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This paper examines the previous theoretical interfaces of Indigenous oral tradition and archaeology in Oceania, specifically in Aotearoa (New Zealand). Historical processes of writing down kōrero, or oral histories, by amateur historians and ethnologists in the late 19th and early 20th centuries, culminated in the romanticised traditions of the early Polynesian society and influenced contemporary archaeological scholarship. In response to criticisms, archaeologists attempted to validate kōrero using Western research methodologies. However, attempts often fell short and processual archaeologists of the mid‐late‐20th century considered oral tradition and archaeology as incapable of cross‐validation. Parallel ethnological scholarship focused on the symbolism in oral histories as indicators of their function in contemporary society or as legitimate forms of recounting actual historical events after critical evaluation. More recent archaeologists use kōrero about the last few centuries like any other historical source. Māori scholars have taken inspiration from previous theoretical arcs to position kōrero in a postmodern space of relative truths or to critically analyse its historical and functional values. The review concludes with how the interface of oral history and archaeology might follow Kaupapa Māori research methodologies and current materialist critiques of dominant settlement pattern theory. [ABSTRACT FROM AUTHOR]

Postmodernisme se epistemologie, wat vir die bevordering van antimetanarratiewe, se kernintelligentsia bekend is, toon duidelike marxistiese vooronderstellings. Akademici het al verskeie pogings aangewend om ‘n verband tussen postmodernisme en marxisme aan te toon. Postmodernisme se bevordering van antimetanarratiewe en die positiewe gesindheid wat teenoor die marxistiese metanarratief in sommige van hierdie denkrigtings sigbaar is, skep ‘n anomalie. Binne die historiese ontwikkeling van marxisme kan elemente van hierdie anomalie beter verstaan word. Die artikel toon aan hoe die mislukkings van kommunisme histories bygedra het tot sommige aspekte wat binne postmodernistiese epistemologie ontwikkel het. Hieruit blyk dit dat hoewel die postmodernistiese epistemologie antimetanarratief ingestel is sommige postmodernistiesgesinde akademici dit as ‘n tegniek gebruik om absolutisties-marxistiese idees te bevorder. Hierby is sosialegeregtigheidsbewegings waaraan sommige Christelike groeperinge deelneem, ingesluit. The historical-theoretical connection between postmodernism and marxist epistemology: A Christian perspective Abstract Postmodernism, known for its epistemology that promotes anti-metanarratives, has a core intelligentsia that shows explicit marxist assumptions. Academics have made various attempts to demonstrate a connection between postmodernism and marxism. The promotion of anti-metanarratives within postmodernism and the positive attitude towards the marxist metanarrative visible in some of these schools of thought create an anomaly. Within the historical development of marxism, elements of this anomaly can be better understood. The article illustrates how the historical failures of communism contributed to certain aspects that developed within postmodernist epistemology. It becomes evident that although postmodernist epistemology is anti-metanarrative in nature, it is used by some postmodernist-inclined academics as a technique to promote absolutist marxist ideas. This includes the social justice movements that some Christian groups participate in. https://doi.org/10.19108/KOERS.89.1.2574

This study aims to comprehensively characterize microhistory as a modern historiographical genre. It examines the key attributes, features, and epistemology of microhistory in relation to conventional historical approaches. By tracing the emergence of microhistory and analyzing sample texts, this research identifies the distinctive elements of microhistorical research. These include a granular focus on marginalized individuals, skepticism toward grand narratives, and a sensory emphasis on material artifacts over abstract facts. The study elucidates how micro-history's postmodern relativism and localized subjectivity contrast with traditional historiography. While acknowledging microhistory's unique focus on overlooked experiences, the analysis cautions against overly presentist and emotive reinterpretations of the past. This study maps the philosophical underpinnings and practices of the microhistory movement, clarifying its significance within modern historiography and its potential impact on historical research methodology. [ABSTRACT FROM AUTHOR]

Cet essai part d’une lecture de l’essai classique « Vers une Musique Informelle », en se concentrant sur le concept d’« informel » qu’Adorno a utilisé pour penser son utopie musicale. Il s’agira de l’élargir à deux lieux que le philosophe n’a pas su souligner ou anticiper. D’une part, l’improvisation (musicale et au-delà) et, d’autre part, à partir des recherches de Christoph Türcke, une réflexion possible sur la configuration du monde du capital après la mort du philosophe de Francfort.

