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Poet, editor, and critic Kathleen Fraser underscored the significance of Charles Olson’s seminal manifesto ‘Projective Verse’, emphasising the vital role the text played in expanding the methodological possibilities of Avant Garde writing by women in the 1970s to the present day. I ask why Fraser, who maintained great concern surrounding the neglect of the female writers who pioneered the modernist tradition, and editorially and pedagogically resisted the continued marginality of innovative women writers in her contemporary, might controversially position ‘Projective Verse’ as an ‘immense, permission giving’ moment. Gesturing toward the importance of Fraser’s HOW(ever) and How2 journals, I make a case for the continued significance of Olson’s projective poetics in relation to feminist poetic practice in North America and across the Atlantic in the United Kingdom. [ABSTRACT FROM AUTHOR]

This article analyzes the symbolic construction of queer identities in Sarah Waters' Neo-Victorian Trilogy using content analysis and film semiotics. It explores postmodern narrative techniques and the symbolism of femininity, focusing on themes of desire, identity, and redemption. The highlight of this article is how Waters' works enrich the narrative and challenge traditional representations, offering new perspectives on gender and sexuality in visual culture, and provide a framework for symbolic of queer film, contributed three themes: sex, salvation and desire. Furthermore, the finding also indicates that the shift of queer films to OTT platforms has diversified queer imagery, encouraging more creators to engage in queer film production and fostering a pluralistic understanding and support for the LGBTQ+ community. [ABSTRACT FROM AUTHOR]

As human life progresses with the development of advanced civilisation, people's perceptions of various things tend to often change. One of them is the notion of exclusivism. Postmodernists say that truth is subjective, that is, it is based on oneself. Truth is determined by the individual, which is one's personal human right. Similarly, relativists say that truth, including Christian faith, is also relative. If it is relative, it means that the word of God is no longer the absolute truth, that Jesus is not the only Saviour because there are other ways to be saved. This thinking is contrary to the Holy Bible, which declares that God is the absolute truth. One of the negative effects of the many changes that are taking place is, for example, the attack or rejection of the truth of God's Word. Even the servants of God today are less selective in accepting changes. Based on this, the purpose of this research is to see how the perception of churches in the postmodern era is changing towards exclusivism the understanding of religious pluralism. The religious pluralism model promotes the belief that there is indeed virtue in all religions, just as all religions are good and are of relatively equal value. The research approach adopted a descriptive quantitative methodology. The scale used for measurement a Likert scale. The questionnaire was distributed through a link on google forms to communities in some areas around Jakarta, Bogor, Depok, and Tangerang. The amount of data obtained was from 187 respondents of Protestant churches comprising 51% males and 49% females. The results of the research demonstrate that the general understanding of religious pluralism in Protestant Christianity is still at a very low level. The reasons are 1) Church sermons that do not mention ideas such as pluralism, 2) The church is more focused on soul winning, 3) The church is complacent in the routine of its worship, 4) The church lacks information about religious pluralism, 5) The church lacks servants of God who are knowledgeable about emerging theology, 6) Churches are competing for the souls of other churches. [ABSTRACT FROM AUTHOR]

Human life has been fundamentally changed by the appearance and extended use of the internet. Culture and society have also undergone a significant transformation caused by the emergence and formation of a third form of human existence, the so-called web-life. In the process, philosophy is also being transformed. This paper provides an analysis of some fundamental philosophical methodologies with a special emphasis on their cognitive and communication components. Based on these considerations, a so-called post-philosophical perspective for philosophical praxis is proposed as a reasonable philosophical reaction to the hard difficulties of posttruth problems. [ABSTRACT FROM AUTHOR]

This article examines how the autofictional works of Latin American writer Mario Vargas Llosa and Tamil writer Charu Nivedita employ similar strategies. This article provides the opportunity for readers to discuss how autobiography, autofiction, and life writing might evolve in the future. In addition, it seeks to discover the theoretical implications in the life narratives of the chosen writers' works. This article investigates the ongoing evolution of life-writing studies and their potential impact on a wide range of fields of study. These two authors share numerous similarities, most notably a meta-modernist storytelling style. Through autofiction, they question the nature of reality and construct an alternate universe. To create a narrative, one must demonstrate empathy and connection, as well as address the interrelationships between different ways of thinking and being. This article attempts to provide an overview of autofiction and examines how Mario Vargas Llosa and Charu Nivedita use it in their novels. [ABSTRACT FROM AUTHOR]

