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The aim of this study is to analyze; academician, architect and architectural theorist Robert Venturi’s groundbreaking books in the world of architecture;’Learning from Las Vegas’ and ‘Re-Learning from Las Vegas’, in terms of postmodern urban design. For this purpose, the study focuses onthe different dynamics of architecture and tries to reveal the effects and contributions of the local context to thearchitectural concept and urban design with the contradictions and complexities it creates. The study that dealswith the dynamics of architecture, apart from the space, in terms of local context via Las Vegas Boulevard; examines dynamics such as communication / symbolic / non-architect architecture. Hence, while referring to post-modernism, a period of pivotal architecture, he particularly focuses on ; Learning from Las Vegas; to explain how the Everyday urban landscape of Venturi’s Las Vegas Strip, emerged eclectically and quickly. In the article, the architecture of Las Vegas Strip, which was the beginning of post-modernism in the 1960s, has been discussed in terms of urban design and urban landscape, focusing on the reflections of symbolic (sign) architecture and eclecticism. The everyday design philosophy of the boulevard is examined. While discussing Venturi’s discourse on ‘what we need to learn from Las Vegas’, it is also intended to reveal why he actually praises everyday architecture. Venturi, who is a member of the advisory board of Princeton University's School of Architecture and Urban Design, clearly demonstrated the philosophy of architecture in the book "Complexity and Contradiction in Architecture" presented in 1966; Again for the first time in this work, he responded to Mies Van Der Rohe, who is known with the phrase "Less is more", with "Less is bore" (lessboring). Therefore, in the study, the understanding of urban design that emerged in the post-modern period has been investigated through Venturi’s interpretations and works, and an analysis has been made on how architecture, a local context consisting of symbols and hangars has a wide impact in the world., Bu çalışma; değerli akademisyen, mimar ve mimarlık teorisyeni Robert Venturi’nin, Scott Brown ile birlikte yayınladıkları, mimarlık dünyasında çığır açan eserleri; ‘Learning from Las Vegas’ (Las Vegas’ın öğrettikleri) ve ‘Re-Learning from Las Vegas’ (Las Vegas’ın yeniden öğrettikleri) isimli çok önemli iki eserinin postmodern kentsel tasarım açısından incelemesidir. Bu amaçla, çalışma ünlü mimar ve teorisyen Robert Venturi’nin kitabında yer verdiği mimari çelişkiler ve karmaşıklıkları ortaya çıkarmaya çalışır. Mimarlığın ayrılmaz parçası olan ‘mekân’ haricinde ki dinamiklerini, ‘Las Vegas Bulvarı Mimarisi’ aracılığıyla ele alarak, Venturi’nin kitabında yer verdiği; ‘iletişim mimarlığı/sembolik mimarlık/mimarsız mimarlık’ gibi kavramları inceler. Post-modernizm’e değinirken özellikle, ‘Venturi’nin Las Vegas Şeridi’ ve gündelik kentsel peyzajda ki eklektizme ve dinamizme odaklanır. Post-modernizm (1960’lar) ile gelişme göstermeye başlayan Las Vegas Şerit mimarisi, çok disiplinli bir yaklaşım ile kentsel tasarım ve kentsel peyzaj açısından ele alınarak, işaret mimarlığı ve eklektizmin kentsel tasarıma yansımaları üzerine yoğunlaşarak, bulvarın gündelik tasarım felsefesi incelenmiştir. Venturi’nin Las Vegas’tan öğrenmemiz gerekenler olduğunu savunurken aslında gündelik mimariyi niçin övdüğü de tartışılmıştır. Princeton Üniversitesi ‘Mimarlık ve Kentsel Tasarım Okulu’nda danışma kurulu üyesi de olan Venturi (1966); ‘Mimarlıkta Karmaşıklık ve Çelişki’ kitabın da mimarlık felsefesini açıkça ortaya koyarak; ‘Less is more’(az çoktur) deyimi ile bilinen Mies Van Der Rohe’ye karşılık ‘Less is bore’ (az sıkıcıdır) söylemi ile karşılık vermiştir. Dolayısıyla, bu çalışma post-modern dönemde gelişen kentsel tasarım anlayışını, Venturi’nin yorumları ve eserleri üzerinden araştırmış ve mekânız bir mimarlığın, semboller ve hangarlardan oluşan bir yöresel bağlamın dünyada nasıl geniş bir yankı uyandırdığı üzerine bir incelemedir.

