Postmodern Theory

Judith Butler's theory of gender performativity-the notion that gender is the result of a series of performative acts collectively enacted and sustained in time-has long garnered diametrically opposed interpretations. 1 One reading maintains that Butler's theory implies a voluntarism wherein "one w[akes] in the morning, peruse[s] the closet or some more open space for the gender of choice, don[s] that gender for the day, and then restore[s] the garment to its place at night," 2 while another accuses it of determinism because it reduces the subject to an effect of social norms, power relations, and hegemonic discourses that leave no space for free action, choice, autonomy, and subjective agency. 3 Butler has clarified that they 4 reject both characterizations: performativity is neither the act of a self-determined and unhindered individual inventing itself at will nor the mechanic enactment of instructions and norms prescribed by power that reduces subjects to purely passive marionettes with no agency whatsoever. Instead, Butler aims to produce and preserve a "general theory of agency" 5 by rethinking what this agency is, how it works, and what possibilities it comprises. This, however, depends upon a radical critique of a number of commonly held assumptions, including that (1) agency requires a pregiven agent or subject; (2) agency requires a subject that is self-determining, autonomous, sovereign, independent, and/or unencumbered from its history and sociopolitical contexts; (3) agency is an inherent or innate property or attribute of the subject; (4) agency must be independent of any power whatsoever and rely on nothing but the power of the subject itself; and (5) agency can only be thought of within the logic of binary oppositions, such as between voluntarism, free will, or autonomy, on the one hand, and determinism on the other, or between freedom and power, or between an inner life and an external sociopolitical world. Against these assumptions, Butler defends that (1) the subject is not ontologically prior, but a result of its cultural and sociopolitical context in which it is always already embedded; (2) this context conditions but does not determine the subject's actions, and this

"Taking a cue from one of the most (in)famous postmodern thinkers, Friedrich Nietzsche, the essays in this book put forth “experiments” in thought rather than arguments for fixed conclusions. Blum brings John Howard Yoder to the same table with Nietzsche, Michel Foucault, and Jacques Derrida, and provides a provocative glimpse of what the resulting conversation might look like.

As Anne Lamott and others have recently insisted, faith is not the opposite of doubt, but of certainty. Blum’s essays explore some of our commonly held ways of talking about knowledge, meaning, commitment, and action. He suggests that some postmodern theoretical work, often dismissed or assumed to be anti-Christian, is well worth bringing into contemporary Anabaptist-Mennonite conversations about discipleship and corporate life."

This is the draft of a chapter Paul Stenner and myself wrote for the forthcoming Routledge International Handbook of Postmodern Therapies to be out early in 2025

This chapter offers a new historical and theoretical perspective on postmodernity and postmodernism which broads the frame of the debate. We give the name 'pomo2' to the more familiar version of postmodernism, inspired by Lyotard and others. In this received version, postmodernity begins in the second half of the 20 th century and is associated with the post-industrialization of the dominant western nations during the rise of the computer age. We give the name 'pomo1' to the postmodernism informed by 'process thinking' that arose around 1875 and reached a zenith between the two world wars. Pomo1 arose as the modern system of supposedly sovereign nation states entered into widespread collapse. Reframing the more familiar description of postmodernity as pomo2 by incorporating pomo1 into the picture makes better sense both of the philosophical bases of postmodernism and of the broader historical context, such as the collapse of the empires that had fed the illusion of national sovereignty undergirding a few centuries of Western global dominance. After outlining this new perspective we offer seven observations, each supported by a relevant pomo1 quotation, about how it might serve to reorient practice-relevant theory development in the world of postmodern therapy. Our reframing aims to reenergise the vital sense of purpose that once animated the pomo debate, but that has been degenerating under conditions in which the alleged linguistic relativism of postmodernists is being blamed for opening the floodgates to a crisis-ridden world of 'post-truth'.