Konsep “teks” dalam paradigma hermeneutika dan postmodernisme oleh filsuf sosial humaniora dimaknai sebagai representasi yang tidak terbatas pada dokumen tertulis, tetapi perilaku, bahasa, simbol, tindakan, norma, artefak, maupun yang berhubungan dengan aspek kekuasaan dan politik yang dapat dilihat sebagai jalinan makna. Namun, arsiparis memaknai arsip sebagai teks dalam medium dan kelembagaan yang mengacu pada teks dalam bentuk fisik yang tersimpan di lembaga informasi. Penelitian ini menggunakan pendekatan deskriptif kualitatif yang dilakukan melalui metode studi pustaka, khususnya yang berkaitan dengan konsep “teks”. Penelitian ini menjelaskan konsep “teks” dalam paradigma hermeneutika dan postmodernisme yang berkaitan dengan arsip sebagai “teks” dan relevansinya dalam bidang kearsipan. Sesuai dengan pandangan postmodernisme, kearsipan juga dipengaruhi oleh konteks sosial, budaya, politik, ekonomi, dan perkembangan teknologi. Pentingnya arsip saat ini bukan hanya dilihat dari tataran praktis, melainkan tataran konseptual yang lebih luas dengan cara pandang yang lebih demokratis. Konsep “teks” dalam paradigma hermeneutika dan postmodernisme dapat menghasilkan ide dan wacana kearsipan yang baru, tidak terbatas pada ranah praktikal, tetapi juga akan memperluas perspektif dalam pengembangan bidang kearsipan itu sendiri.

In the historical-philosophical thematic analysis of the development of tradition as a concept, it has been demonstrated that the loss of traditions reached its peak during Postmodernism. This led to the popularization of creating new traditions. However, these new traditions being formed are superficial, as they only represent symbolism without true depth in the participation of the tradition itself. This has resulted in the symbolism representing the tradition having more meaning than the tradition itself. From a Reformed Christian perspective, primarily presented in this article through the works of H.G. Stoker, tradition is understood as a broader concept. Here, tradition is not limited to a superficial symbolic act without meaning. The broader concept includes insights from Stoker’s works, namely: “continuity”, “discontinuity”, and “responsibility”; the relationship between tradition and progression as well as tradition’s commitment to God’s covenant faithfulness. Tradition is considered as the responsible transmission of a worldview within the philosophical concepts of continuity and discontinuity, accompanied by the symbolic acceptance of the responsibility of the tradition. Christian schools whose traditions are reduced to superficial commodities or symbolism that aligns, for example, with secular schools, must reflect on whether they can truly be considered as Christian schools. Christian schools marketing themselves as tradition-bound schools should therefore have an integrated Christian worldview in all aspects of their teaching and learning. [ABSTRACT FROM AUTHOR]

Copyright of South African Journal of Cultural History is the property of South African Society for Cultural History and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Al-Banjari is the property of Pascasarjana UIN Antasari and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article discusses Don DeLillo's Players as a critique of the media and the extent to which our lives are shaped and influenced by our interaction with the detective and thriller genres. Drawing upon Baudrillard's definition of the hyperreal and Jameson's understanding of postmodernity, I explore the novel's depiction of Lyle and Pammy Wynant's journey as a reaction against the controlling nature of the media, and the couple's experience of the world through the detective and thriller genres. I argue that DeLillo's Players provides penetrating insights into the extent to which our postmodern cultural moment is deadly to the individual. I suggest that the defining features of the novel's characters are their subjection to the anonymizing processes of the media and their sense of dissatisfaction and yearning for escape and adventure. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The postmodernism movement is a new phase in the evolution of this era. Islamic education, particularly in Indonesian schools, confronts a number of challenges due to the postmodernism movement. Various problems experienced can come from internal or external. Therefore, this paper aims to analyze how the concept of Islamic education can be presented in the postmodernism period and how learning in the field of Islamic education faces it as an alternative for the next generation to remain superior humans beings. In this article, literature research is conducted with the description method, with the relevant books serving as sources and research materials, and Milles and Huberman data analysis techniques. In today's postmodernism, Islamic education must provide alternative learning to be in line with the era and always adjust to the progress of the era. Some alternatives in terms of education are applied in Islamic education learning. They are integrative religious education, multicultural education, gender equality-based education, religious moderation, and the role of teachers who are actively enganged in these solutions.