İnsanlık, tarih boyunca dünyanın farklı bölgelerinde çeşitli salgınlarla yüzleşmiştir. Bu salgınlar gerek süreçleri gerekse de sonuçları itibariyle birçok farklı etkiye sahip olmuşlardır. 21. yüzyılın ilk çeyreğinde Çin’in Wuhan kentinde ortaya çıkan ve sonrasında bütün dünyayı etkisi altına alan Covid-19 salgını ile karşılaşılmıştır. Salgın, birçok ülkenin sağlık sisteminde, ekonomik ve politik yapısında küçük, orta ve büyük ölçekli fay hatları oluşturmuştur. Dolayısıyla başta tıp olmak üzere, iktisat, politika, yönetim, siyaset bilimi, uluslararası ilişkiler alanlarında salgının süreç ve sonuçlarına dair görüşler ortaya konmuş ve hızla büyüyen bir literatür ortaya çıkmıştır. Elbette ki sürecin açıklanması adına bu görüşlere ve literatüre ihtiyaç duyulduğu bir gerçektir. Lakin sosyal bilimler adına bu denli kısa bir zaman dilimi içerisinde salgının sonrasında “post” eksenli analizler özelinde temkinli olunması gerektiği düşünülmektedir. Bu düşünceden hareketle bu çalışma temkinli olmayı göz önünde bulundurarak aslında bu sürecin küreselleşme ve post-modernizm ilişkisi nazarında doğal kabul edilmesi gerektiği savına sahip bulunmaktadır. Özellikle post-truth kavramı ile birlikte post-Covid söyleminin belirsizlik içerisinde daha da belirginleşeceği kanaati söz konusudur.

Following a discussion of three substantial new books on the writer W. G. Sebald, I reflect upon and try to develop ideas which the authors argue are central to Sebald’s recent published work, notably suffering, natural and humanly created cataclysms, narratorial tact, occlusion, reliability and restitution, and the experience of liberation.

Poprzez odrzucenie zasady czystości formy, postmodernizm umożliwił dogłębną analizę, rewaluację oraz ponowne zdefi niowanie cech charakterystycznych poszczególnych gatunków literackich. Dało to twórcom możliwość zabawy formą oraz tworzenia często nieoczywistych hybryd gatunkowych. Jednym z mistrzów owych międzygatunkowych chimer jest współczesny brytyjski pisarz, sir Terry Pratchett . Twórca z wszech miar przekorny i nie stroniący od eksperymentów literackich, w pełni wykorzystuje wolność gatunkową oferowaną przez tezy postmodernizmu. Efekty owej fascynacji postmodernizmem są dostrzegalne m.in. w serii jego powieści kryminalnych, które po zanalizowaniu okazują się być mieszaniną fantasy, powieści detektywistycznej, powieści policyjnej, kryminału noir, kryminału typu hard-boiled, ballady heroicznej, powieści łotrzykowskiej oraz satyry polityczno-społecznej. Ta wieloskładnikowa mikstura jest, pomimo pozornie chaotycznego doboru składników, tworzona wg starannie opracowanego klucza i zorganizowana wokół jednego głównego gatunku, którym na pierwszy rzut oka wydaje się być kryminał noir. Jednakże, oglądane z bliska, kryminały Pratchett a okazują się być, pomimo licznych współczesnych elementów, przedstawicielami klasycznej powieści detektywistycznej sięgającej tradycjami do epoki królowej Wiktorii i wywodzącej się od pewnego dżentelmena z fajką i szkłem powiększającym.