La tristezza è una cifra delle narrazioni postmoderne, e la depressione un tema sotteso a molti romanzi e racconti della seconda metà del Novecento. In tre racconti statunitensi, tristezza e depressione sono trasfigurati con effetti stranianti e finali spiazzanti. Come le novelle, i racconti brevi accumulano strutturalmente la tensione sul finale (Šklovskij 1968) e si basano spesso sul disvelamento conclusivo: accade così per Il pallone di Donald Barthelme (1968), in cui la storia surreale di un pallone che lentamente invade la città è metafora della tristezza del narratore per la lontananza dell'amata, e lo straniamento viene normalizzato solo nella frase finale; nell'Uomo felice di Jonathan Lethem (1996), la depressione è rappresentata in maniera straniante come l'immersione in un videogioco a tema inferno, da cui il protagonista riemerge per periodi sempre più brevi; in Caro vecchio neon (2004), di David Foster Wallace (che considerava Il pallone il racconto per cui era diventato uno scrittore), diegesi e realtà si confondono e il racconto dal punto di vista di un suicida viene inevitabilmente letto oggi alla luce delle vicende biografiche dell'autore, morto suicida nel 2008 dopo una lunga depressione. David Foster Wallace ha dichiarato che la letteratura serve a sentirsi meno soli, e questi tre racconti rappresentano un percorso che parte dalla tristezza come tema narrativo (Barthelme), che con Lethem fa della letteratura lo strumento per "rendere il familiare strano" (Wallace), in modo da consentire al lettore di mettere a fuoco, attraverso lo straniamento, una condizione di difficile comprensione. Con il racconto di Wallace-così come con il suo Infinite Jest e altri suoi scritti-, il racconto della morte dal punto di vista di un suicida, lungi dall'essere un esercizio di funambolismo letterario, erode il confine fra realtà e letteratura, in un fulgido esempio di sincerità narrativa lontana dal luogo comune del postmodernismo come pastiche privo di contenuti.

Accenni al postmodernismo e alla sua visione caleidoscopica A partire dagli anni Settanta del XX secolo, con l'affermarsi negli Stati Uniti del postmodernismo 1 , s'impone progressivamente l'idea di un'instabilità totale che * Università di Udine. 1 Postmodernismo è un termine molto controverso e privo di una definizione unitaria per sua stessa natura. Nato per individuare tendenze architettoniche che recuperano alcune soluzioni formali della tradizione, inglobando anche il kitsch, si è poi esteso in vari campi culturali tesi a rivalutare aspetti e valori del passato recente, considerati criticabili (Chiurazzi, Vattimo). A volte è utilizzato «con un significato molto specifico, per riferirsi a teorie caratterizzate da complessità, labirinticità, prospettivismo, eclettismo, relativismo, sincretismo, decostruzionismo o decostruttivismo, nichilismo, anti-Illuminismo o antimodernismo. Altre volte il termine è utilizzato con significati molto più generali. Coloro che non ritengono il post-modernismo come una vera nuova era storica lo usano per fare riferimento al 'tardo modernismo'» (Postmodernismo). In letteratura, fa la sua comparsa già nel 1934 all'interno di un saggio di Federico de Onís relativo alla poesia latinoamericana e nel libro dello storico Arnold J. Toynbee, A Study of History, di qualche anno successivo. Acquista il suo attuale significato quando alcuni studiosi di letteratura americana (Ihab Hassan, Brian Mc Hale) applicano alla critica letteraria i metodi e i linguaggi tipici del 'post-strutturalismo' francese di Derrida, Deleuze, Foucault. Si individua come momento di transizione tra modernismo e postmoderno, il periodo che va dal 1940 al 1960, in cui vengono pubblicate opere chiave come The Recognitions (1955) di William Gaddis, The Cannibal (1949) di

's Need to Know is an ambitious book. Stackhouse's stated aim is to provide a model for Christian thinking-that is, how to think, as a Christian. Thus, the concept of vocation is a natural structuring motif for Stackhouse's project because according to Stackhouse, vocation is "the divine calling to be a Christian in every mode of life" (68). This divine calling extends, for Stackhouse, to the realm of thought and the most basic aspects of human consciousness. Stackhouse appropriates a wide variety of disciplines in laying the groundwork for, and then ultimately presenting and applying, his model for Christian thinking. He employs concepts and data from history, cultural studies, psychology, philosophy, theology, and biblical studies, to name a few, en route to describing his preferred model for Christian thought. The result is a sweeping and in many respects impressive survey of areas relevant to his model. Here are just a few examples. Through the survey of what he terms "cognitive styles," Stackhouse orients the reader to prominent themes from the Enlightenment, Romanticism, and Postmodernity. Sensitive to both complex historical and contemporary circumstances, Stackhouse avoids the simplistic silo approach to intellectual history in which movements and individuals are wholly captured by some particular label, noting that different emphases from each theme can be found throughout history. In accessible and informed prose, Stackhouse helps the reader through basic issues of biblical interpretation and the narrative arc of biblical theology as a story of creation, fall, redemption, and consummation. In my view, Stackhouse's footing is most sure when discussing issues of biblical and theological interpretation. Need to Know's five chapters manoeuvre through the following progression. Our current epistemic context is pluralistic, embodying a mix of complex and intermingled cognitive styles (Chapter 1). Because vocation is the call to be Christian in all of life, this call extends to our cognitive life (Chapter 2). Thinking as a Christian is done within the cognitive confines of five epistemic resources: experience, tradition, scholarship, art, and scripture. These five resources can be apprehended via reflective reason, pre-reflective intuition, and imagination (Chapter 3). Thinking Christianly entails, as one is able in the particular context in which God has placed one, putting these epistemic resources apprehended in various modes in conversation with each other, for the express purpose of making shalom (Chapter 4). As a result, Christians will apportion assent according to the evidences yielded by consulting all the resources and modes available to one in their vocational context, an enterprise suitably understood as finite, fallible, but conducive to human flourishing (Chapter 5).