Copyright of Cahiers d'Études Africaines is the property of Editions EHESS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Model Implementasi Kurikulum Ornstein dan Hunkins: (Modernisme dan Postmodernisme). Implementasi kurikulum adalah realisasi terhadap perencanaan kurikulum yang telah dibuat sebelumnya. Dalam melaksanakan kurikulum, segala macam ide harus dikonseptualisasikan dan diarahkan. Dalam menentukan arah penerapannya, kurikulum memerlukan model-model yang nantinya dapat dijadikan acuan, pedoman atau arahan bagi pergerakan kurikulum ke depan. Allan C. Ornstein dan Francis P. Hunkins dalam bukunya “Curriculum: Foundation, Princiles, and Issues”, edisi ke-7, memaparkan model-model penerapan kurikulum, yang dibagi menjadi dua kategori model, yaitu model yang beraliran modernis dan model beraliran postmodernis. Dalam artikel ini, peneliti akan melihat sejauh mana perbedaan antara kedua jenis kategori model tersebut, dan apa implikasinya bagi implementasi kurikulum di Indonesia. Penulis menggunakan metode studi literatur pada artkel ini, yakni tentang model-model implementasi kurikulum modernisme dan juga postmodernisme. Temuan dalam penelitian ini yaitu terdapat perbedaan di antara model model-model implementasi kurikulum tersebut (aliran modernisme dan aliran postmodernisme), dan juga model-model implemntasi kurikulum tersebut memberikan pengaruh terhadap perjalanan kurikulum di Indonesia. Kata kunci: Model Implementasi Kurikulum Ornstein-Hunkins, Modernisme, Postmodernisme Ornstein and Hunkins Curriculum Implementation Model: (Modernism and Postmodernism). Curriculum implementation is the implementation of the curriculum that has been planned. In implementing the curriculum, all kinds of ideas must be conceptualized and directed. In determining the direction of its application, the curriculum requires models that can later be used as references, guidelines or directions for future curriculum movements. Allan C. Ornstein and Francis P. Hunkins in their book "Curriculum: Foundation, Princiles, and Issues", 7th edition, describe curriculum implementation models, which are divided into two categories of models, namely modernist models and postmodernist models. . In this article, the researcher will look at the extent of the differences between the two types of model categories, and what the implications are for curriculum implementation in Indonesia. The writer used literature study method in this article about models of curriculum implementation of modernism and postmodernism. The findings in this study are that there are differences between the models of curriculum implementation (modernism and postmodernism), and also that these curriculum implementation models give an influence on the course of the curriculum in Indonesia.

Sammendrag Stein Mehren holdt avstand til den politiske så vel som til den (post)modernistiske orienteringen i norsk litteratur rundt 1970. Artikkelen fokuserer på (re)konstruksjon av selvet og identiteten som tema i diktboken Corona på bakgrunn av Mehrens reevaluering av den kristne mystiske tradisjonen og av tidlige kvinnelige dannelsesromaner, liksom av hans kritiske diskusjon av postmoderne tenkning i essayet Det forseglede budskap (1992). Mens postmodernismen oppfattes som overdrevet rasjonalistisk, finner Mehren hos opplysningstidens kvinnelige forfattere og hos mystikere et sensuelt så vel som metafysisk kreativt språk. Til tross for at Mehren i essayet – ikke uten ambivalens – argumenterer mot (post)modernistenes tomme transcendens, viser nærlesningene av dikt fra Corona vise hvordan et autonomt subjekt er fundert, ikke på språklig fiksert mening, men på en «formørkelse» av ordenes hverdagslige betydning. Denne insistering på den poetisk kreative, i motsetning til den deskriptive, språkfunksjonen åpner for en forsoning mellom den litterære tradisjonen og dekonstruksjonen av denne tradisjonen.

Hensikten med denne artikkelen er fra et arkivvitenskapelig ståsted å kommentere spørsmål om hvordan forholdet i dag er mellom historievitenskapen og arkivvitenskapen. Bakgrunnen ligger særlig i de markante endringene som har skjedd i forståelsen av og rammene for arkiv og arkivvitenskap gjennom siste del av forrige århundre og frem til i dag. Generelt kan en si at historievitenskapen har fjernet seg fra arkivvitenskapen, mens det parallelt har pågått en tilnærming mellom samfunnsvitenskapene mer allment og arkiv og arkivvitenskap. Når det som lenge i norsk sammenheng var «arkivfag», i dag omtales som arkivvitenskap, er noe av bakgrunnen nettopp de store endringene på feltet i de siste tiårene. Begrepet «arkivvitenskap» har lengre tradisjoner i andre land og på andre språk enn i Norge. Science-forståelsen må imidlertid også sies å ha bredt om seg og blitt alminneliggjort også i disse andre landene fra siste del av forrige århundre. Det er tale om en i faglig sammenheng bred trend som springer ut av fundamentale og dyptgripende endringer både teknologisk og i vitenskapen. Sentrale elementer er den økte distansen mellom arkiv- og historieforskningen kombinert med andre vitenskapers økte interesse for arkiv som fenomen, oppbruddet fra positivismen og det postmoderne gjennomslag, digitalisering og internasjonalisering. I norsk og internasjonal sammenheng er det også tale om et arkivvitenskapelig paradigmeskifte.

