The post-modern novels in Taiwan is appeared in the middle of 1980s, and its appearance is to answer the problems to the changes and deterioration of regional literature, and to continue the standard of art and the traditional literary techniques that are built by the modernism literature in Taiwan. In the middle of 1980s, with the thought of modern spreading into Taiwan, the upsurge of post-modern novels appeared, but this upsurge is gradually disappeared with the changes of time and circumstance. However, after 1900s, the post-modern novels in Taiwan are presented with a new aspect after transformation, and become one of the main streams of Taiwanese literature. The goal of this dissertation is to order the developments of the post-modern novels. The following is the abstract of every chapter. The first chapter is an introduction to elaborate the motives and methods of research, and discuss the research results by predecessors. The second chapter is to illustrate the developments and characteristics of regional literature and modernism literature, and the possible effects to the post-modern novels in Taiwan, The third chapter is to demonstrate the relation between the city literature and the Taiwan post-modern literature, and the rising, declining, and transformation of Taiwan post-modern novels. The fourth chapter is to explain the possible relation between science fictions and post-modern novels. The fifth chapter explicates the appearance and connotation of Taiwan post-modern novels after transformation. The sixth chapter is the conclusion, clarifying the research results and limited of this dissertation and the direction of development in the future.

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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.

The creative outcome of my Masters Degree is an extract of my manuscript for a novel. The extract is 40,000 words in length and represents approximately one half of the completed novel. Fissure is the title of the novel. It is a novel which is unconventional in relation to the mainstream understanding of what a traditional novel is. Fissure aims to position itself within a post modern framework. It consists of two primary narratives set apart in time.

The creative outcome of my Masters Degree is an extract of my manuscript for a novel. The extract is 40,000 words in length and represents approximately one half of the completed novel. Fissure is the title of the novel. It is a novel which is unconventional in relation to the mainstream understanding of what a traditional novel is. Fissure aims to position itself within a post modern framework. It consists of two primary narratives set apart in time.

The creative outcome of my Masters Degree is an extract of my manuscript for a novel. The extract is 40,000 words in length and represents approximately one half of the completed novel. Fissure is the title of the novel. It is a novel which is unconventional in relation to the mainstream understanding of what a traditional novel is. Fissure aims to position itself within a post modern framework. It consists of two primary narratives set apart in time.

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.