Il pianeta azzurro è un giallo in potenza; e l’indagine condotta nell’opera è metanarrativa. Lo statuto ambiguo del personaggio Malerba, a metà tra il mondo diegetico e quello extradiegetico, apre a riflessioni metanarrative che mirano al disvelamento degli inganni su cui si fonda l’istituto romanzesco. In quest’ottica il romanzo può essere letto come l’esito di una dialettica tra continuità con la produzione precedente (problematizzazione della letteratura e del suo rapporto con il reale) e l’assunzione di temi e forme tipicamente postmoderne. Si può parlare di ritorno all’ordine romanzesco solo ammettendo che nel romanzo di Malerba l’ordine non è dato, ma è ricostruito faticosamente.

York University professor Michael Rectenwald found himself the object of a barrage of vicious verbal attacks in 2016 when he took to Twitter and Facebook to object to such recent campus developments as the banning of speakers, the mandate to construct classroom discussions as "safe spaces," "bias reporting hotlines" to which students can anonymously report any deviations from political correctness by their professors, and the absurdity of the pronoun wars. Fearing for his safety, the NYU administration offered him a paid leave of absence from his non-tenured position, which he took. He wrote in the November 3, 2016, Washington Post about his experience, "There was no attempt at constructive dialogue, offering of rational counterargument or even acknowledgment of the possibility of the existence of a legitimate point of view outside of progressive orthodoxy. It showed that this debate isn't about promoting an environment of inclusivity and diversity, but about punishing transgressors." 1 The following are excerpts from Rectenwald's forthcoming book, Springtime for Snowflakes: "Social Justice" and Its Postmodern Parentage (New England Press Review, fall 2018). He discusses the roots of the current irrationalism and so illustrates the challenges to reason on the contemporary campus. The excerpts are two discreet parts of the book; the first his preface, the second a later chapter on transgender theory.

Mathematics education research over the past half century can be understood as operating in four distinct yet overlapping and simultaneously operating historical moments: the process-product moment (1970s-), the interpretivist-constructivist moment (1980s-), the social-turn moment (mid 1980s-), and the sociopolitical-turn moment (2000s-). Each moment embraces unique theoretical perspectives as it critiques or rejects others. And given that methodology is inextricably linked to theory, each moment calls forth not only different theoretical possibilities but also different methodological possibilities. In this article, the authors briefly discuss and critique the methodologies that are "traditionally" found in each moment and explore some of the methodological possibilities made available in the sociopolitical-turn moment. Specifically, the authors promote another way of thinking about and looking at methodology when research is framed with/in the sociopolitical hybrid of critical postmodern theory.

This paper tries to evaluates the Postmodern thought with special focus on the key concepts like self, God and World and values by the key postmodernist thinkers of this novel Philosophy. It tries to reflect on the system of philosophies in West that aspired to foreground the existence of man in some fixed universal and objective truths. The truth has always been founded upon some metaphysical rational ideal and the quest of human struggle has been to attain such a truth. Such human aspiration has seriously been questioned by postmodernist thinkers to bring forth a paradigm shift. This paper gives a glimpse into the remarkable shift of thought.

Wallace Stevens can be read as a lyric poet whose early work dramatizes a crisis in modernist aesthetics that opens up the space of the postmodern as an enactment of mythopoetic reversal. In this discussion, before offering interpretations of specific poems, I examine the theory of the postmodern in order to discuss how poetry, particularly in the modernist canon, is able to assume ethical importance. The experience of the postmodern enables me to demonstrate how Stevens ultimately encircled his work in a textual frame, and, in this way, revised traditional notions of the poetic vocation.

In recent years, parents in Turkey have mobilized for their children to pass exams and attend the schools they want, which affects children’s success and psychology severely. In this context, this study investigates the relationship between second level primary 7th and 8th grade students’ math success and overall success in terms of the variables of parents’ educational background and gender. The study was conducted with 472 students in Istanbul during the 2010-2011 academic year. The data was collected from the students’ 2011 SBS (Elementary Proficiency Exam) results. This research was designed in the relational analysis model. The SPSS16.0 statistical package was used for the statistical analyses of the research data. Independent group t-test and ANOVA were used in the data analysis depending on the variables. The method of the Pearson productmoment correlation coefficient was used in the analysis of the relationship between dependent variables. According to the results of the fin...