This research examines the postmodern novels "Please Close the Door" by Javad Mojabi, a current Iranian writer who incorporates postmodern elements in unconventional circumstances, and “City of Glass" by Paul Auster. The analysis of current American writers, who write within the cultural and social backdrop of the "postmodern situation", has been conducted in a comparative manner. Given the extensive prevalence of the post-modern theme in the Western world, it is anticipated that Auster’s works will exhibit more intellectual deconstructions. Despite the presence of numerous incoherent narratives in his novel, he is expected to effectively demonstrate the post-modern qualities. Nevertheless, Mojabi is endeavoring to incorporate postmodernist elements into his works. Any shortcomings that may arise are primarily due to the novelty of postmodern concepts in Iran and the limited academic training available in this field. IntroductionComparative theories gain dynamism by incorporating other theories. We might classify this type of comparative research as interdisciplinary. Postmodern critique ideas have been employed, along with the shared characteristics mentioned in this article. Overall, we can assert that all postmodern storytellers approach the text with a fundamental purpose, utilizing three mechanisms: 1. Conveying the theory in the text through the construction of the theorist's narrative. 2. Implementation of theoretical concepts at the text's individual level 3. Unlike the other two instances and the climax, the fundamental framework of the story, a primary characteristic of postmodern storytelling, operates on a more subconscious and internal level through the utilization of theory. This artwork belongs to the postmodern art movement. It is important to acknowledge that the presence of deconstructive elements in a novel may cause discomfort and boredom for readers who are unfamiliar with this style of postmodern writing and are unable to recognize such works. Despite the numerous uncertainties, particularly towards the conclusion, it will meander.Literature ReviewIn the realm of comparative reading with regards to postmodernist elements, except for a handful of restricted instances, no other examples were discovered. In their article "Comparative reading of the components of post-modernism in the novels Posti and Frankenstein in Baghdad" (1395), Dr. Ali Afzali and Nastern Gandami analyzed the works of Iraqi novelists Mohammad Reza Katb (1345) and Ahmad Saadawi (1973) to examine the post-modern elements present in their novels. Given the novelty of this approach for the authors in question, they were unable to find any existing research on this topic. Therefore, the present research focuses on a specialized and unique analysis, comparing Javad Mojabi's post-modern works with the analysis of post-modern novels. Paul Auster has a unique background that combines academic research and practical criticism.MethodologyFrom the perspective of one of the literary criticism schools, the literary critic evaluates each book according to its capacity, as not all writings are suitable for examination from a specific critical perspective. Javad Mojabi, born in 1318, is a writer whose writings can be analyzed and pondered from a post-modern perspective. In the novel "Please Close the Door," the author employs postmodern elements in contexts that extend beyond the specific circumstances of its creation. One aspect to consider is the comparison between his works and those of Paul Auster (born in 1947), who is known for having a devoted fan base in both America and Europe, as described by Patricia Merivale. It can provide significant assistance in gaining a deeper understanding of his writings. Paul Auster’s work was influenced by the cultural and social circumstances of the "postmodern situation." This analysis will compare the two works in order to discover common postmodern features, significant elements, and distinctions, assuming that there are discernible variations in the writers' usage of postmodern elements. It is important to examine the parallels in the implementation of post-modern ideals. Given the widespread popularity of the post-modern theme in the Western world, we anticipate more sophisticated deconstructions in Paul Auster’s works. Despite the presence of numerous incoherent narratives in her novel, she is predicted to effectively showcase its post-modern features. Nevertheless, Mojabi is endeavoring to include postmodernist themes in his books. The novelty of postmodernist concepts in Iran and the lack of formal academic training in this field may account for any shortcomings. The context is.Discussion and ConclusionA comparative analysis of these two books revealed findings that did not align with the basic idea. While both novels employ text fusion in different ways, it is clear that both authors employ direct references or allusions to myths, creating collages by incorporating other people's writings and fabricating histories. By blending elements of fiction and reality and incorporating diverse literary styles from various time periods, the imagery in "Please Close the Door" has generated a sense of astonishment. However, it is important to note that this approach often involves the fabrication of historical events, which occurs more frequently in this work than in Esther's novel. Esther frequently demonstrates a refined artistic skill by creating collages that incorporate other people's writings. Mojabi's novel is characterized by the fusion of storytelling and narrative discourse. That is, narratives using unique construction methods and unexpected descriptions enhance the creative and literary merit of the work. The appearances in Esther's novel are both less aesthetically pleasing and less frequent. The simultaneous and intertwined presence of several character voices has resulted in a polyphonic narrative in both novels. Furthermore, both works lack a central principle to provide overall organization. Predictability characterizes the storyline and structure, often disrupting the logical sequence of events and narratives. Clarity is enhanced in Mojabi's novel. The phrase "Please close the door" consists of nested sub-narratives, but Esther's work exhibits a coherent structure. The presence of numerous deceptive and contrived conclusions in both novels has created opportunities for diverse reader interpretations.