My project is concerned with understanding and identifying the possibility of self-censorship, within a queer theory framework, in Robert Rauschenberg's series of Combine works. Starting out by understanding ideas and theoretical concepts behind censorship (specifically Self-censorship, whether subliminal or acknowledged), through the work of previous scholars. Helping to differentiate the various forms censorship can take, to better establish a definition of what it means to self-censor. Which is vital for the ability of identifying the possible presence of this within Rauschenberg’s practice during the period he created the Combines. Previous iconographical readings, within a queer theory framework, should form a foundation to work from, to identify different elements within the work. Simultaneously creating an understanding of those elements identified as potential queer signifies contained in the works. The deconstruction of the combines seeks to comprehend those elements that might constitute Self-censorship, queer signifiers and historical or narrative changes which may have resulted from personal development or, more importantly, attacks on or suggestions of homosexuality levelled at Rauschenberg. After the deconstructions have been performed, combined with the data collected and appropriate analysis, identification of the changes which may have occurred can begin. These trends will then be examined and explicated via North American socio-historical sexual research and through a queer theoretical framework. After which, I shall attempt to draw out those elements that correspond to Self-censorship within Rauschenberg's art. It is hypothesised the self-censorship elements will be more prominent in his later works when Rauschenberg attempts to conform to societal expectations. The potential implications of this will be discussed.

The term hermeneutic comes from the Greek word hermeneuo, which means to convey (a thought or desire), explain (a speech), and translate (something from one language to another). This word is related to the god Hermes, a god in Greek mythology whose job is to convey the message of the gods to humans as recipients. Hermeneutics has always been used as the science and art of interpreting Scripture. It is important to note that hermeneutics is closely related to biblical studies, such as canon studies, textual criticism, historical criticism, exegesis, biblical theology and systematic theology. === Istilah hermeneutic berasal dari kata Yunani hermeneuo, yang berarti menyampaikan (suatu pikiran atau keinginan), menjelaskan (suatu ucapan), dan menerjemahkan (sesuatu dari satu bahasa ke bahasa yang lain). Kata ini berhubungan dengan Dewa Hermes yaitu dewa dalam mitologi Yunani yang bertugas menyampaikan berita dari para dewa kepada manusia sebagai penerimanya.1 Hermeneutik selalu digunakan sebagai ilmu pengetahuan serta seni dari penafsiran kitab Suci. Penting untuk diperhatikan bahwa hermeneutik berkaitan erat dengan kajian-kajian alkitabiah, seperti, kajian kanon, kritik teks, kritik historis, eksegesis, teologi alkitabiah serta teologi sistematis.

The effects of postmodernism on theatrical form was managed by the director (Anas Abdul Samad) to be employed in the Iraqi play (Dream in Baghdad) and the researcher sought to study this problem and divided it into four chapters dealt with in the first chapter the problem of research and its need, the importance of research, As well as the definition of terminology, either Chapter II theoretical framework divided by the researcher to the first two is the postmodernism in the theater is the most prominent reference references and the second most important postmodern applications in the world play and then the researcher concluded the second chapter of the most important indicators. In the third chapter, the researcher identified the research society and the method of selection of the sample (dream in Baghdad) and the analysis of the sample and concluded the most important results of the analysis of the sample, and the fourth chapter will lead the researcher the main findings of his research and conclusions reached by the researcher recommended a set of recommendations as well as proposals and list of sources and references

Made available in DSpace on 2019-10-03T17:31:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2019-04-01. Added 1 bitstream(s) on 2021-07-14T17:52:36Z : No. of bitstreams: 1 S1678-53202019000100059.pdf: 285770 bytes, checksum: c772f5cc90d621c36c0a28ca4bc35602 (MD5) RESUMO Na arte contemporânea, percepções conflitantes da realidade promovem uma reviravolta no papel da razão na construção do real e da verdade. Nesse contexto, é possível considerar outros balizamentos para o estético e o político, desconstruindo a falsa noção de universalidade fundada em binaridades como: racionalidade e irracionalidade, civilizado e primitivo. O pensamento de autores como Isabelle Stenger, David Harvey, António Damásio, Ellen Dissanayake são considerados neste estudo na fundamentação de uma reflexão sobre a arte contemporânea e a crítica sobre o papel da ciência, tendo em perspectiva o contexto da trajetória histórica do imperialismo e da dominação dos países em desenvolvimento pelas grandes corporações. Assumem evidência, nesse cenário, o capitalismo em crise e o modelo evolutivo do evolon, como ferramenta para análise. ABSTRAT In contemporary art, conflicting perceptions of reality promote a reversal in the role of reason in the construction of reality and truth. In this context, it is possible to consider other beacons for the aesthetic and the political, deconstructing the false notion of universality based on binarities such as rationality and irrationality, civilized and primitive. The thinking of authors such as Isabelle Stenger, David Harvey, António Damásio, Ellen Dissanayake is considered in this study in the foundation of a reflection on contemporary art and the criticism on the role of science, taking into account the context of the historical trajectory of imperialism and domination of developing countries by large corporations. Capitalism in crisis assumes evidence in this scenario and, as a tool for analysis, the evolon evolutionary model. Universidade Estadual Paulista Universidade Estadual Paulista