This article describes classical approaches to understanding political discourse analysis as one of the most promising methods of political analysis. The article examines both the critical discourse analysis approaches proposed by G. Kress and L. Сhouliaraki (socio-semantic approach), N. Fairclough and R. Wodak (socio-cultural approach), and T. Van Dijk (sociocognitive approach), as well as the postmodern theory of discourse analysis proposed by M. Foucault and developed by his followers, in particular E. Laclau and S. Mouffe. The objective of this essay is to compare and contrast different methodologies for the advancement of political discourse analysis.
There are a number of factors that make this article relevant. In the first place, modern methods of studying political reality are in crisis. They are no longer as effective at comprehending the social processes of our time as they once were. Secondly, the popularity of interdisciplinary research methods is growing every day, and political discourse analysis is seen as a vivid example of such a method. Thirdly, consciousness, which is still considered an insufficiently studied phenomenon in the social sciences, can finally be replaced by language. Language or discourse is considered here as the bricks of which consciousness is composed and thanks to which it can perform in the social space. This approach allows us to ignore the physical and biological manifestations of consciousness in favor of social ones, which allows us to interpret the socio-political reality of our time as accurately as possible and predict future changes.
As a result, we define political discourse analysis as a kind of general political analysis based on postmodern discourse theory. We are sure that this type of analysis has the greatest prospects for the study of such social processes and social relations as power, conflicts, inequality, political identity, etc.
This article will be interesting for those who are engaged in political discourse analysis and developing it, as well as for other scholars who study the philosophy of science, methodology, political psychology, and quantitative and qualitative research methods in the social sciences.

With Mimmo Pesare. The article presents a review of Subjectivation theory starting from the Foucauldian-Lacanian perspective and considering it as one of the main theoretical questions that, according to the authors, should found the basis of Philosophy of Education. In the essay are presented such heuristic devices belonging from Lacanian psychoanalysis that are used to investigate the relationship between the subject and the social discourse, considering it in all its declinations and its inner dialectic nature. Imaginary and Symbolic dimensions are both explored to give back the transformation power in Subjectivation, with such socio-political issues that emerge in considering the contemporary subject and that naturally concern the foundational questions in the psycho-pedagogical field.