The article examines the issue of the staged status of contemporary society based on the materials of urban studies of Kazan. An overview of philosophical and sociological approaches to the issue of modernity, postmodernity and after-postmodernity is given. Non-classical museumification, megalopolisation, gentrification, architecture of reuse and third places, aestheticisation, digitalisation have been highlighted as postmodern trends in urbanism. The sharing economy, the introduction of elements of a smart city and a smart nation are returning the communal mentality of traditional society in the conditions of a contemporary city, which allows us to talk about theories of the new Middle Ages. The creative industry of ethnotourism gives rise to fakelorization (mispresentation of authentic cultural heritage), as a counterbalance to which the strategies of archaeoavant-garde (including traditional elements into the contemporary urban environment) are discussed. An analysis of the urban planning of Kazan showed the importance of spiritual, intangible aspects, which are characteristic of the postmodern “society of impressions”. A conclusion have been made about the preservation of the innovationist material basis, which characterises the economic structure of modern society. Postmodern trends are of cultural nature and are expressed in the branding and rebranding of cities, in the formation of creative industries, in the interest towards the issues of intangible cultural heritage and the corresponding concept of UNESCO.

Introduction: Citizenship education is a plural and multifaceted concept that includes various ethical dimensions. The education of citizenship ethics can be considered as the education of people in the society, in such a way that they can play a role in the formation or establishment of a balance between the authority and responsibility of governments in the society. On the other hand, postmodernism is a multipurpose movement that rejects any final solution and definite answer by denying the view of the world as an interconnected whole. The present study investigated the philosophical foundations of postmodern citizenship education and the extraction of implications of moral-social education in education. Material and Methods: The research method in this study is analytical, descriptive and inferential. Also, the current research was conducted based on library studies and to collect data according to the nature of the subject, a slip was used to study documents. Conclusion: In terms of the implications of moral-social education in terms of goals, it can be concluded that goals appear in the education process and are not pre-defined and should take into account the growth and ability of learners to adapt to rapid changes. From the point of view of the content, it was concluded that no content can increase the scientific and professional competence of the learners. Content should increase learners' problem-solving skills. Also, power is an effective factor in determining the control of relationships between students and teachers.

This paper begins by elucidating two common features in the application from spirit to the material world of objective idealism: first, all main representatives take the Absolute as the way to think about the inner negative foundation of spirit and, second, the Absolute has a self‐negation processual structure, which exits itself and then returns to itself. The paper points out that the exit‐return model can explain the objective world very well and meanwhile maintain the integrity of the spiritual ontology, in which the return to the Absolute is crucial. After the scientific revolution, the Enlightenment, and two world wars, however, followed by the development of irrational thinking, positivism, and practical philosophy, the Absolute ceased to be the foundation of spiritual functioning. The return to the Absolute points to emptiness, and exit without return creates persistent schizophrenia, while subverting the ontological foundation of concepts and language, objects and humankind. [ABSTRACT FROM AUTHOR]

