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351 Postmodern Aesthetics: Manipulating War Images RAPHAEL SASSOWER I. While some claim that modern aesthetics can be clearly “read” accord- ing to a set of criteria (however historically informed), there are those who claim that this kind of reading is too rigid, even hegemonic. Even art theorists, such as Ernst Gombrich (1960), who are more concerned with the psychological elements that inform our visual perspectives, de- fine modern art in terms of “nonfigurative art” and associate it with twentieth-century art. There are the modernist

A Theatre for Postmodernity in Western European Theatrescapes1 Henning Fülle Manfred Brauneck’s depiction of (West) European theatre topographies, or theatrescapes, since the Second World War in the fifth volume of his opus Die Welt als Bühne2 recurrently references the emergence of free, independent theatre groups during the 1960s and 70s. Here mention is made mostly of ‘free groups’ and ‘free theatre’3. a ne W the atre arISIng from the crISIS of modernIt y? Although most of the youth and student revolts associated with the ‘magical’ year 1968 do

41 The City as Assemblage. Diasporic Cultures, Postmodern Spaces, and Biopolit ics COUZE VENN The paper focuses on the emergence of the megacity/postmodern city and ar- gues that its conceptualisation as space must break with notions of linear de- velopment and homogenous temporality in the analysis of urban socialities and in the application of centralised forms of governance to the regulation of such spaces. I draw attention to diasporic settlements, the co-habitation of different temporalities and spatialities, the emergence and the co

215 Deconstructing deconstruction: Umberto Eco’s Baudolino as a humanist crit ique of postmodernism GALA REBANE Abstract For good or bad, the epoch of postmodernism seems to be finally over. In how far was the whole postmodernist culture predicated on the total- ising logic of late capitalism, as Fredrick Jameson (1991) vehemently asserted? And what developments can be observed in the cultural sphere after the major crisis of the dominant political, economic and social or- der of the West, often dated from 9/11? Contemporary developments in the

Horror Mortis, Structural Trauma, and Postmodern Parody in Saul Bellow’s Henderson the Rain King FRANCISCO COLLADO-RODRÍGUEZ THE NOVELIST’S GAME WITH FRAMEWORKS Criticism, Freudian psychoanalysis, and myth symbolism This paper begins by laying out its critical objectives, evaluating existing criticism on Bellow’s novel Henderson the Rain King (1959), and adding a narratological analysis that may reveal the ideological significance of one of the writer’s most remarkable aims in his work: the parody of two critical frameworks that had become

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The Nonfictional Literature of David Foster Wallace and Dave Eggers
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Paradoxe Entgrenzung im ethischen Werk von Jacques Derrida