This dissertation seeks to present a reductive definition of the concept of literary modernism. As such, I identify the metaphor of the postmodern structure of consciousness, as the best tool by which to both identify and understand postmodernism in its literary expression. This is done through an analysis of epistemological and ontological questions, considered specifically in the genre fiction categories of detective fiction and science fiction respectively. Those genres were specifically chosen as they best exemplify texts which have epistemological and ontological dominants, and through an analysis of the genres themselves, and their inherent structures, I argue that one can see how the postmodern structure of consciousness comes to serve as the best means by which to understand our contemporary society. Through the structural nature of this understanding that I see this as reflective of a postmodern understanding of society, I argue that postmodernism allows for the change sought after within society as currently constructed, and this project identifies the structural means by which such change can come about. iii ACKNOWLEDGEMENTS In a project that has taken more than a decade to complete, the sheer number of people that deserve gratitude and recognition is nearly boundless. I am eternally grateful to those who have helped, aided, supported, listened, critiqued, criticized, or in other ways have influenced my project and life since 2002. In many ways, this project is the culimination of my entire academic career, which has had a roundabout journey through philosophy, Italian and Italian Studies, as well as its home in Comparative Literature. In that process, a great many professors provided influence. I need to thank, in particular, Dr. Ray Fleming of Florida State University, who provided much advice and support, both before I joined his Department, as a mentor in my years in Tallahassee, and as a friend and mentor in the years since. Dr. Rob Rushing, who was instrumental in my joining the Comparative Literature Department at the University of Illinois, has been a rock of support since I arrived at campus, serving as an instructor, teaching supervisor, sounding board, and remaining my lifeline to the program through years of intermittent contact while I was abroad. One couldn't have asked for a better Chair. My project itself was a product of two courses I took in Postmodernism at the University of Illinois in my first year of residence, so I need to recognize Dr. Steven Davenport and the ever insightful Dr. Nancy Blake, who I was honored to have serve on my committee. I also would like to thank other members of my committee for valuable insight throughout the process, including Dr. Mark Thompson, Dr. Anna Stenport, and Dr. Jim Hansen. The late Dr. Larry Schehr was also instrumental, as I still clearly remember and use his advice and commentary often. I have also been greatly aided by the many opportunities I have had to teach at the University level, both for the financial support but also, and perhaps primarily, all that I have learned both from my students and the need to find ways to explain things to them. The students who have influenced me are far too many to recount (and these days, far too this new thing towards which we are going, this new thing I haven't seen yet, did you see it Gaston, what can we call it, postpostmodernism seems a bit too clumsy, and popomomo not serious enough (Federman 245). One of the things that Federman presents here is the idea that postmodernism was never fully explained, and yet at the same time there is a need to move beyond, to look 'post-' postmodernism to another era, which has been (as was postmodernism) called many things but which seems to be concentrating (sadly enough) on the term of postpostmodernism. 3 The idea of using the prefix post-, for a second time, not only makes the phrase seem ridiculous, but also brings up many of the same problems that arose with the original use of the term postmodernism (Federman was a proponent of surfiction, for example, which did not catch on). Jean-François Lyotard elucidated a number of the problems with the idea of post-4 , explaining that it carries in a number of its iterations, firstly, a chronological connotation, "the sense of a simple succession, a diachronic sequence of periods in which each one is clearly identifiable" (Lyotard, "Note" 76) 5 , as well as, secondly, an implication of the end (e.g. of history, or the 'modern project') and, finally, the sense of the Greek term ana-, meaning back or against (a reaction against modernism, in which we have reached a point 'beyond' or 'above' from which we can gain insight upon looking back, representing a break, spatially, between modernism and its successor). The multiple interpretations of the prefix leave the concept ambiguous and this compounded issues that were not consistent with iterations of postmodern theory, exacerbating concepts like periodization and direct parallels with the modernist project, while simultaneously adding a taint of decadence. Scholars of the 3 The terms 'new sincerity' and 'post-ironic' are also found. See Adam Kelly in 'David Foster Wallace and the New Sincerity in American Fiction' (based on a sentiment identified in Wallace's 'E pluribus unum') and Tore Rye Andersen's ''Ned med oprøret!: David Foster Wallace og den postironiske'. 4 To be clear, Lyotard is, in this article, presenting a series of standard understandings of postmodernism of which he is critical. I am reiterating his summary because I both find them accurate articulations of those viewpoints, with which we both disagree (though sometimes for different reasons), and well summarized. 5 While Lyotard himself does not view postmodern in the 'sense of simple succession' he does, in this 'Note' retain the idea of postmodernism having moved beyond, so while he eschews 'rupture' he critically speaks of that term as a 'way of forgetting or repressing the past, that is, repeating it and not surpassing it' (76). The idea of surpassing 'modernity' is also progressive and modern (which Lyotard rightly points out elsewhere in the article) and I will return to this notion in my discussion of transcendence and Ihab Hassan later in the chapter.

The essay aims to analyze three stages of modern culture: romanticism, modernism and postmodernism as moments in which sublime loses its power in favor of kitsch. Kitsch emerges as the only aesthetic dimensions that combines the various aspects of modern, making modernism not the culmination of the poetics of modernity, but only a parenthesis. Postmodernism reflects the heritage of romantic sentimentalism and its amplification in the imagery of mass culture. Key shape of these steps is Baudelaire and his last work about Belgium, La Capitale des Singes ( The Capital of the Apes ). The Baudelaire crude description of Brussels looms as grim anticipation of Las Vegas, definitive symbol of postmodernism.

While critics, actors and directors have frequently referred to the "musicality" of the works of Samuel Beckett, nobody has really addressed the question of quite how or why such an effect is achieved. Music and Language in the Work of Samuel Beckett starts from the perception that the musical effect actually stems from Beckett's frustration with the inadequacy of words, and his consequent breakdown of conventional structures and the referential function of language. The construction of the texts becomes increasingly musical, dependent upon the compositional implications of the sounding qualities of the words and the minimal semantics which unavoidably remain. At the same time, however, Beckett's early fiction covertly deploys the idea of music in order to explore the boundaries of logical thought and the constitution of meaning. Examining this process, its relationship to attempts to account for the significance of music becomes apparent, and it is therefore considered alongside various such theories. The treatment of identity and meaning in Beckett's later work prefigures the ideas of much recent critical theory-aspects of deconstruction in particular-and again the musical effect is fundamental. This relationship is therefore explored as a means of clarifying that between music theory and recent critical theory. Finally, the discussion of composers' responses to Beckett's texts provokes further questions. While setting the texts in the traditional sense is problematic, certain composers have taken less conventional approaches, and the analysis of works by Morton Feldman and Richard Barrett examines the extent to which similar preoccupations can be explored in the different media of language and music.