Identity Postmodern art became art to deconstruct the hidden ideologies of the discourse of power for socio-political purposes, such as the struggle against the masterpieces of art, against heroism, against gender discrimination and racism. In this period, a broad effort was done to address social issues and problems concerning inequalities related to class, race, gender, and ethnicity and... to people involved with these issues. This critical content chose different ways of expressing itself; from a realistic presentation to a copy, an eclectic work, ironic references and "Appropriation" works of art that at first glance is accompanied by humor and parody. Appropriation means using or adapting preexisting works of art and borrowing them to create a new work. At this time Appropriation for a specific purpose was an action that could not be avoided in the postmodern-centered state of contemporary art. The 1960s saw the emergence of a process that allowed artists to adapt and self-create other artists' works without modification or by slightly modifying or inserting parts of other people's artwork into their own, with the goal of substituting their own voice for another voice, thus opening a new meaning instead of the previous one. Since then, art of Appropriation has peaked in the 1980s, and today the widespread use of image capture in the creation of works of art has become commonplace. The contemporary era seems to have introduced artists to the world who were eager to reinterpret and re-represent these paintings in order to expose lesser-represented cultures and elevate excluded minorities to the center of discourse. Since the late nineteenth century, African American artists, with a return to the historical past and the use of black heroes and their epic and revolutionary ideas, and under the influence of political and social events, with their works of art to fight against racial colonialism. And painted a bright future for the black nation. But today's art is different from what we know as black art in the second half of the nineteenth century and the first half of the twentieth century. This study, in order to answer the question of the role of images in deconstructing aesthetics and deconstructing the power structure, focuses on postmodern art and critically analyzes the works of African American artists on the subject of "Appropriation" of famous works of art history. Consequently, among the goals of artists in this way of representation is to focus on excluded minorities, to emphasize the fine arts as something beyond nationality and race, to create a counter-narrative, to deconstruct the power structure, to empower blacks in culture. This research is based on descriptive-analytical method, and data collection is desk-based. [ABSTRACT FROM AUTHOR]

Copyright of ESTOA: Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca is the property of ESTOA Revista de la Facultad de Arquitectura y Urbanismo de la Universidad de Cuenca 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 evolution of stage poetics reflects the shifting relationship between scenography and drama, from ancient scepticism to modern technological integration. The article posits that this evolution challenges traditional notions of presence and liveness, especially amid postmodern and postdramatic movements. To substantiate this argument the article examines two works: La Petite Fille de Monsieur Linh, a postmodern piece by Belgian director Guy Cassiers and Angela: a Strange Loop, a postdramatic work by Sussane Kennedy, and how they blend video, sound, and live performance to challenge traditional actor presence, extending the frontiers of scenography and storytelling, as well as the fragmented Self within the digital age. [ABSTRACT FROM AUTHOR]

Modern philosophical anthropology needs a revision of research problems. This is related to changes in social reality, as well as those trends that have formed in postmodern philosophy. The purpose and objectives of the article are to identify the postmodern influence on the development of certain trends in philosophical anthropology and to justify the need to search for new tools and methods for understanding the human. After all, the new paradigm is not just a hypothetical phenomenon, but rather a statement of a gradually evolving process that acquires new characteristics. Thus, since the formation of the philosophical concept of Postmodernism, we have seen that various directions of philosophy, including philosophical anthropology, are moving away from expansive and universalized systems, and turning to individual questions, problems, etc. Also, during the last decades, the emphasis in the understanding of the human itself, its possibilities and prospects has shifted somewhat. Therefore, in the article we will address some key moments of Postmodernism, which were turning points for philosophical and anthropological thought. Questioning of a person's integral self, which leads to the formation of a fragmented, multiple and constantly changing identity; the rhizomatic dispersion of man with his nomadic wanderings, which leads to the idea of the global as unifying and disidentifying and distancing at the same time; denial of the idea of universal truth, the objectivity of its constants, and a departure towards a series of constantly changing variabilities, various points of view and experiences, etc.Conclusion. Postmodernists were the first to challenge the traditional notions of the integrity, centeredness, rationality, and autonomy of the subject. In accordance with the contextual historical conditionality, they recognized fragmentation and multiplicity as the only possible ways of perceiving and understanding the deconstructed subject. And although these methods are condemned by critics as leading to relativism, nihilism, and fragmentation of human experience itself. Nevertheless, we should agree that this offers the possibility of liberation from dogma and openness to new perspectives in understanding the human in a complex, constantly changing world. Moreover, in the light of social, technological, or information trends, old approaches may prove to be extremely ineffective. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 ghost raises fundamental questions of reality, identity and epistemology. The ghost is the shadow image of otherness that threatens our notions of life, humanity and permanence by intimating that if death is permanent and the afterlife eternal, then perhaps it is our present tangible reality that is the simulacrum. The ghost interrogates the quotidian, not vice versa. The fetishization, aesthesizing and ritualizing of death in the Gothic aims consistently to defer the final definitive ending of death and the state of non-existence. As a memento mori, ghosts remind us that our ruminations of death are not morbid, but life-affirming. This article will explore the depiction of the afterlife in The Others (Amenábar 2001) in which the living are simulations of the dead and vice versa. Unlike the typical horror movie, the predominant discourse of The Others is a postmodern interrogation of belief, truth and doctrine. The haunted house is an in-between land of purgatory, a death space of self-loss and separation that plays out in the conflict between religion and the supernatural. The questions with which the films ends – 'What does all this mean? Where are we?' – is not just a geographical question, but an ontological one. The interrogation of Biblical narratives causes the audience to evaluate the reliability of the discourse of established religion and its doctrine of the afterlife. By defying audience expectations of the generic conventions of the ghost story, the movie relies on the viewer's faith that what we see on-screen is real, when this cinematic reality is as deceptive as seeing dead people artificially propped up to appear alive. Suspended between being and nothingness, both absent and present, the ghost is a metaphor for the simulacrum of film. The cinematic thus serves as the Other by which the real can be defined. [ABSTRACT FROM AUTHOR]