L’article présente quelques-unes parmi les principales thèses de Hayden White sur la relation entre histoire et fiction. L’on commencera par aborder l’œuvre de White en examinant les critiques menées à son encontre par de proéminents historiens (Momigliano, Ginzburg, Chartier, Iggers) l’accusant en particulier de promouvoir un relativisme radical ou encore d’être postmoderne. À partir des réponses apportées par White à ces critiques, l’article se concentre sur l’analyse de trois aspects de la pensée de White: 1) les caractéristiques saillantes de son relativisme, 2) la nature de la relation qu’elle établit entre histoire et littérature et 3) la dimension éthique qu’elle confère au discours historique.

Iver Neumann har vært en produktiv samfunnsforsker i en mannsalder. Han har vært godt synlig i fagmiljøet for internasjonal politikk og utenrikspolitikk og hatt stor innflytelse både internasjonalt og i eget institutt. Men har ikke blitt profet i eget land. Hovedstrømmen i Norges nasjonale fagmiljø har vært distansert. Denne distansen vil her bli tolket som liten interesse for de tre tradisjonene som har vært metodologiske ankerfester i Neumanns arbeider: Den engelske skole, den tyske maktkritikken og (særlig) den franske postmodernismen. Denne artikkelen fremholder at disse tre tradisjonene utgjør rimelig faste fortøyningspunkt hos Neumann. Artikkelen antyder i tillegg at norske politikkstudier har uttrykt en manglende nysgjerrighet overfor – om ikke en aktiv skepsis til – disse kontinentale tradisjonene og til politisk teori mer generelt. Denne korte artikkelen ønsker å gi et lite glimt av noen av de perspektivene som ligger utenfor den norske, angloamerikanske, metodologiske mainstream.

Iver Neumann begynte sin akademiske karriere som Russland-forsker, og selv om han senere har utvidet sitt repertoar av studieområder kraftig har han hele tiden beholdt også en interesse for Russland, både landets historie og dets aktuelle politikk. Han tok med seg sin brede teoretiske skolering inn i russlandstudiet, og tilførte dermed norsk russlandforskning viktige nye perspektiver. Særlig verdifulle er hans identitetsstudier, basert på blant annet Fredrik Barths nyansatser i antropologien. Samtidig som Neumann er en svært meritert og sitert forsker har han aldri nøyd seg med å bidra til den rene vitenskapen, han har også kastet seg ut i samfunnsdebatten generelt og utenriksdebatten spesielt. Her har han ofte viklet seg inn i mange ikke alltid like fruktbare polemikker der han har forfektet postmodernistiske posisjoner. I hans kommentarer til dagsaktuell politikk i både Russland og Norge adskiller analysen seg likevel ofte ikke i særlig grad fra gjengse «realistiske» perspektiver. Både som forsker og mediekommentator utmerker Neumann seg med et meget bevisst forhold til språket. Han spiller på hele registeret av stilistiske nyanser, både på norsk og engelsk, noe som gjør hans tekster til en fryd å lese. Hans vilje og evne til å spissformulere seg i intervjuer og korte avisartikler kan imidlertid til tider gjøre hans uttalelser i overkant bombastiske.

The texts of Leslie Kaplan question the irreducible opposition between the real and the non-real. Her characters and their intentional absence confuse the repository and fictional worlds, not only to point out the thin margin between reality and fiction, but to underline the impossible delimitation between the real and the fictional, or even between the text and the world. This article studies the characters of Kaplan and aims to demonstrate their identity crisis through the study of their literary onomastic and the use of the neutral pronoun 'it' and allegoric expressions. In addition, the objective of this article is to shed light on the Kaplanian characters as Kunderian models, while stressing the particularity of their physionomy, which consists to present 'fuzzy' characters that are present and absent at the same time, engaging the reader in the fictional process as a try to complete the missing details. This article concludes that the Kaplanian characters are not only the prototypes of the postmodern being, but they are also introverted, psychopaths and a demonstration of different facets of the unconscious. [ABSTRACT FROM AUTHOR]