Elisa Bricco teaches French Literature at the University of Genoa. She has published several studies on contemporary French fiction and on intermediality (Le Défi du roman. Narration et engagement oblique à l'ère postmoderne, 2015). She directed the collective Scritture ibridate contemporanee (Nuova Corrente, 126|2016) and Raccontare con la fotografia (2021, online). She coordinates the research group ARGEC (Atelier de recherches génois sur les écritures contemporaines, http://argec.hypotheses.org). Luca Malavasi teaches Film History and Visual Culture at the University of Genoa. He mainly deals with the theory of image, contemporary cinema and visual culture. He edited monographic issues of "

This book collects the proceedings of the International conference "The Postmodern Condition: Forty Years Later" held at University of Genova on December 2019. The conference took advantage of the fortieth anniversary of the publication of "The Postmodern Condition" by Jean- François Lyotard as a “trigger” to relaunch the still actual and ongoing debate about the meaning of postmodernity, the end of postmodernism and the advent of new aesthetics, philosophy and social “structure of feelings” that have overcome (or tried to) the postmodern paradigm. The book aims at interweaving the two main faces of the problem: on the one hand, the analysis of the vitality, legacy, topicality and historicizing process of postmodernity and postmodernism; on the other, the analysis of the debate on the crisis of postmodern paradigm and of the advent of new conceptual frames, often born as a direct refusal of postmodern critical discourse and philosophy.

In their work published in 2001, “After Postmodernism” (López, Potter 2001), the editors Garry Potter and José López claim that postmodernism was the most influential intellectual trend of the last third of the 20th century, and one of the central trends in the Western cultural-theoretical thinking since the 1960s. Postmodernism managed to grasp the spirit of the time and at the same time challenge self-confidence, presented by the mind, objectivity and knowledge (ib. 3). At the same time the authors have to admit that by the beginning of the 21st century the heyday of postmodernism had passed, postmodernism was in the “stage of decline” and “out of fashion” (ib. 4). Today, in 2011, we have to admit that the early-decade prediction of Potter and López has come true; postmodern society is retreating and the postmodernist theory is on the decline and losing its central role.

Images, imagination and imaginary. Richard Kearney and the not so mournful wake of postmodernism. This essay aims to locate  The Wake of Immagination within Richard Kearney’s scholarly research and relate it to current theorizations of postmodernism, with a focus on the function served by images, imagination and imagery in the postmodern context. In so doing, it questions the philosophical grounds of Kearney’s investigation, his genealogy of the concept of imagination throughout the centuries and across cultures, and his subsequent analysis of the contemporary age and its idiosyncrasies: from image addiction, through the crisis of creative imagination, to the persistence of an ethic imagery still able to articulate possible narratives that are responsive to the demands of the Other .

Starting with the differentiation between the literal meaning of the notion of intersection and its philosophical understanding in the multidimensional contexts of the debate, this paper seeks to highlight those contact zones where the postcolonial meets the postmodern. The discussion of the concept starts from an already existing course in literature, seeking a new path to a more elaborate definition of the term and building an adequate frame for the study of the topic. The analysis of those points where the postcolonial intersects with the postmodern will be undertaken in three sections. First, focus is given to the theoretical dimension of the notion of intersection. Second, the focus shifts to the practical dimension of the concept. Third, our interest is oriented towards a discussion of several examples of African and Indian literature. These have been selected to broaden the discussion of the theoretical and the practical points highlighted in the previous two sections with the aim of making these points clear to the reader. This paper shows that these movements intersect in many concepts and practices. These results are explained by the fact that they have shared origins and goals. In the selected works, these intersections are traced, showing that postmodern aesthetics are used in the critique of postcolonial reality. This paper presents a multidisciplinary approach and a well-developed method of research for the study of literature. However, it leaves the door open for future researchers to add more contributions to the study of this topic.

Considerando o esvaziamento semântico do prefixo pós-, o artigo propõe um conceito de pós-consumismo que não seja um simulacro de renovação ou um disfarce para a incapacidade de distingui-lo de um pré-consumismo. O trabalho analisa os sentidos do prefixo e seus usos contemporâneos, mostra a que se refere o pós-consumismo, individua esse estágio em relação a outros momentos da historicidade do consumo e, por fim, aventa as transformações pelas quais passará o fenômeno. Em sua posição pós-, o consumismo requer um ajustamento para a manutenção do equilíbrio econômico e funciona como estágio intermediário em direção a modos por enquanto impraticáveis no contexto de uma economia de mercado. Para desenvolver essas reflexões, o trabalho convoca o modelo dos regimes de interação de Eric Landowski e as discussões sobre pós-modernidade de J.-F. Lyotard, J. Baudrillard, Z. Bauman, J. Derrida, M. Maffesoli e G. Vattimo.