As human life progresses with the development of advanced civilisation, people's perceptions of various things tend to often change. One of them is the notion of exclusivism. Postmodernists say that truth is subjective, that is, it is based on oneself. Truth is determined by the individual, which is one's personal human right. Similarly, relativists say that truth, including Christian faith, is also relative. If it is relative, it means that the word of God is no longer the absolute truth, that Jesus is not the only Saviour because there are other ways to be saved. This thinking is contrary to the Holy Bible, which declares that God is the absolute truth. One of the negative effects of the many changes that are taking place is, for example, the attack or rejection of the truth of God's Word. Even the servants of God today are less selective in accepting changes. Based on this, the purpose of this research is to see how the perception of churches in the postmodern era is changing towards exclusivism the understanding of religious pluralism. The religious pluralism model promotes the belief that there is indeed virtue in all religions, just as all religions are good and are of relatively equal value. The research approach adopted a descriptive quantitative methodology. The scale used for measurement a Likert scale. The questionnaire was distributed through a link on google forms to communities in some areas around Jakarta, Bogor, Depok, and Tangerang. The amount of data obtained was from 187 respondents of Protestant churches comprising 51% males and 49% females. The results of the research demonstrate that the general understanding of religious pluralism in Protestant Christianity is still at a very low level. The reasons are 1) Church sermons that do not mention ideas such as pluralism, 2) The church is more focused on soul winning, 3) The church is complacent in the routine of its worship, 4) The church lacks information about religious pluralism, 5) The church lacks servants of God who are knowledgeable about emerging theology, 6) Churches are competing for the souls of other churches.

This article provides an overview of the sessions of the sections of the International Scientific Conference Fifth Baskin Readings. It was devoted to the role of law in the era of transition from modernity to postmodernity and modern trends in the development of law and order.

Tom Stoppard’s play Rosencrantz and Guildenstern Are Dead, arguably his best-known play, is as complex in dramatic structures as it is simple in language form. The article pinpoints and analyzes the postmodern literary and dramatic techniques employed by the author, as well as the postmodern features of the play, especially the absurd and the senseless, based on Albert Camus and Jean-Francois Lyotard’s theories.

Copyright of Revista del Centro de Investigación Flamenco Telethusa is the property of Centro de Investigacion Flamenco Telethusa 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 above research aimed to investigate education as a social capital in the postmodern era. The above study has been compiled from a library and based on domestic and foreign articles and references. The results of the above research show that since postmodernism has a critical view of the problems and dead ends of modernity, it believes that modernity has not been able to respond to many human needs. Especially from the point of view of education, he has put forward new ideas that have caused the identification of the weaknesses and crises of the modernist educational system, including using the method of deconstructing academic texts, supporting localism and regionalization in the educational system, paying attention to another element in education. Special attention has been given to critique and criticism, recommendations for dialogue-oriented education and training, and an emphasis on qualitative research methods in the field of humanities and educational sciences; despite these, the postmodernity movement itself also has criticism and revision. In the end, it can be said that identifying post-modern academic teachings and realizing its strengths and weaknesses can help increase awareness and improve educators' knowledge level to face this way of thinking. [ABSTRACT FROM AUTHOR]

