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This article examines the intersections between memory and artistic vision in Virginia Woolf’s To the Lighthouse (1927) and Margaret Atwood’s Surfacing (1972), two novels resonating with feminist tensions and gender issues. Investigating two anxious female artists—Lily Briscoe in Woolf’s novel and the unnamed narrator of Atwood’s novel—the researchers argue that memory functions as a source of order and recuperation. Against patriarchal norms, memory allows for psychic healing, liberation and a fresh start. It engenders a space that can correct the wrongs of the past and help the female characters explore their imaginative abilities and enhance their self-esteem. Digging into the past, these artistic figures redeem their lives from the ravages of time, war and patriarchal oppressions. This approach allows for the liberation and the future growth of the artistic visions of the two painters. Each artist, however, reacts differently to the resurfacing of the painful past. For instance, in To the Lighthouse (a modernist text), Lily embraces art as a form of redemption and thus finishes her painting through her positive memory of Mrs Ramsay. However, the unnamed artist in Surfacing (a postmodern manifestation of art) renounces art and destroys her drawings in the process of coming to terms with her past. This article situates both texts within modernist and postmodernist notions on the value and function of art in order to explicate the essential junctions between memory and art and, therefore, demonstrate dissident artistic responses oscillating between (modernist) espousal and (postmodernist) repudiation.

Joseph Beuys's final large-scale installation Blitzschlag mit Lichtschein auf Hirsch (bronze, aluminium, 1958–85) is one of the most viewed works of German art. The four galleries which have it on ...

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.

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.

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

This chapter tells us about the developments in literature and art circles in the twentieth century, and differences from their classical predecessors.

The subject dealt with in this work is non-hegemonic discourse which, in the spectre of philological interests, denounces the phenomena of hierarchialisation and dehierarchialisation linked to the problem of capturing the concept of the function a border has while being disseminated through literary theory and practice throughout travelogue as a literary form. By enquiring about cultural heritage applied in literature from Odyssey’s travels and challenges, this research has attempted to emphatically “listen poetically” to all aspects of human existence subjected by some to the border line of such worlds. Thus I here write about an exemplary travelogue which uses conceptual mechanism of its text based on the movement disputing then a conventional usage of literary language, which is today recognized as a form of violence as old as the very western history itself is. For that purpose, the work has incorporated analytical viewing of novelistic, essayistic and travelogue like literary heritage using travelogue essays Majka voda by Tvrtko Kulenovic, the most famous Bosnian-Herzegovinian writer and essayist. It is a travelogue of great significance taking us from “postmodern Odyssey” to its specific “ideology of water” and “religion of seas”. The ephemeral border between a body travelling to a body of travelling in his travelogue Majka voda takes us to the point of merging of two cultural circles. Poetic dimension may be inferred from Kulenovic’s suggestions: “Indeed, is there any shame in the fact that it is more intelligent to sail rather than row (...) That artistic skill is obtained more easily through the “eastern” relaxed surrender then through the “western” intent and concentration (attempt to forcibly control mind equals the attempt to even out the waves of the sea). Who hits the target, misses all? (...) We must be capable of changing our shape as water does. (...) In the beginning there was no word, but water. At least it is said so in the Book of Genesis: the holy spirit of God soared above the waters.” (Kulenovic: Majka voda)

The purpose of this writing is to gather and view the flow of art after the post-modern era. Art scholars, artists and art enthusiasts often wonder whether the development of knowledge from modern art to post-modern and whether after post-modern. As we know, the flow of art flourishes with the development of technology, ideology, social and art education. This writing is the first step in finding meta-modern elements that will be associated with the development of art.

Post modernism (POMO, henthforth) is dead, supposedly. Dinosaurs are dead too, except they are not, from an evolutionary point of view. If you look up to the sky, squint your eyes and peer into the...