The aim of the article titled "Why is it difficult to be different?" is to analyze the matter of “Living rights and educational rights of the disabled students”, which is hushed up although frequently witnessed in our living quarters, through a real life scenario. It also aims to emphasize that it is necessary to identify the responsible ones for the problems experienced by autistic students and their families and the situation caused by those who are reported in news in the printed media, and to point out enforcement of laws thereof. In this article, descriptive survey method was used as a method. The concepts of booing, autistic, student and scandal in Aksaray are discussed after searching for them in newspapers, websites and television news. As evidenced in the recent incident in Turkey, the lack of primary-school inclusive educational support in mainstream education services is a major drawback. The effects of the said drawback are amplified by the inadequate knowledge...

One hundred years have gone by since the first missionary conference was held at Edinburgh in 1910. The world has changed drastically and the challenges facing Christian missions are different from those times. However, many Christians desire to carry on doing the missionary

Ted Cabal is professor of philosophy at The Southern Baptist Theological Seminary. Dr. Cabal has served as the Dean of Boyce College, and has also taught at Southwestern Baptist Theological Seminary and Dallas Baptist University. He has writ ten articles on philosophy and apologetics, and is currently working on a book on apologetics. Introduction As a student in seminary I had a friend with severe amnesia as the result of a serious bicycle accident. In spite of previous diligent work, he had forgotten large amounts of his seminary studies. And not recognizing his wife, he had to get to know her all over again. His disorientation could have been even worse, but his happy testimony was that he was anchored in still knowing Jesus! Many of us were also disoriented upon waking one day to find that we no longer recognized the intellectual world around us. Someone informed us that we were now living in postmodern times and had been for some time, but it all seemed so new and unfamiliar. G...

The purpose of this thesis is to examine the artistic production of photo artist Louise Lawler and the evolution of critical response to her work between the 1970s and 1990s. Of main concern are the manner in which early scholarship and exhibition reviews effectively situated Lawler’s work within the discourse of institutional critique, a field of critical scholarship and artistic production that examines institutions of art such as museums and galleries. The objective of this thesis is to reexamine Lawler from a feminist art historical perspective using French feminist theory to investigate how her work can arguably be considered to be a feminist intervention into the patriarchal structures of museums, galleries, and connoisseurship. Lawler’s dominant practice is photographic in nature, yet she does not consider herself a photographer. Like many artists of her generation Lawler has capitalized upon the indexical nature of the photographic medium, using it as a tool to create images...

Ogni indagine circa i concetti di trascendenza e immanenza ha riguardato,dall’antichita all’Eta moderna, la questione della verita e, dunque,dell’essenza da cui hanno origine i fenomeni e gli oggetti della nostraesperienza. Una verita da ricercare “al di la” dell’esperienza umana, oltrel’apparenza dei fenomeni: una verita trascendente per il primo polo dellacoppia dialettica. Una realta che rappresenta un “oltre” rispetto a cioche si puo percepire mediante i sensi. Identificata, fino alle soglie dell’Etamoderna, con la divinita, la trascendenza riguarda la mente sopra le cose,causa e origine dell’essere stesso, in ogni sua manifestazione. La trascendenzae dunque sempre stata riferita a una realta oltre il mondo sensibile.Nel secolo XX, invece, essa e stata concepita come funzione costitutivadell’esistenza umana, che, nella sua finitezza, individualita e temporalita,scopre il proprio limite proprio nell’incapacita di oggettivare e renderetrasparente alla ragione cio che e “al di la” ...

One hundred years have gone by since the first missionary conference was held at Edinburgh in 1910. The world has changed drastically and the challenges facing Christian missions are different from those times. However, many Christians desire to carry on doing the missionary work of the past in the same way, oblivious of the new situations and challenges. Before we embark on the onerous task to explain the postmodern context and the significance of doing Christian missions in such a situation, let us try to capture the spirit of the first world missionary conference at Edinburgh in 1910, and reflect how things have changed dramatically after a hundred years. There is a need now to be sensitive to the recent developments and positively respond to our context, while continuing to be faithful to our call to be part of and participate in Christian missions.

Until now post-structuralism and phenomenology are widely regarded as opposites. Contrary to this opinion, I am arguing that they have a lot in common. In order to make my argument, I concentrate on Judith Butler's poststructuralist concept of performativity to confront it with Maurice Merleau-Ponty's phenomenological concept of expressivity. While Butler claims that phenomenological theories of expression are in danger of essentialism and thus must be replaced by non-essentialist theories of performativity, I hold that Merleau-Ponty's concept of expressivity must strictly be understood in anti-essentialist terms. Following this line of interpretation, ''expressivity'' and ''performativity''-as well as phenomenology and post-structuralism-are not opposites but partners in the search for an anti-essentialist gender concept. Consequently, feminist phenomenology turns out to be a non-essentialist approach that combines phenomenological and post-structural insights.