The study elaborates Abdel Rahman Munif's Cities of Salt (1984/1989) as a postmoderrn politico-historical allegory. Fredric Jameson's premise that all third world literature is necessarily allegorical has been combined with the rhetoric of postmodernism which hypostasizes its radical break with the past through a revival of allegory. Rejection of metanarratives marks the postmodern. The denunciation is suggestive of a positive development since grand theories are constructs tending to disregard the potential of the individual event and the natural existence of disorder and chaos in the universe. Along with ignoring the heterogeneity of human existence, metanarratives become unreliable because they are produced and fortified by power structures. Hence the discussion concludes that in the milieu of the third world the personal and the political are so intertwined that the one cannot be separated from the other; and Munif's narrative working as an apparatus of allegorical enunciation is capable of not only bringing about biopolitical change but also undermining the hegemonic discourse of Eurocentrism. [ABSTRACT FROM AUTHOR]

In the history of Italian popular music a prominent place must be recognized to Franco Battiato. The experience of the Sicilian musician, born in Jonia in 1945 and died in Milo in 2021, is characterized by having overcome dichotomies and consolidated traditional visions, above all the rigid separation between cultured and widely consumed genres. It was above all between the 1970s and 1980s that Battiato’s research concentrated on the reworking of some themes dear to the “postmodern turning point”. This contribution focuses its attention on this phase of renewal, which reaches its peak with the publication of the album La voce del padrone, the first in Italy to sell over one million copies. Specifically, the article focuses on the elements that characterize it, on the particular use of language and the redefinition of mass taste, musical identities and representations.

The paper examines the historical account of punishing individuals from the earliest civilized societies to the current postmodern era. The notion of punishment is interpreted in the paper as a moral sanction (internal and external), as well as a physical punishment, which over ages turned into torture whose purpose was punishment for punishment's sake, not moral correction of violators of custom or law, to be useful upon their return to society. The transition from torture as a religious ritual to torture which grows into a culture of punishment is pointed out. Punishment in conditions of war and peace has a specific dimension. War as a teacher of violence (Thucydides) in most cases takes away the meaning of punishment which has a moral function in peacetime. But even in times of peace, punishment is relativized. Michel Foucault writes about the contemporary panopticon and the supervision of the individual in society, who is, above all, punished by the institutions of positive morality and remains without personal identity, no longer as a self-conscious individual but as a simple individual. Under the influence of biopolitical power, he is deprived of responsibility for his own existence. He is entangled in invisible threads of social roles, like a spider's web, that he eventually stops being the bearer of. When he wants to make a moral judgment about a social relationship or a phenomenon that does not coincide with his understanding of the social world, he feels powerlessness or remorse because he cannot bear that his isolated value judgment clashes with the interests and public opinion of the dominant social group.

This paper introduces and addresses fresh perspectives in the engagement between Hegel and his postmodern critics and detractors. The first part of the paper examines some of the central discussions on postmodernity, specifically in the works of Lyotard and Habermas, and how they, in different ways, reengage Hegel. The second part focuses on Vattimo’s deployment of the concept of the postmodern credo as a way of returning to Hegel’s own interrogation of modern belief. The paper shows that the common thread linking the modernity of Hegel with the “postmodern moment” remains belief, and in particular, belief in belief itself. The final part provides a brief introduction to all the contributions in this issue.

The aim of this work is to analyse the transformation of the term intellectual, which is established as a kind of paradigm in modern and postmodern times. The focus of the research is first of all on the reduction of the role of the intellectual in modern times, which was echoed in the thoughts of numerous philosophers of modern and postmodern epoch. Then the postmodern dystopian novel Plato's Papers by the English writer Peter Aykroyd, is analysed. It is a dystopian work in which the aforementioned tendencies were given an artistic articulation. The hero of the novel Plato, as the research shows, represents a travestied image of the ancient philosopher Plato and acts in a modern telematized polis of the distant future. The works and fate of the postmodern Plato are articulated in the novel in a way that hints that escapism is the only possible answer to the challenges of the destructive relativizations of the postmodern era.