18세기 후반과 19세기 초 유럽의 몇몇 주된 자본주의 국가는 건축 설계상의 복고주의가 잇따라 나타났는데, 그중에 프랑스의 고전주의, 영국의 낭만주의 및 미국의 절충주의를 가장 대표적인 이즘이라고 할 수 있겠다. 19세기 말 예술의 모든 분야에 걸쳐 나타나기 시작한 모더니즘은 제1차 세계대전의 종식과 더불어 전성기를 맞이하면서 미술에서 시작하여 건축으로 그 영향은 번져나갔다. 모더니즘 건축 발전은 1920년대부터 제2차 세계대전 후까지, 특히 1930년대 중반에 놀라운 성과를 얻었다. 동시대 미국의 건축가들은 국내 시장수요 때문에 미국 모더니즘 건축을 발전시켜 나갔다. 그런데 유럽과 다른 것은 미국의 모더니즘 건축은 기능 목적이 부족한 대신에 명확한 시장 목적을 가지고 있어서 유럽의 모더니즘 건축보다 비즈니스 성격를 더 가지고 있었다. 제2차 세계대전 발발 후 유럽의 수많은 디자이너들이 미국으로 건너가 유럽의 모더니즘과 미국의 건축 시장수요를 결합시켜서 미국의 모더니즘 건축 발전에 영향을 주었으며, 공전의 발전을 거듭하여 전 세계로 그 영향력이 확장되었다. 본 연구에서는 모더니즘 건축의 변화 시기 중 미국 모더니즘 건축의 성장배경과 특징을 알아보고자 하였다. 연구목적을 달성하기 위해 사례분석을 진행하였다. 앞으로 현대건축의 시작이라 할 수 있는 모더니즘 건축에 대한 많은 연구로 모더니즘 건축에 대한 이론적 정립과 현대건축의 계보가 확고히 자리 잡을 수 있도록 노력하여야 할 것이다.

Cet article porte sur la pratique poetique des anthropologues americains, a la fois revelatrice d’enjeux institutionnels majeurs et catalyseur d’une densite relationnelle consequente. Il met en evidence trois occurrences successives dans l’histoire de l’anthropologie americaine, ou les chercheurs ont montre un interet prononce pour la poesie, soit parce qu’ils en produisaient eux-memes, soit parce qu’ils trouvaient un interet particulier a l’etudier. Une premiere periode coincide avec les annees de la fondation de la discipline (1920-1930) et c’est l’activite poetique d’Edward Sapir et de Ruth F. Benedict qui est examinee, surtout sous l’angle des hesitations qu’ont pu connaitre l’un et l’autre representant de l’ecole « culture et personnalite » dans le choix entre des carrieres de poete ou d’anthropologue. Une deuxieme periode montre le lien entre les poetes de la beat generation et les ethno-poetes fondateurs de la revue Alcheringa Ethnopoetics (1960-1970). Une derniere periode prend en compte les annees du poetic turn et du post-modernisme (a partir de 1980) qui coincident avec des publications individuelles et collectives de field poetry (poesie anthropologique) et l’instauration d’institutions telles que les concours et les prix de poesie anthropologique.

RECEBIDO EM 28 SET 2016 APROVADO EM 25 OUT 2016 O paradigma post-modernista traduz-se em relacoes simultâneas de oposicao e de permanencia de caracteristicas ja existentes em passados mais ou menos proximos ou mais ou menos remotos. Por isso, num efeito semelhante a uma manta de retalhos, a maxima non nova, sed nove (nao uma coisa nova, mas de uma nova maneira), constitui a melhor forma de, em termos englobantes, ilustrar a sensibilidade que, desde finais da decada de sessenta, tem vindo a marcar o panorama literario em Portugal. Em termos mais particulares, como tentaremos provar, mas nao esquecendo, no caso do portugues, a importância da influencia modernista no ecletismo da estetica em apreco, esta formula revela-se tambem passivel de aplicacao (e de ilustracao, portanto) ao modo como se constroi uma das mais importantes categorias da narrativa – a personagem. // The post-modernist paradigm reflects, in concurrent relationships of opposition and permanence, some of the existing features of previous literary periods. Thus, in an effect similar to a patchwork, the maxim non nova, sed nove (not a new thing, but in a new way), is, in large part, the best way to illustrate the sensitivity that, since the end of the 60s, has come to mark the literary landscape in Portugal. More specifically, we will attempt to prove that this formula is applicable to the ways to the way the authors build one of the most important categories of narrative – character. In this endeavor, it is necessary to remember the importance of the modernist influence on the aesthetics of Post-Modernism, in the Portuguese case. DOI: 10.12957/abusoes.2016.26284

A lot has been written in the last years about post—modernity or postmodernism, but few have paid attention to the few scholars or thinkers of Continental Europe that have expressed profound doubts...

This paper, has presented film-making frameworks relying mostly on modern and post-modern movies and the essential expression of self-reflection. The post-modern movies are in some respects different from the modern and classic ones. However, they still benefit from past achievements. The element of self-reflection is obvious in Godard's works which connotes the reality of their filming. In especially most of his latest works, Abbas Kiarostami also takes benefit from this technique. The present article analyses these two directors' viewpoints and presents the obtained influences on classic, modern, and post-modern movies. The expression of self-reflection in their works leads to art maturation. The obtained results of this research offer the related covert and overt values benefiting from the influencing process of three decades and the effect put on spectators in 15 phases. These results are considered qualitatively and quantitatively of great importance.

This article gives a brief history of the Beckett collection at the University of Reading archive and gives an indication of the scholarly disciplines it is most relevant to