This article attempts to look at the nature of the relationship between the triad: globalization, capitalism, and postmodernism. The three concepts, being the buzz components of the current socio-economic scene, are useful ingredients for a literary study. The article takes as a case study Don DeLillo's postmodern novel Cosmopolis (2003) which is seen as a successful representation of the new millennium transformations and the effects of an ever-increasing worldwide interdependence, both on personal as well as societal levels. [ABSTRACT FROM AUTHOR]

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Copyright of ESSACHESS is the property of ESSACHESS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Le présent article porte sur le syncrétisme générique dans les romans de Christopher Gérard, écrivain belge francophone (né en 1962). Aux Armes de Bruxelles (2009) s’apparente au guide littéraire, touristique et gastronomique et au récit de la quête de la mystérieuse Louise ; Porte Louise (2010) est un mélange d’un roman d’espionnage et d’un récit de voyage ; enfin Vogelsang ou la mélancolie du vampire (2012) constitue la synthèse du fantastique, du roman policier, du roman d’amour et du conte philosophique. Nous analysons l’aspect transgénérique des textes, ainsi que divers fonctions et enjeux de cette pratique scripturale de l’auteur, fasciné par l’hybridation postmoderne. L’étude démontre qu’en mélangeant différents genres et en sabotant leurs protocoles, l’écrivain fait du neuf avec du vieux et cherche ainsi à reconfigurer l’esthétique du roman et à le renouveler. Il détruit aussi la composante émotive des genres paralittéraires et, ce faisant, dépassionne efficacement l’aventure pour focaliser l’attention du lecteur sur le thème qui lui est particulièrement cher : Bruxelles, sa ville bien-aimée.

I denne artikkelen undersøker forfatteren tidligere studenters opplevelser ved fire samtidsdansrettede linjer innen høyere utdanning i Norge. Forfatteren gjør en tematisk narrativ analyse av opplevelsene, og diskuterer disse diskurskritisk. Som analytiske linser brukes hovedsakelig forskjellene mellom et moderne og postmoderne estetisk og pedagogisk paradigme samt kroppslig læring som dybdelæring. Forfatteren argumenter for at den dansepedagogiske bevisstheten og artikulasjonen om egen undervisning ved norske danseutdanninger i moderne/ samtidsdans i samtiden, trenger å være høy. Dette er fordi utdanningene arbeider med opplevende og formbare subjekter som skal utvikle kunstnerskap og/eller dansepedagogskap i en utdanning som fungerer som dybdelæring gjennom kroppslig læring.

Salah satu cerpen karya Ahmad Tohari adalah Rumah yang Terang, dalam kumpulan cerpen Senyum Karyamin (2013). Cerpen tersebut merekam peristiwa masuknya listrik ke suatu desa. Seperti dinarasikan di dalam cerpen tersebut, keberadaan listrik berdampak secara signifkan terhadap masyarakat baik secara positif maupun negatif. Segi positif menghadirkan perubahan secara fsik dengan keberadaan lampu dan fasilitas lainnya untuk menunjang kehidupan masyarakat. Di sisi lain, segi positif tersebut berdampak negatif yaitu “matinya” budaya dan sisi-sisi kemanusiaan dengan hadirnya teknologi yang berdampak pada perubahan perspektif dan menjadikan mereka sebagai pasar untuk kapitalisme lanjut dengan keberadaan teknologi dan informasi. Rumusan masalah tulisan ini mengenai persoalan-persoalan yang hadir dalam masyarakat berkaitan dengan keberadaan teknologi dan informasi setelah hadirnya listrik yang memungkinkan masyarakat mengalami ketergantungan dan perubahan pola pikir karena interaksi dengan dunia luar. Metode penulisan ini dengan menunjukkan bentuk-bentuk inhumanisme masyarakat dalam cerpen tersebut. Teori yang digunakan adalah teori postmodernisme Jean Francois Lyotard sebagaimana dijelaskan oleh Struart Sim mengenai kondisi Nirmanusia. Hasil dari pembahasan ini adalah Inhumaisme dalam masyarakat desa yang diakibatkan oleh hadirnya listrik sebagai pondasi awal hadirnya teknologi dalam bentuk hilangnya kebiasaan-kebiasaan kultural bagi masyarakat setempat, baik dalam hal kebiasaan merespons alam atau konflik-konflik baru pasca hadirnya listrik dalam masyarakat. Hal itu terjadi karena hadirnya artifcial life, menggantikan peran alam yang selama ini menjadi bagian kehidupan masyarakat seperti keberadaan rembulan. Akses informasi yang diperoleh oleh masyarakat setelah mengenal teknologi yang menghadirkan nilai-nilai baru dan berbeda dengan nilai-nilai yang mereka miliki sebelumnya sebagai masyarakat komunal.