Purpose of the article: to determine the distinctive features of the subject of research, methodology and method of landscape studies in the state of transition from late Modern to early Postmodern (late 20th – early 21st century). Research methodology: historical and cultural analysis with the involvement of hermeneutics, philosophical comparative studies. Results. The research objects specific to postmodern landscape science are characterized: ambivalent, socially devastated, camp landscapes, anti-landscapes, landscapeoids. It is pointed out the complexity nature of the research subject of modern and future landscape science, in particular, such research phenomena as the landscape nature of subjectivity; the immanence of contradiction, paradox and absurdity in a complexity geosystem; and also on virtual landscape reality as a product of artificial intelligence. New philosophical and methodological approaches – multiculturalism and multihistoricism – are proposed. Scientific novelty: for the first time in the Ukrainian-language scientific geographical and philosophical literature, an attempt has been made to analyze the current and potential features of landscape science in the Postmodern era. Today, landscape science is in a state of transition to a new historical stage – the Postmodern era. This transition is not a “scientific revolution” in the sense of T. Kuhn, but is coupled with more profound changes that touch the very foundations of rational world perception, scientific world explanation and goal setting in the field of scientific activity – changes that have an existential and metaphysical nature, changes that associated with the transformations of the historical process on a global scale. Areas of study of landscape objects and phenomena, which were methodologically, epistemologically, and existentially inaccessible to the scientific thought of the New Age, the Modern Era, and landscape studies of the 20th century are becoming very popular. were mostly ignored. Actual and future transformations in the methodology of landscape science are also related to the introduction of paradox, contradiction, and absurdity into the scientific discourse. One of the cornerstone and already clearly visible empirical challenges to modern landscape science is the formation of virtual landscape reality. Postmodern landscape science is characterized by a movement towards the assimilation of metaphysical and discursive systems of non-European cultures of mankind (for example, the category of “Delusions” of the indigenous Australian aboriginal civilization). It should also get rid of the new European supremacy in relation to the methods of scientific and quasi-scientific world explanation by European discourses from antiquity to the 16th century. Examples here can be turning to Pythagorean numerology (O.K. Cherkashin) or the so-called eniogeography (G.I. Shvebs) when studying the landscape. As a result, profound future shifts in the landscape scientific discourse will not be dialectical, but fundamental metaphysical in nature. Perhaps this will force a person to radically reconsider his place and his own role in the landscape envelope and in history. Practical significance. A number of unusual, to some extent unusual, methodological approaches to the further development of landscape science in the 21st century have been proposed, with the fact that the very concept of development must be fundamentally rethought in all respects, primarily existential and ecological.

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Copyright of Journal of Humanities & Tourism Research (JoHUT) is the property of Journal of Humanities & Tourism Research 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 aim of the current research was to explain the position of media in the document of the fundamental transformation of education in order to extract the themes of media education with focus on the reflections of Jean-Francois Lyotard and Jean Baudrillard as the two prominent postmodernists. Considering the challenges of modern media, postmodernism deals with the critical reading of modern enlightened imperialism in general and modern media in particular. The research paradigm was qualitative, documentary data collection method was used and data analysis method was thematic analysis. Findings showed the importance of the transformation document's attention to the educational media and media education. Paying attention to the pivotal position of the media, educational coordination and participation and purposeful production in the intra-organizational domain, access and utilization, and active exposure to the new media in the extra-organizational domain of education are among the presented strategies. In the next step, Lyotard and Baudrillard's views were divided into constructive and destructive categories based on the components of the first step, and the amount and type of access. Epistemic relativism, familiarity with persuasion techniques, advertising techniques and critical approach to media messages were brought up in the active confrontation. Finally, in term of purposeful production, cultural pluralism and acceptance of differences, internal dynamism and conformity with society's needs were taken into consideration. Findings showed that it is possible and necessary to apply the themes of postmodern thinkers in line with the media education, in accordance with the criteria of the fundamental transformation document. [ABSTRACT FROM AUTHOR]

The work analyses the "spatial turn" in recent Australian literature, which has led to a new transnational orientation in many contemporary Australian narratives. To do so, it frames literary production in terms of spatial cognition and analyses spatiality and cognition as presented by several scholars in several realms. This theoretical introduction is followed by a more practical examination of recent Australian literary works and changes. Their features show that they are moving ahead of the postcolonial label and influence into a less ideologised position. They are in tune with the new deterritorialisation of the world, and the critical cognitive approach can provide insightful realisations bridging the gap between the actual world and its fictional representation. Finally, these examples and appreciations of the transnational are returned to theoretical ground to demonstrate that space and place, with their variants, are not only useful to (cognitive) literary studies, but to any socio-cultural approach. One of the key uses in this spatial turn towards the transnational lies in the apprehension of space-place as a pathway. It also speaks to the mobility of Australian society and its cultural productions. [ABSTRACT FROM AUTHOR]

