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The study of the role played in parody in modernist art, literature and theory made in Rose's Parody/meta-fiction (1979) is extended in this article to a study of the contrasting roles attributed to reflexive parody in post-modernism by Fredric Jameson (1984) and Charles Jencks (1986). Firstly Jameson's claim that modern reflexive parody has ‘degenerated’ into an unreflexive form of pastiche in post-modernism is criticised and contrasted with Jencks' criticisms of the characterisation of post-modernist art as pastiche. Secondly, it is argued with Jencks that many post-modernist works contain a number of dual or multiple codings, and it is suggested that these are also characteristic of a new development of the reflexive parody found in modernism. Finally it is argued that if modernist parody would be transcended in post-modernism as an out-dated modernist from as Jameson suggests, then pasticle must also be as ripe for such a transcendence given that it too is as old as the modernist parody which Jameson sees it as replacing, but that the most likely scenario for the immediate future will be that both parody and pastiche will be given new functions by their post-modernist owners, and that these new functions will continue to co-exist with the older forms of parody still being used by modernist writers and artists.

This paper, the second in a series on the relevance of the modernist-postmodernist debate to organizational analysis, looks at the work of the late Michel Foucault. Whilst his work is seen as producing a whole series of problems for those brought up in an Anglo-American tradition of intellectual endeavour, it is maintained that his work is suggestive of alternative ways of approaching problems and ordering material. A three fold periodization of his work is suggested beginning with the 'archeaological' period, then attention is paid to the 'genealogical' period and finally, though less fixed and discernible, his concern for ethics is noted. Ideas and concepts drawn from all but the very last of his writings are then utilized in ways which might allow for a significant reordering in the theory of organizations, particularly in the debate concerning organizational heterogeneity versus homogeneity, the importance of 'total institutions', organizational control of sexuality and the role of new technologies in organizational control systems.

Recently, fundamental premises of modern architecture and the visual arts and of their history have been called into question. To put it directly, modernism has become problematic. Some artists, ar...

This study compares the rhetoric of American academic post-modern fiction with the realities of its institutional practices. In particular, I examine the influence exercised by certain representative authors over the reception of their works,· and the reciprocal effects of criticism on their creative production. In my introduction, I distinguish between two generations of post[-] modernism--an earlier one characterized by its adherence to modernist precepts, and a later one which reacts against modernism; I suggest the presence or absence of a hyphen in the term as a way to indicate the respective attitudes toward modernism, but my study is concerned only with writers of the earlier, post-modern era, because it is in them that the contradictions between rhetoric and practice are, at the moment, most apparent. The nature of that practice is demonstrated through readings of selected fiction and non-fiction texts by William H. Gass, John Hawkes, Robert Coover, and Gilbert Sorrentino, and through close consideration of various interviews, and critical responses. By following specific metaphors and ideas as they are transmitted from author to critic--and sometimes from critic to author--I show how this community of readers arrives at an understanding of a writer, and how it may shape that writer's self-understanding as well. The institutionalization of the literary writer has taken place over a relatively long period of time, and many of the behaviors I discuss have precedents in modernism, and roots in the same cultural changes that produced the modern university. For that reason, historical precedents, such as the genealogy of our critical understanding of Henry James and the influence of T.S. Eliot in professionalizing literature and literary criticism, are reviewed, and changes in the publishing industry and in the societal status of the intellectual are also considered. Finally, by re-reading various texts against the developing consensus, and by proposing the work-in-progress as an emblematic form of post-modern fiction, I attempt to demonstrate some of the constraints under which this interdependence places both parties, and I briefly suggest some alternatives to the critical status quo.

For literary theories, modern times have meant the decline of understanding (of hermeneutics) and the triumph of description (of intransigent formalism). For mainly polemical ends — i.e., turning their back on previous historical positivism — structural-formalisms of all kinds proclaimed the literariness of literature and landed it on the firm ground offered by the structure of the work, as a given datum. Early twentieth-century immanentisms discredited only value-judgement, not by directly eliminating it but rather by practically absorbing it in description, which resulted in axiology and formal logic’s merging their objects into each other. More vehement still, post-war formalism brutally disqualified hermeneutics itself and took interest in the How to the detriment of the What.