The focus of this chapter draws from my book Haunting History to articulate a deconstructive approach to the past as something that haunts the present, like a ghost. In so doing, I address the current state of the theory of history and the persistence of ontological realism as the dominant mode of thought for conventional historians. I instead advocate a hauntological approach to history that follows the work of Jacques Derrida and embraces a past that is at once present and absent, available and restricted, polysemic and multiple, rather than a fixed and static snapshot of a moment in time. [ABSTRACT FROM AUTHOR]

Copyright of Thélème is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ved havet (“At the Seaside”, 1978) by the Danish author Peter Seeberg (1925- 99) is a complex novel that portrays approximately 40 people on a day at the beach of Rømø Island. It has often either been construed as a biblically inspired narrative or expounded in the light of a Nietzschean amor fati (love of faith). As an alternative, I suggest an interpretation grounded on a conception of the beach as a particular and privileged space, eternal yet open and liable to change, which allows a plurality of voices and views to coexist peacefully in what I call a horizontal open-mindedness. I argue that the novel grapples with a classic modernistic idea about existence—and in particular a symbolistic idea about transcendence—but that it does it in a new, more sensorial and inclusive way. By comparing the novel to, among other things, an unpublished essay on “the meaning of life on Lakolk Beach,” I propose a reading that points towards a new postmodern “realism” in the writings of Seeberg and perhaps in Danish literature on the whole. [ABSTRACT FROM AUTHOR]

Van Wyk Louw's poetry is characterised by relativisation in the conventional sense of qualifying the referent as relative rather than absolute. This implies that a person or other entity is compared to an implicit norm or standard, but one that is not fully met. The use of the adjective klein ("small") serves as an example. Klein can, for instance, describe its referent as not meeting the norm of average size or extent in its particular class. This paper strives not only to identify types and instances of relativisation in Louw's poetry but, in some cases, also to offer suggestions as to what his poetic intentions are. Three types of language-based relativisation are identified in Louw's poetic oeuvre. The use of lexical items such as klein may be described as lexical relativisation. The word klein as such forms part of a semantic field that includes more specific qualifications, such as smal ("narrow"), a description of shape, and min ("few, little"), a measure of quantity. The field also extends to adjectives such as kaal ("bare") and naak ("naked"), and even to nouns such as kind ("child"), which is, after all, a small human being, and kleintjie ("kid", literally "small person or thing") bearing the same meaning. While commonly indicating smallness, the diminutive suffix can also express endearment. A few examples will shed more light on lexical relativisation in Louw's poetry. In the poem "Die beiteltjie" (p. 186)1 the beitel ("chisel") is relativised at the outset as a klein klein beiteltjie ("a small small chisel", with diminutive suffix) to support a contrast of cosmic proportions, as the chisel in the end is instrumental in splitting the entire planet in half. In the epic poem "Raka", diminutives and the word klein hint at the defencelessness of a human settlement and its women and children, and even the animals of the forest, the vissies ("little fish") and jakkalsies ("little jackals"), against the threatening figure of Raka in the background. The kleintjies ("little ones") with their bruin ogies ("little brown eyes") (p. 101) are portrayed as innocently at play in the vicinity of the settlement, but the klein kraal ("small enclosed village") (p. 117) will be left defenceless after the demise of their leader, Koki. Religious overtones are noticeable in the appreciation expressed for small, whitewashed Romanesque kerkies ("little churches") (p. 235), in contrast with a wilde kerk ("wild church") (p. 263), a Gothic cathedral that frightens the poet when the train rushes past it in the night. A second kind of relativisation may be referred to as modal, as Louw often employs modal adverbs or particles to express the