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies 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 essay aims to investigate two ergodic novels as a representation of literature after postmodernism. More specifically, it will address non-linear novels, extending beyond the boundaries of the text and becoming highly complex, as representative of a new phase, namely metamodernity. The examples taken into account are House of Leaves (2000) by Mark Z. Danielewski and S. Ship of Theseus (2013) by J.J. Abrams and D. Dorst. [ABSTRACT FROM AUTHOR]

Today, it would not be an exaggeration to say that Chuck Palahniuk is recognized as a literary genius, a hero for the generation of nihilists. Among the epithets used are: "king of countercultural prose", author of fascinating anti-social novels, cult author and a number of others. In this article, I comment on the profound connection between his philosophically insightful and abstract prose and the postmodern challenges that together lead him to reveal the deepest vices of the crisis-ridden contemporary American society. Palahniuk's postmodernism presents a generalized expression of modern man's disgust with the consumer society of crimes and injustices. He sees a way out only in individual anarchist rebellion, which rests on the denial of all false values.

Bernardo Carvalho’s Brazilian novel, O sol se põe em São Paulo [The Sun Sets in São Paulo, 2007], alongside Shiozaki Shōhei’s Japanese film, Akaneiro no yakusoku: Sanba do kingyo (Goldfish Go Home, 2012), create postmodern narratives that render Japanese Brazilian dekasegi, or migrant laborers, similar to their depictions in historical archives: invisible and unable to emerge from the shadows. Through scenarios of discovery, the texts reveal how present-day Japanese Brazilian dekasegi inherit their condition as disappointing failures from past generations of dekasegi. This article explores the intergenerational trauma of Japanese Brazilian dekasegi through an analysis that centers the failed neoliberalist fantasy of commodity fetishism. Postmodern hauntology is never resolved in the existing archives. Instead, the texts suggest that a new archive must emerge.

The artistic technique has an important role in the constructive analyzes of the plastic visual achievements according to the relationship of the artistic elements and the mechanisms of their operation with each other, so the artist deliberately shows the aesthetics of these techniques through his own artistic and technical style according to his conscious ability to move away from the classical traditions. The research consists of four chapters, the chapter included The first is on the methodological framework of the research, so the problem was summed up by the following question: What are the technical aesthetics in the works of Alberto Buri? As for its importance, it was represented by studying the works of the artist (Alberto Buri) for his stylistic and technical uniqueness among the artists of his era. As for the spatial borders (Europe and the United States of America), the temporal borders of the period (1949-1960). Among the results reached by the researcher: The (Buri) style was associated with the technique of existing objects, as it took the collection of dilapidated materials in order to liberate the artwork from all classical constraints and adopt contemporary techniques He mixed dyes with other materials to form different surfaces that were strange.

Globalization has changed traditional society’s many aspects. The relevance of this study lies in the fact that one of the consequences of globalization is the loss of nomadic peoples’ traditions, culture, ideology and uniqueness, including post-nomads. The purpose of this study is a detailed analysis of the literature on how the post-nomads’ consciousness changes from globalization processes, and how nomads adapt to such processes. Having analysed all the problems and challenges for the post-nomads’ consciousness in the adaptation to globalization, it was revealed that the post-nomads’ cultural identity in the Kyrgyz Republic, with successful adaptation to modern living conditions, remains important. It is established that it is more expedient to introduce original development, in the form of a harmonious combination of traditions and innovations, to improve living standards. In the course of the study, recommendations were developed for the revival and preservation of post-nomads’ traditional values and culture, in the context of globalization, to preserve identity and ethnic identity.

In this article, I will examine the role of literary citation in Thomas Pynchon’s Gravity’s Rainbow, as well as its Hungarian translation. This will be achieved through an analysis of selected citations from Rainer Maria Rilke’s late poems in the novel. First, I will employ the notion of intertextuality developed by the Tel Quel circle to demonstrate how it becomes a defining characteristic of Pynchon’s postmodernist writing. Following that, I will provide a reading of the various contexts and connotations Rilke’s Duino Elegies evoke in Pynchon’s text. My intention is to highlight the multifaceted nature of the intertextual landscape in Pynchon’s work, its complex use of references, and the differences between this landscape and that of the Hungarian translation.