot be a thesis at all.
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Dialogismo En El Cancionero De Miguel De Unamuno: Dialéctica De La Voz PoéticaSheppard, Yanina O. 05 1900 (has links)
The present research is centered on Miguel de Unamuno's Songbook which is studied through the prism of the theory of dialogism elaborated by Mikhail Bakhtin. This study overcomes the limitation of Bakhtin's theory which extends solely to narrative genres, and argues that dialogism can also be applied to poetry. In this thesis I seek to rectify the critical oversight of this significant and original work of Unamuno and show that Songbook has panoply of innovative techniques aimed at creating the multiple poetic voices and dialogical interaction. Strong links are established between Bakhtin's theory, Unamuno's aesthetics and the postmodernist episteme of "the death of the author" which heralds the new era of fiction writing. I give a detailed analysis of Songbook's poetry based on Bakhtin's theory and incorporate the pragmalinguistic view of poetic discourse as a communicative act that involves a constant interaction between the addresser and the addressees. I find different types of dialogical expression in accordance with the number and the nature of different addressees at which the poet aims his discourse. This study shows that poetic tools forged by Unamuno are born of the need to express a conflictive inner world that is opposed to any type of dogmatism and monologism. Through the detailed analysis of the poetic discourse of Songbook it is demonstrated that Unamuno's innovations and experimentalism confer him a position of the precursor of postmodernism.
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Beyond the analogon; the 'transfer of the referent' :bthe relationship between the external world experienced through culturally generated perceptual models constructed in the human mind, and the transfer of these images, via visual language, onto referentsStewart, Heather, heather.stewart@deakin.edu.au January 1994 (has links)
Within 20th. Century art, the concept of the normative image, as an attribute of things, has been challenged. As a consequence, paintings must now picture the real world in other ways, incorporating knowledge and meaning beyond the analogon. Such descriptive representations were revealed as paradigmatic, rather than incontrovertible fact. Dependent on pre-conceived notions of stereotypicality, these descriptive images relied on surface illumination.
My thesis explores images of things in the world as culturally inspired and information based. I examine paintings and sculptures of other cultures, such as black African, and other historical periods such as the Medieval, which reveal metonymously the basis for variations in representations of the real world.
The new enhanced representations which Modern artists created in their work were denigrated as deviant from the absolute normative or regarded as distortions for purely mannerist and stylistic reasons. Postmodern research has reassessed them as multiple or extended imagings in whose facture new knowledge and human responses can be incorporated. These new forms of representation can be regarded as theoretical constructs rather than stylised depictions of appearance. In this way referents are transferred through the mind onto objects and vistas in the real world to align with our developed view of the physical world and better our understanding of humanitys symbiotic relationship with nature.
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Demoex - Demokratiexperimentet i Vallentuna : ett parti i tidenWennerberg, Åsa January 2004 (has links)
No description available.
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Postmodernism eesti kirjanduskultuuris /Viires, Piret, January 2006 (has links) (PDF)
Thesis (doctoral)--Tartu Ülikool, 2006. / Thesis based on nine papers. Includes bibliographical references.
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Demoex - Demokratiexperimentet i Vallentuna : ett parti i tidenWennerberg, Åsa January 2004 (has links)
No description available.
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Ambivalent passion : Pedro Almodóvar's postmodern melodramaCromb, Brenda 11 1900 (has links)
This thesis considers the films of Spanish director Pedro Almodóvar as
postmodern melodramas. The crux of my argument is that melodrama is known for its
expressiveness and its attempt to restore a spiritual element to a post-sacred world, and is
used by Almodóvar to make clear the problems and contradictions inherent in the
destabilized world of postmodernity. This definition of melodrama draws primarily on
the work of Peter Brooks, Christine Gledhill and Linda Williams; it is modified to apply
to postmodernism as defined by Jean Baudrillard and Frederic Jameson. The conclusion
reached is that Almodóvar is deeply ambivalent about postmodernity.
Chapter 2 considers the twin issues of representation and sexuality in
Almodóvar’s first six films: Pepi, Luci, Born (Pepi, Luci Born y otras chicas del montón,
1980), Labyrinth of Passions (Laberinto de pasiones, 1982), Dark Habits (Entre
tinieblas, 1983), What Have I Done To Deserve This? (Qué he hecho yopor merecer
esto!, 1984), Matador (1986), and Law ofDesire (Le ley del deseo, 1987); with a special
eye to the representation of sexual violence, it establishes how Almodóvar develops his
ambivalent melodramatic imagination.
Chapter 3 considers fashion as a discourse and argues that Almodóvar’s next four
films use clothing to place different versions of femininity in dialogue, and uses this as a
springboard to consider Women on the Verge ofa Nervous Breakdown (Mujeres al borde
de un ataque de nervios, 1988), Tie Me Up! Tie Me Down! (I Atame!, 1990), High Heels
(Tacones lejanos, 1991), and Kika (1993) as postmodern “women’s pictures.”
Chapter 4 considers the appearance of the explicitly political along with the
symbolism of the image of the map in The Flower of My Secret (Laflor de rni secreto,
1995), Live Flesh (Came trémula, 1997), and All About My Mother (Todo sobre mi
madre, 1999).
Chapter 5 uses the metaphor of ghosts to consider the draw of the past in Talk To
Her (Hable con ella, 2002), Bad Education (La mala educación, 2004), and Volver
(2006), pointing to both the emptiness of the present and the impossibility of returning to
that golden past.
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The existential and postmodern individualHerring, Lesley Virginia 29 August 2005 (has links)
The theories of existentialism and postmodernism seem like very different ideas
at first glance. Existentialism is a philosophy of individuals, while postmodernism is a
theory focused more on society and less on individual existence. In this thesis, I will
show that both of these ideas can be merged together to be seen as an individual
philosophy. Using theories from each philosophical camp, I will describe both the
existential and postmodern being. I will explain characteristics of these individuals and
explain how they function in society. I will use several philosophers to explain this such
as Jean-Paul Sartre and Michel Foucault, and finally, I will discuss The Stranger by
Albert Camus. In The Stranger, the main character, Monsieur Meursault, exhibits the
qualities of both types of individuals. I will use him as an example of the type of person
that emerges from the philosophical ideas of existentialism and postmodernism. I
analyze Meursault through the eyes of both the existentialist and the postmodernist, and
conclude that Meursault personifies the traits and characteristics that are specific to these
philosophies.
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Die ontwerp van 'n postmodernistiese model vir beroepsvoorligtingBester, Suzanne Elizabeth. January 1999 (has links)
Thesis (PhD(Educational Psychology))--University of Pretoria, 1999. / Includes bibliographical references.
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Towards a narrative theological orientation in a global village from a postmodern urban South African perspectiveMeylahn, Johann-Albrecht. January 2003 (has links)
Thesis (PhD(Prakt. Teol.)--University of Pretoria, 2003. / Includes bibliographical references (p. 534-559).
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