contingency of the object described or the uncertainty he experiences in connection with certain issues. These include words such as miskien and dalk, which express mere possibility ("perhaps"); mos, a downtoner in the exchange of information, used by a speaker to allow for the possibility that his/her interlocutor also has some knowledge of the matter; maar, indicating mild dissatisfaction with something or some state of affairs; and the evidential glo, which abounds in the volume Tristia, in particular. The line "Die wêreld is maar soos hy is" ("the world is just the way it is"), from Louw's "Klipwerk" collection (p. 216), for instance, expresses the speaker's resignation to the fact that man is unable to exercise control over the world or life in general or, in this case, a person's ability to curb his own desires. When someone obviates the customary way of performing certain actions by following an unconventional route or short cut, this is often rationalised by the use of sommer (or sommer maar). Thus the young Ottaviano (p. 262) manages to buy artworks "sommer sonder geld" ("without bothering to pay"), and a vagrant sleeps at night "sommer in 'n sloot" ("in any old ditch") (p. 31). Mos ("as everybody knows") is used ironically in "Satang se kinders, diés mos wonderlik geseën" ("Satan's children are of course marvellously blessed") (p .204). As a modal particle, glo has the general sense of "presumably", but also, in its specialised function as an evidential, "allegedly" or "it is said that", by which a speaker indicates that he/she doesn't have first-hand information about a certain matter. The particle glo not only derives from the verb glo "to believe" but is still semantically related to it in that both the verb and the particle suggest entertaining a certain opinion about an issue, but without there being full certainty about it. In his "Ars poetica" (p. 251), Louw expresses the opinion that poetry cannot be made from literature that has already assumed its final form, therefore, in the image he uses, not from the hexagonal cell of the honeycomb, but perhaps from the honey itself: "uit heuning self glo nog" ("from honey itself (it is) perhaps still (possible)"). Light is shed on the possible meaning of the particle by a comment made by Louw himself (quoted in Steyn 1998:1030), in which he explicitly confirms the train of thought in the poem. In this case, however, he employs the verb glo ("to believe"): "Ek glo nog altyd dat ... ("I still believe that ..."), which suggests that when using the particle glo in poetic contexts he may be marking - and thereby relativising - an utterance as the expression of a personal belief or unformed idea rather than an established theoretical concept. Van Wyk Louw also relativises certainty in what might have been declarative sentences by casting them in the form of questions - not only rhetorical ones but also genuine questions. This use of questions may be termed illocutionary relativisation. In "Ballade van die bose" ("Ballad of the evil one") (p. 132) the Classical adage "Know yourself" is for instance cast in the form of a challenging question: "Het jy die spieël gesien / en ken jy jou?" ("Have you seen the mirror, and do you know yourself?"). The use of jou - which can be a reflexive as well as a personal pronoun - instead of the explicitly reflexive jouself, heightens the impact of the question by implying the need for an objective look at oneself. The role and value of human culture is brought home to the hearer/reader in Raka (p. 105) by a set of rhetorical questions, such as "Ken Raka ... ons fyn fyn net / van die woord ...?" ("Does Raka know our finely meshed net of the word?") and "Ken hy die vuurgeheim?" ("Does he know the secret of fire?"). And finally there are also questions about questions. The poet shows his dismay at the fact that no one seems to care about the desperate condition in which the country finds itself, by posing a kind of metaquestion: Is there a "gedoemde waarheid" ("doomed truth") in the air "wat niemand vra?" ("which no one asks?") (p. 168). Does the absence of questioning indicate that nobody cares about the truth any more? In sum, relativisation enables Louw not only to construct impressive contrasts, but also to characterise and ironise persons, situations and schools of thought, and to apply correctives and introduce new perspectives in a wide range of areas. [ABSTRACT FROM AUTHOR]