Any consideration of the issues raised by the conjunction of Law and Semiotics necessarily encounters the fundamental controversies of scholarship in our times, in particular those created by the stylistic and substantive impact of post modernism. These are evident, implicitly and explicitly, at many points in the present volume.

In this paper, it will be argued that the current debate between modernists and postmodernists opens up issues which are rarely if ever considered in the O.R. literature and that a position needs to be taken with regard to a number of choices facing us in a self reflective way rather than merely out of habit. Whilst postmodernism is seen as offering new and innovative approaches to some dilemmas facing social scientists, it may be that we turn our back upon modernism at our peril.

У статті розглядається глобалізація та її вплив на державне управління з точки зору синергетики. Автор аналізує феномен зменшення ролі національних держав під впливом глобалізаційних процесів на основі методології синергетики, теорії управління в умовах невизначеності та багатовекторності. Практика глобалізації останніх років показує, що методи синергетики використовуються конструкторами нового глобального світу для дезорганізації тих соціальних систем, які не відповідають їхнім вимогам. Одним з методологічних аспектів обгрунтування цього процесу є залучення ідей теорії хаосу для обґрунтування постмодерністської філософії. Можна констатувати, що глобалізація, вписуючись у синергетичну парадигму, з одного боку, прагне підсилити тенденцію до стійкості державного управління, оскільки збільшує число загальних цивілізаційних факторів, що піддаються керуванню і контролю. Але, з іншого боку, вона ж призводить до зростання нестійкості державного управління, оскільки ускладнює взаємодію держави з іншими політичними акторами, в першу чергу з бізнесом, робить їх усе більше динамічними і нелінійними.

Cet article propose une lecture critique de trois ouvrages consacres a la dimension sociale de la musique populaire : Music and cultural theory de John Shepherd et Peter Wicke, Mapping the beat: popular music and contemporary theory sous la direction de Thomas Swiss, John Sloop et Andrew Herman et Spectacular vernaculars : hip-hop and the politics of postmodernism de Russel A. Potter. Tandis que le premier privilegie une approche musicologique, les deux autres adoptent une approche culturelle permettant de saisir comment la musique est utilisee dans des contextes quotidiens pour creer des espaces culturels et articuler des formes collectives d'identites culturelles

This review explores the present fashion for aesthetics in contemporary sociology. It evaluates the claims that society is undergoing a deep-seated process of aestheticization, and that sociology is experiencing an aestheticization of its epistemological concerns. The aestheticization literature is divided as follows: (1) the re-reading of classical sociological theory through the aesthetic dimension of modernity; (2) the claim that postmodern society involves an `aestheticization of everyday life'; and (3) those sociological theories which stress that contemporary society is more and more like a work of art in its form. The argument is made that the discovery of aesthetics as a way of problematizing sociological reasoning is to some extent rediscovery, returning to various Kantian precepts: the disinterestedness characteristic of aesthetic experiences; the antinomy between the individual and the social aspects of taste; and the work of art as an organism predicated on an inner teleology.

The debates about the organization of state-articulated modernity, which succeeded 19th-century liberal modernity and underwent a crisis in the 1970s and 1980s, were left without a conclusion. Instead of summing up the post-modernist ideas, this article argues that we are today in the midst of a third stage of modernity, which is characterized by greater evolutionary complexity and mixed articulation. This, together with the growth of other, more fluid and contingent forms of sociability, has recourse to three principles: market, hierarchy (within corporations and the state) and network. The example of contemporary procedural law is drawn upon to illustrate the discussion.

