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The meaning of this essay is to look at how the narrative strategies, description of character and society differ between the two novels "This Perfect Day" and "Neuromancer". By looking at the different narrative techniques used by the authors and the results we can see why some of these strategies work very well in one novel but would not suit the other because of the contrasts in style it would produce.

This research is motivated by the proposition of the legitimacy of applying ¡§little theatre¡¨ as the mode of theatre management. The core context and the judgment of value of theater management today are founded basically on a ¡§large-scare theatre¡¨ paradigm; this causes, for most of the time, prejudice and insufficient result in managing theatrical affairs. To analyze the details of this problem, I started from rediscovering the ideological conflicts between Modernity and Post-Modernity, and tried to solve this dualistic misunderstanding by using ¡§Post-Modern Turn¡¨ as the mode of transcending. Since the term ¡§Post-Modern¡¨ is generally associated with social aspects as post-industry society, information society, organizational behaviors and consumption theory, etc. it is necessary to redefine theatre management as the issue of discussion in the realm of sociology. In order to approach my ideal strategy for today¡¦s theatre management, I developed three major parts as the frameworks of study: 1. the Post-Modern Turn of sociology of art, 2. five faces of modernization of Taiwan¡¦s modern theatre, 3. the Post-Modern Turn of organizational management and Taiwan modern theatre. I believe the difficulty of theatre management today lies not in the issue itself, but in the way we look at it. By relocating this problem in a social context, we can have a rethinking of how art management is possible, of exploring the updated and proper solutions for today¡¦s theatre management.

This work aims to study the Post Modern tendencies, dominating in Modern Lithuanian dramaturgy. The aim is achieved through the analysis of different plays of two Lithuanian playwrights: Marius Ivaškevičius and his works “Madagaskaras“ and “Malыš”, as well as Laura Sintija -Černiauskaitė’s and her play “Liučė čiuožia”. Critics and experts of the theory of theatre refer to them as the most promising Lithuanian Modern playwrights. These works were staged in theatre and reconized in various festivals.

Den svenska marinen har av professor Geoffrey Till använts som ett utmärkande exempel på en s.k. post-modern marin i hans kategorisering av världens sjömakter. Främst är det den expeditionära förmåga som Sverige profilerat alltsedan det kalla krigets slut som ligger till grund för denna exemplifiering. Frågan uppstår då huruvida den svenska marinen fortfarande kan ses vara det utmärkande exemplet efter det att fokus nu skiftat tillbaka till en mer nationellt präglad försvarsinriktning. Därutöver ställs frågan om vilka styrkor och svagheter en dylik kategorisering av världens sjömakter kan ha. Utifrån en analys av Tills kategoriseringar som idealtyper, så har dessa i allt väsentligt visat sig vara de förenklande och täckande rubriceringar som idealtypsmodellen syftar till. Därför har det även gått att identifiera tre indikatorer som medger en jämförelse mot den svenska marinen av idag för att utröna dess nuvarande status som post-modern sjömakt. Undersökningen har på så sätt lett till slutsatsen att den svenska marinen alltjämt kan kategoriseras som en post-modern marin, men av andra anledningar än den expeditionära förmågan. Idag är det främst kopplingen mellan den egna förmågan och det beroende av andra som det medför som är den tydligaste indikatorn på en post-modern marin.

This thesis re-engages the work of the distinguished literary critic, Geoffrey H. Hartman as a means of interpreting postmodern literature. Contemporary literary criticism has acknowledged the value of Hartman’s work in thinking about contemporary culture but, until now, there have not been any attempts to apply his interpretative methods to the reading of postmodern fiction. By identifying some of Hartman’s main concerns and drawing on his revisions of his theory, this thesis offers a case study of a selection of postmodern texts, which are characteristic of the challenges that postmodern literature presents. The postmodern literary text becomes challenging for literary interpretation through its extreme experimentation and by textually transgressing traditional forms of narration. The postmodern text’s incorporation of images, its attention and use of assonance, and its itinerate, indiscriminate assemblage of diverse creative expressions complicates the interpretive task. I aim to show how Hartman’s critical contribution can inform the reading of the postmodern text but also, how the consideration of the postmodern highlights the significance of Hartman’s theoretical work. I begin by developing the complexities that the consideration of postmodern literature and Hartman’s critique present and relate the authors and texts that become the focus of this investigation in the chapters that follow. Chapter 2 considers the relationship of the postmodern text to its use of illustrations and images and explores what this relationship manifests for the nature of the postmodern. Chapter 3 draws on Hartman’s understanding of literary interpretation as the listening for different meanings of the word, with particular attention to the typographical manifestations of the dissemination of meaning in the creation of the postmodern novel. Chapter 4 examines the implications of the postmodern rejection of iii modernist concerns, in literary interpretation and postmodern theory and the effects of the postmodern condition on the development of identity and historical consciousness. Chapter 5 focuses more closely on the problems of narrative orientation and direction that develop through typographical experimentation and relates these concerns to the challenge of following Hartman’s intellectual progressions in his critical contributions. The final chapter of this thesis explores the nature and role of the contemporary critical essay in the postmodern condition and the future of literature.

<p>The aim of my study of Camus is twofold. The first aspect concerns the content of his books, the second their formal structure or organization. In contrast to much current scholarship, which interprets Camus' primary concerns as modern and even post-modern, I argue that his ambition runs in the opposite direction historically: Camus' principal aim is to articulate a Greek anthropology and political philosophy. This positive ambition has a critical component as well. Camus's Hellenism is formulated in part through a critical engagement with modernity and an exploration of its Christian origins.</p> <p>The second aim of my study is to explore the structure of Camus' corpus. The fact that Camus organized his books into several different stages or "cycles" is well known and often discussed by commentators in the context of other interpretive matters. However, it is rarely examined in its own right and almost never interpreted in detail. The most common way that it is understood is as straight autobiography. In this view the absurd, rebellion, and love - the guiding themes of the three principal cycles of Camus' books - are understood as stages in his personal philosophical development. The account contradicts Camus' own explicit statements about the allegedly autobiographical character of his work and skirts the fundamental question of interpretation by assuming that it has already been answered. Contrary to this account I argue that the organization of Camus' books is an intentional literary device that contributes significantly to our understanding of the content of his work.</p> <p>My study amounts to new interpretation of Camus that hopefully will open up new and fruitful avenues of research regarding his accomplishments as a philosopher and writer. </p> / Thesis / Doctor of Philosophy (PhD)

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