By addressing the question of literary canon trough its dual constitutive and representative function with regard to national identity, the author questions the conceptual opposition on which the relations between postmodernism and canon are founded in Serbian and Bulgarian literatures. In both those cultures postmodern thought and poetics contribute to challenge the traditional understanding of canon and history of literature. Serbian authors are criticised for being more interested in dialogue with foreign literatures and thus turning away from the national specificities which were, till then, usually put forward by literary criticism. The Bulgarian writers, on the contrary, gladly look back at the texts of the first Bulgarian classics but they do so by rewriting them in a parodic way in order to reveal the literary structure of the national myths. However, despite the apparent incompatibility between postmodernism and literary canon, their encounter during the last decades of the twentieth century played a key role in moving towards a new concept of history of literature which relies more than ever on the principles of polyphony and dialogism. [ABSTRACT FROM AUTHOR]

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Three previous articles in this journal reviewed the history of philosophy at Potchefstroom from the beginning of the previous century up to about 2009. In this and the next contribution the writer, acting again as a fly on the wall, provides a peephole on the current situation at the end of 2017. As the subtitle suggests, it seems that Christian philosophy at Potchefstroom has arrived at the cross-roads. Different reasons, like the on-going secularisation of the North West University have contributed to the situation. A cause for differences within the School of Philosophy may also be that lecturers from outside the tradition of a Reformational approach are critical about the traditional Christian philosophical approach of more than a century. Since his viewpoint is one clear example of such an alternative approach the academic training, publications and viewpoint of Prof. Anné H. Verhoef will investigated in detail in a last (fifth) contribution. The present article about the main contours of a Reformational approach in philosophy serves as a necessary background from which the philosophical theology of Verhoef will be analysed and evaluated in the conclusion of this series. SAMEVATTING In drie vorige artikels in hierdie tydskrif is die geskiedenis van filosofie op Potchefstroom vanaf die begin van die vorige eeu tot ongeveer 2009 behandel. In hierdie en die volgende bydrae bied die skrywer, weer ʼn vlieg teen die muur, ʼn volgende kyk op die huidige situasie teen die einde van 2017. Soos die subtitel van die huidige artikel aandui, wil dit voorkom asof die Potchefstroomse Christelike filosofie tans voor ʼn tweesprong te staan gekom het. Verskillende redes kan daarvoor aangevoer word, soos die voortgaande sekularisering van die Noord-Wes Universiteit (NWU). ʼn Oorsaak vir die verskille binne die Skool vir Filosofie, kan moontlik ook daarin gesoek word dat dosente van buite die tradisionele Christelik-Reformatoriese tradisie bygekom het en die denkgemeenskap van meer as ʼn eeu nie deel nie. As een voorbeeld van so ʼn alternatiewe visie sal die akademiese agtergrond, publikasies en standpunt van prof. A.H. Verhoef in ʼn laaste (vyfde) bydrae in besonderhede nagegaan word. Die huidige artikel oor die hoofkontoere van ʼn Reformatoriese wysbegeerte dien as agtergrond waarteen die filosofiese teologie van Verhoef in die slotartikel analiseer en evalueer sal word. https://doi.org/10.19108/KOERS.84.1.2454

The characters in Brian Evenson’s short story “Any Corpse” wander a decaying world: bits and pieces of corpses are rotting in an inhospitable landscape solely consisting of barren fields. As survivors of a disaster that is never explained, they set to no avail on a quest for knowledge ending in blinding scenes of violence and murder. The use of abundant details in the short story leads to profuse close-ups of a putrefying world, while provoking a linguistic and sensory proliferation that triggers a reaction from the reader. He /she then experiences an act of reading marked by profusion. [ABSTRACT FROM AUTHOR]

Copyright of Internasjonal Politikk is the property of Cappelen Damm Akademisk and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Internasjonal Politikk is the property of Cappelen Damm Akademisk and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Three previous articles in this journal reviewed the history of philosophy at Potchefstroom from the beginning of the previous century up to about 2009. In this and the next contribution the writer, acting again as a fly on the wall, provides a peephole on the current situation at the end of 2017. As the subtitle suggests, it seems that Christian philosophy at Potchefstroom has arrived at the cross-roads. Different reasons, like the on-going secularisation of the North-West University have contributed to the situation. A cause for differences within the School of Philosophy may also be that lecturers from outside the tradition of a Reformational approach are critical about the traditional Christian philosophical approach of more than a century. Since his viewpoint is one clear example of such an alternative approach the academic training, publications and viewpoint of Prof Anné H. Verhoef will be investigated in detail in a last (fifth) contribution. The present article about the main contours of a Reformational approach in philosophy serves as a necessary background from which the philosophical theology of Verhoef will be analysed and evaluated in the conclusion of this series. [ABSTRACT FROM AUTHOR]

Copyright of Issues in Ethnology Anthropology is the property of Issues in Ethnology Anthropology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article discusses the idea of policy coherence for development, and its relation to the experience of development along the Grij alva River in the state of Chiapas, Mexico. Through an analysis of diff erent understandings of the garbage in the river, and of the attempts to deal with the garbage, I highlight tensions between diff erent generations of policies, between diff erent levels of government, and between implementing the goals of governmental representatives and a meaningful participation by citizens. To understand these tensions, the article draws attention to the coexistence of experience-based rationalities, which are important to take into account when formulating policies, and when moving from policies to concrete projects. [ABSTRACT FROM AUTHOR]

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Gone Girl is a film produced in 2014 and is an adaptation of a best-selling novel by Gillian Flynn. Gone Girl can be divided into three parts. The interesting point in this movie is the gender focus of Gillian Flynn’s way in depicting Amy. According to her, this is an attempt to show that woman can have a criminal mind as a man. However, the depiction of woman in patriarch charasteristic is still can be found in the movie. This research is to find out how the movie Gone Girl failed to create a new woman character.This study uses the postmodernism theory to explain. Result of this study indicates that the figure of Amy Dunne is described as a heroine with typical utopia and as a villain Amy can not be separated from the feminines roles of patriarch. Among others: weak, emotional human being, depending and using her body as a weapon.