La modernité a eu tendance à nier toute dimension transcendante à la société. Or, comme Durkheim l’avait lui-même affirmé, nous ne sommes pas les auteurs du monde social dans lequel nous vivons. C’est dans cettte perspective que l’auteur propose une réflexion critique sur le caractère transcendantal des objectivations qui sont à la base de la vie sociale et politique. Les modalités, au long de l’histoire, de ces objectivations varient selon les types de sociétés. Autrement dit, chaque société s’est représentée elle-même dans cette transcendance sous des formes sociohistoriques différentes. L’auteur propose une typologie de ces formes, depuis les sociétés primitives jusqu’aux sociétés postmodernes, en concluant à la dissolution de la référence ontologique dans ces dernières. Il examine ensuite les effets de cette dissolution sur l’expérience subjective et collective., Modernity has tended to deny the existence of any transcendent dimension to society. However, as Durkheim noted, we are not the authors of the social world in which we live. It is in this perspective that the author critically discusses the transcendental character of the objectifications underlying social and political life. Throughout history the modalities of these objectifications have varied according to societal type. In other words, each society has represented itself in this transcendence in different socio-historical forms. The author puts forward a typology of these forms, extending from primitive societies to postmodern societies, and notes the dissolution of ontological references in the latter. He then examines the effects of this dissolution on subjective and collective experience., La modernidad ha tenido una tendencia a negar toda dimensión trascendental de la sociedad. Ahora bien, como Durkheim lo había afirmado, no somos los autores del mundo social en el cual vivimos. Es en esa perspectiva que el autor propone una reflexión crítica sobre el carácter trascendental de las objetivaciones que basan la vida social y política. Las modalidades, a lo largo de la historia, de esas objetivaciones varían según los tipos de sociedades. Dicho de otro modo, cada sociedad se representa a ella misma en esta trascendencia bajo formas sociohistóricas diferentes. El autor propone una tipología de esas formas, desde las sociedades primitivas hasta las sociedades posmodernas, concluyendo en la disolución de la referencia ontológica en estas últimas. Luego, el autor examina los efectos de dicha disolución sobre la experiencia subjetiva y colectiva.

Ce travail essaye d'analyser et comparer les fondements theoriques sous-jacents aux conceptions du quotidien d’Henri Lefebvre et de Michel Maffesoli. D'une part, Lefebvre, d'une perspective marxiste, contemple la vie quotidienne comme l'emplacement ou l'alienation sociale se reflete. Dans ce cas, la quotidiennete est l'objet d'une critique valorisante. D'autre part, Maffesoli envisage la vie quotidienne comme source de creativite, comme la resistance a n'importe quel projet totalitaire de domination sociale. Le quotidien, agissant a travers des interstices que laisse le pouvoir, exprime un desir de vie difficilement repressible.

Foucault's concepts of freedom and resistance are examined to determine how they may feed into theorizing the Kantian `question of the present' for postmodern organizational analysis. This paper takes a measure of how reflexivity and creative self-representation materialize change in the ways critique is advanced in organization studies

Le developpement du phenomene de la communication dans la societe contemporaine a apparemment atteint un niveau de generalisation qui permettrait de parler a cet egard de « societe de communication », celle-ci englobant alors jusqu'au developpement des sciences humaines elles-memes. Ici, cependant l'appellation semble designer simplement le caractere phenomenal des manifestations, sans que soit considere comment une comprehension veritablement reflexive parvient a eclairer la logique de ce developpement. Nous proposons de situer cette comprehension dans le cadre des remises en question a caractere onto-epistemologique qui affectent les sciences humaines contemporaines, en montrant d'une part comment celles-ci doivent avant tout parvenir a reconnaitre la dimension ideologique que developpe la communication dans ce contexte, et comment elles parviennent egalement a distinguer leur propre projet theorique de cet horizon ideologique. C'est notamment en situant une possibilite analytique qui puise du cote de la tradition des sciences de la culture (Dilthey, Simmel, Weber), nourri d'apports conceptuels plus recents (Bakhtine, Cassirer, Freitag, etc.) que nous proposons cette relecture phenomenologique du developpement de la societe de communication.

(1986). Modernism, Post Modernism, and Art Education. Art Education: Vol. 39, No. 2, pp. 44-48.

Orpheus the singer was a man who could not wait. He had lost his wife by sleeping with her too soon after she gave birth to a child, or by giving her a forbidden glance too soon during their return from the underworld after his song had liberated her from death. Thus she was turned back into dust before becoming flesh anew whereupon Orpheus invented pedestary which excludes childbirth and is closer to death than is the love for women. Those