The shadow of skepticism that post –modernist casted on the Meta narrative is so encompassing that it led to conspicuous cynicism on the objectivity of history as a scientific discipline. This article raises this issue by discussing and analyzing the arguments of Samir Yusuf; a post-modernist critique of Bahiru Zewdie’s A history of modern Ethiopia. The research, using such analytical tools as the” grand narrative”, has attempted to reveal the essence post -modernist arguments discursively. It has also employed a comparative analysis and found out great resemblance with the critique of Ibadan school of History. Based on its findings, it argues that the application of the postmodern critics to the “grand narrative” of Ethiopian history, as in Samr’s argument, is detrimental for it fails to take into account the peculiarities of Ethiopian history and historiography. Key words: Grand narrative, post modernism, Ethiopian history, historiography, Ibadan.

The analysis sets out from the exhibition entitled Ressource Kunst. Die Elemente Neu Gesehen. The author attempts to outline an area which emerges from the encounter of ecology (as a domain of reflection about the human surroundings) and aesthetics (as a discipline concerned with sensory experience) from the standpoint of post-modernism. The inquiry thus focuses on the moment in which contemporary artistic practices “internalize” ecological issues. Aesthetics becomes a branch of ecology, but at the same time ecology becomes a domain within aesthetics. According to the author, post-modernism has offered advantageous perspectives for pursuing ecological postulations.

Translation is a process of rendering meaning from one language to another language and translation procedures are the technical strategies adopted by the translator to achieve the closet possible equivalent. In this paper an attempt has been made to evaluate the techniques of translation of cultural terms offered by New mark that have been employed in translating cultural words. This paper also aims to have an argument on the techniques of translation that focus on target readers in post-modernism. It has been found that in translating cultural terms, ten different techniques are found to have been employed in translating cultural words. Literal translation is mostly used and claque is the least used technique. There is triangular relationship among the translator, the text and the reader. A translator should remove the spectacle of domination and accept the foreign culture and source culture with respect in postmodernism.