The idea behind the title of J. D. Salinger's famous novel The Catcher in the Rye is used in this article to illustrate Erving Goffman's theoretical approach to everyday life. However unlike Holden Caulfi eld, who wants 'to catch' the children in a 'big fi eld of rye' to save them from going over 'the edge of some crazy cliff', Goffman does not want to save anybody. In his theory, he only 'catches in his steely gaze' (R. Collins) the natural scenes of everyday life. The fl uid matter of everydayness is captured by him through theoretical, mainly stylistic tools. Among his favourite rhetorical tools we fi nd metaphor, irony, and so on. Goffman employs stylistic tools to produce what Burke termed 'perspective by incongruity'. This is a way of perceiving the familiar as problematic. As a social theorist, Goffman preferred formulating a range of concepts over constructing theoretical propositions, and therefore, he was often regarded as the author of a conceptual scheme, not a theory. At best Goffman was perceived as a 'middle-range' theoretician. In his own studies of everyday life he used the ethnographic approach of the 'Chicago school'. The early Goffman was somewhat reserved about applying a phenomenological approach to everyday life. Yet his application of perspective by incongruity served as a substitute for the phenomenological bracketing of the taken-for-granted aspects of everyday life. In his later period, Goffman turned to the procedure of framing, making his approach more structuralist. Frames served to structure the everyday world in many ways. Later, Goffman almost came to accept the Jamesian and Schutzean idea of a multiple reality, with special accent on the frame of everyday conduct, which included both real and unreal elements.

This article does not claim to be the first piece of postmodern scholarship on Philippine society. In fact, many scholars, both Filipino and foreign, consciously or unconsciously, have already inquired into various domains using a postmodern lens, and some of them have focused on political questions. Unfortunately, however, a postmodern agenda is still very much absent or is not mainstreamed in political science in the country. Most of the scholarly works that can be labeled as postmodern are in the fields of the humanities, particularly arts studies and literature, and in history. This article argues for the strengthening of a postmodern perspective within Philippine political science, especially by Filipino political scientists.

A usual reading of postmodern critiques of science, progress, and the nation-state, has casted postmodernism as pessimistic, if not apolitical. In fact, it is even read as conservative, as it unintentionally enables a continuation of the status quo by its privileging of local forms of resistance, even as it is critical of grand narratives of resistance.

The struggle for a more democratic future electoral arrangement under the Basic Law has become increasingly confrontational. Verbal violence within the legislative chambers and physical violence outside government offices and on the streets are escalating. A growing number of new and not so new political groups are no longer ruling out violencephysical and verbalas legitimate tools of political struggle. And the government too was quick to use teargas at the start of the Occupy Movement.

Analitik bir tarih çizgisi çizerek modernliğin tarihine bir ömür biçmek ve sonunun artık geldiğini ilan etmekten ziyade pek çok eleştiri ve özeleştiriye rağmen hâlâ güçlü kalan ve teknolojiden şehirleşmeye, mimariden felsefeye, eğitimden askeri yapılanmalara kadar her alanda baskısını bir an olsun yitirmeyen modernliğin tasvirini dizgin tanımaz bir ejderhaya benzetmek sanıyorum ki yanlış olmaz. Etrafta bu ejderhayı dizginleyebilecek hiçbir şey kalmamıştır zira her şey (objectum) zaten ejderhaya yani özneye tabidir (subjectum): Çok düşünmeye de gerek yok; özne zaten “kafadan” merkezde, geri kalanlarsa ancak ve ancak onun tebaası olabilir. Özne’nin o kullanmakta gittikçe mahir olduğumuz VR gözlüklerinden tutun da şuncacık çocukların eline tutuşturduğumuz tabletlere kadar artık iyice gelişip serpildiği günümüz dünyasında hayli aşina olduğumuz modernliğin bu kaba hikâyesinin bir sona yaklaştığını ilan etmek fazla fantastik olacaktır. Sonuç olarak diyebiliriz ki modernlik hâlâ kanlı-canlı tepemizdedir. Şu çetrefilli soruyu bir dillendirelim o hâlde: Tepemizde tepinen bu ejderhayı yenmek postmodernliğin harcı mıdır?

This volume includes a revised selection of articles based on contributions presented in lectures and panel sessions at the Second Seminar on Postmodernism held at the University of Seville between 2 lst-23rd October 1999. The basic premise of the seminar was to revisit sorne of the concerns broached in its first edition and to consider to what extent postmodernism has been a tangible influence on literature and culture over the past decades, whether it has outlived itself and to what extent it remains a concept to be reckoned with. First impressions confirmed that, in the four years which had elapsed since the First Seminar, attitudes had changed considerably.