Розглянуто проблему культурної генези постмодерного феномену «смерті Автора», що сприяв появі ідентичних явищ у літературі та музичному мистецтві другої половини ХХ століття. Продемонстровано, що цей феномен, початково артикульований Р. Бартом та М. Фуко як літературне явище, паралельно знаходить специфічно музичне вираження у композиційній техніці мінімалізму та у полістилістиці. Доведено зв’язок літературних та музичних репрезентацій означеного явища з масштабними процесами переосмислення картини світу і місця людини у Всесвіті шляхом аналізу чільних культурних тенденцій межі ХХ– ХХІ століть., Relevance of the study. The problem of cultural genesis of postmodern phenomenon of “the death of the Author” has been regarded in the article. The phenomenon has given birth to identical things that independently and simultaneously emerged in literature and music in the second half of the 20th century. There has been little research done on the problem. The phenomenon of “the death of the Author” was initially analyzed and defined by R. Barthes and M. Foucault as that of entirely literary origin. But it also finds its specifically musical embodiment in the composition technique of minimal music and in the phenomenon of polystylistic, discovered by A. Schnittke. These analogies might not be characterized as deliberate extrapolation because of the absence of any apparent artistic interactions and of obvious synchronicity of emergence of the phenomena in question.The main objective of the study is, having analyzed the principal cultural tendencies at the turn of the 20th – 21st centuries, to prove and to demonstrate the link of literary and musical representations of the phenomenon of “the death of the Author” with large-scale processes of the new understanding of the image of the world and human’s place in the Universe.Methodology of the study. The search of the general cultural genesis of literary and musical embodiments of the phenomenon of “the death of the Author” was done by intensive use of the hermeneutic method as a tool for the interpretation of artistic (that is, literary and musical) texts as key sense-bearing components of the European culture as a semantic whole. The method of historical analysis also became a necessary research instrument since it made possible retrospective explanation of cultural processes of the second half of the 20th century. The comparative method helped to identify certain literary and musical phenomena as similar things. Results and conclusions. The hermeneutic, historical and comparative analysis of the phenomenon of “the death of the Author” as an indicator of transitional processes in the European mentality produces paradoxical results: it emphasizes positive semantics of the phenomenon contrary to obviously pessimistic semantics of the term-metaphor itself. The post-modern phenomenon of “the death of the Author” fulfils a special compensatory mission in the art that lies in the shift of the accent from excessive concentration of the artist on his own person to the new understanding of himself as an important, but comparatively humble particle of the gigantic Universe., Актуальность исследования. В статье рассматривается мало исследованная проблема культурного генезиса постмоденистского феномена «смерти Автора», породившего идентичные явления, независимо и синхронно имевшие место в литературе и музыкальном искусстве второй половины ХХ века. Явление «смерти Автора», первоначально проанализированное и артикулированное Р. Бартом и М. Фуко как литературный феномен, параллельно находит специфическое музыкальное воплощение в композиционной технике музыкального минимализма, а также – в открытом А. Шнитке явлении полистилистики. Данные аналогии не могут быть охарактеризованы как сознательная экстраполяция по причине отсутствия каких-либо отчётливо выраженных художественных взаимодействий при очевидной синхронности возникновения анализируемых явлений.Цель исследования – посредством анализа ведущих культурных тенденций рубежа ХХ–ХХІ веков доказать и продемонстрировать связь литературных и музыкальных репрезентаций феномена «смерти Автора» с масштабными процессами переосмысления картины мира и места человека во Вселенной.Методология исследования. Поиск общего культурного генезиса литературного и музыкального воплощений феномена «смерти Автора» осуществлялся с помощью интенсивного использования метода герменевтики, ввиду необходимости интерпретации художественных (литературных и музыкальных) текстов как ключевых семантических компонентов общесмыслового целого европейской культуры. Необходимым инструментом исследования стал также метод исторического анализа, сделавший возможным ретроспективное объяснение культурных процессов второй половины ХХ века. Идентификации ряда литературных и музыкальных явлений как феноменов одного порядка способствовало также применение компаративного метода.Основные результаты и выводы исследования. Осуществлённый герменевтический, исторический и компаративный анализ феномена «смерти Автора» как индикатора переходных процессов в европейской ментальности приводит к парадоксальному результату – акцентуации позитивной семантики исследуемого явления в противовес очевидной смысловой пессимистичности данного термина-метафоры. Постмодернистское явление «смерти Автора» выполняет компенсаторную миссию в искусстве, суть которой заключается в смещении акцента с чрезмерной концентрированности художника на собственном «Я» на новое понимание себя как весомой, но значительно более скромной частицы гигантской Вселенной.

Flore E. Coulouma, ‘Review of Eternalized Fragments: Reclaiming Aesthetics in Contemporary World Fiction (2020) by W. Michelle Wang,’ The Parish Review: Journal of Flann O’Brien Studies 4, no. 2 (Spring 2020): 1–6. Available at:https://doi.org/10.16995/pr.3414

The author of the article revises the process of gradual deconstruction of soviet metanarrative in literature of Russia, Belorussia and Ukraine after 1991st. Each of those literatures built its own identity, which had to replace soviet cultural discourse. That process was contradictory, but still quite productive. Contemporary post-soviet literature is in boundary situation. It means that the crisis of the transition period has not been completely overcome. The main problems in creating of the national narratives are neo-imperial (in Russia) or neo-colonial (in Belorussia and Ukraine) tendencies.

This article surveys developments in the study of the histories of ancient Israel and Judah with a focus on the last ten years. Over that period there has been an increased focus on extrabiblical evidence, over biblical text, as the primary means of constructing comprehensive histories, and a revival of interest in post-modern and linguistic-turn theories with respect to establishing what kinds of histories should be written. This study offers a general discussion of the last decade’s trends; an inquiry into the possibility that Judahite authors only assumed an Israelite identity after the fall of Israel; and an era-by-era investigation of particular developments in how scholars think about the various traditional periods of Israelite and Judahite history. The latter inquiry spans the pre-monarchical period to the Persian period.

Between the Standard Catalogue Company selling AD and Andreas Papadakis’s Academy Editions buying it in 1977, the magazine was owned for a year by an off-the-shelf company called Acroshaw, set up b...