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From Postmodernism to Postmodernity: The Local/Global Context
Abstract
Philosophy and Literature 25.1 (2001) 1-13
What Was Postmodernism? What was postmodernism, and what is it still? I believe it is a revenant, the return of the irrepressible; every time we are rid of it, its ghost rises back. Like a ghost, it eludes definition. Certainly, I know less about postmodernism today than I did thirty years ago, when I began to write about it. This may be because postmodernism has changed, I have changed, the world has changed.
But this is only to confirm Nietzsche's insight, that if an idea has a history, it is already an interpretation, subject to future revision. What escapes interpretation and reinterpretation is a Platonic Idea or an abstract analytical concept, like a circle or a triangle. Romanticism, modernism, postmodernism, however, like humanism or realism, will shift and slide continually with time, particularly in an age of ideological conflict and media hype.
All this has not prevented postmodernism from haunting the discourse of architecture, the arts, the humanities, the social and sometimes even the physical sciences; haunting not only academic but also public speech in business, politics, the media, and entertainment industries; haunting the language of private life styles like postmodern cuisine -- just add a dash of raspberry vinegar. Yet no consensus obtains on what postmodernism really means.
The term, let alone the concept, may thus belong to what philosophers call an essentially contested category. That is, in plainer language, if you put in a room the main discussants of the concept -- say Leslie Fiedler, Charles Jencks, Jean-François Lyotard, Bernard Smith, Rosalind Krauss, Fredric Jameson, Marjorie Perloff, Linda Hutcheon and, just to add to the confusion, myself -- locked the room and threw away the key, no consensus would emerge between the discussants after a week. But a thin trickle of blood might appear beneath the sill.
Let us not despair: though we may be unable to define or exorcise the ghost of postmodernism, we can approach it, surprising it from various angles, perhaps teasing it into a partial light. In the process, we may discover a family of words congenial to postmodernism. Here are some current uses of the term:
What do all these have in common? Well, fragments, hybridity, relativism, play, parody, pastiche, an ironic, anti-ideological stance, an ethos bordering on kitsch and camp. So, we have begun to build a family of words applying to postmodernism; we have begun to create a context, if not a definition, for it. More impatient or ambitious readers can consult Hans Bertens' The Idea of the Postmodern, the best and fairest introduction I know to the topic. But now I must make my second move or feint to approach postmodernism from a different perspective.
Postmodernism/Posmodernity. I make this move by distinguishing, as I did not sufficiently do in my earlier work, between postmodernism and postmodernity. This is the distinction that constitutes the main thrust of my argument, and to which I will later return. For the...
... Antes bien, como señala Fokkema (1998, 29), posmodernidad es una palabra que ha sido empleada con varias acepciones en disciplinas como la economía, la ciencia política o la sociología. En economía, por ejemplo, suele relacionarse con una etapa avanzada del capitalismo caracterizada por la consolidación de un mercado internacional y la implementación de nuevos modelos de producción (Barsky 2001); y en política, como un proyecto que busca acercar las dinámicas locales con las globales, suprimir las teorías hegemónicas tradicionales y construir nuevos referentes y objetos de estudio (Rojek 1995;Hassan 2001). ...
... De cualquier modo, aun sin llegar a un consenso sobre sus orígenes, lo cierto es que la posmodernidad apunta a una idea más compleja: si se piensa como un momento histórico (ya que puede dar lugar a otras interpretaciones) en ningún caso puede proyectarse como un proceso lineal, absoluto o totalizador. Contrario a ello, es una experiencia que si bien es global, se manifiesta con fuerzas, magnitudes y tiempos sui generis alrededor del mundo (Hassan 2001). De lo anterior, surge la premisa de que más que asimilar la posmodernidad como una parte de la historia universal, lo que se busca es estudiarla como un fenómeno incompleto e inacabado, que muta constantemente y que adopta ciertos símbolos y significados dependiendo del contexto. ...
... Esta disposición epistemológica implica posicionarse sobre aquellas transformaciones radicales que dieron paso a una «nueva» sociedad y que marcaron un punto de quiebre o de maximización (dependiendo de la carga positiva o negativa que se le atribuya) de las condiciones modernas. Entre otras, se podrían nombrar, por ejemplo, el posmodernismo como un producto cultural e intelectual en la filosofía, las ciencias sociales y las artes; el posestructuralismo en la semiótica, la lingüística y la psicología; el feminismo en la teoría política y el discurso social; o la aparición o solidificación de fenómenos como el capitalismo multinacional, las cibertecnologías, el terrorismo internacional, la radicalización de los movimientos nacionalistas, étnicos y religiosos, la implementación y propagación del neoliberalismo, la descolectivización y reconstrucción del sujeto político, etc. (Hassan 2001). ...
Lo «posmoderno», así como ocurre con otros términos dentro de las ciencias sociales, es un concepto ambiguo, equívoco e, inclusive, contradictorio. Por un lado, puede hacer alusión a un periodo histórico, la posmodernidad, caracterizada por una marcada transformación de las estructuras económicas, sociales y culturales. En efecto, desde mediados del siglo XX, el capitalismo posindustrializado, la revolución tecnológica, la cultura del consumo o la psicología personalista, se han convertido en los nuevos pilares de una sociedad, a su vez, cambiante, inestable y globalizada. Por el otro, puede hacer referencia simultáneamente ya sea a una corriente de pensamiento o a un enfoque analítico, el posmodernismo. En palabras sencillas, busca develar, deconstruir y relativizar aquellas metanarrativas que han sido impuestas dogmáticamente desde la Ilustración para conservar el statu quo; así como cuestionar la razón, la lógica y el método científico como los únicos instrumentos válidos para explorar, describir y explicar la realidad. En este contexto, la presente disertación doctoral tiene como propósito estudiar las transformaciones del Estado en la era posmoderna a partir del estudio pormenorizado de sus elementos constitutivos. Más concretamente, pretende analizar cómo y en qué medida diversas fuerzas posmodernas han transformado los conceptos políticos tradicionales en los que se ha sustentado el modelo estatal moderno: la nación, el territorio, la soberanía, el gobierno, la democracia y la ciudadanía. Como el objetivo primordial de la investigación es el estudio de un concepto político fundamental (el Estado) a partir de unos ideales normativos determinados (derivados de la posmodernidad), la metodología que se ha utilizado es de índole evaluativa, haciendo énfasis en los valores, reglas y procedimientos que rigen su funcionamiento. Lo anterior, sin omitir la aplicación del enfoque posmoderno constituido por sus propios conceptos, preguntas, presuposiciones y reglas de inferencia. A manera de conclusión, aún con las profundas alteraciones de las dimensiones espaciotemporales y la reconfiguración de las relaciones sociales, políticas y culturales, el Estado sigue conservando su papel hegemónico como la principal estructura de organización política. Ello no implica, claro está, que haya permanecido incólume ante el influjo de dichas fuerzas posmodernas. Desde una perspectiva dialéctica, más que desaparecer por completo, el Estado se enfrenta a un drástico proceso de reconfiguración institucional. Allí, nuevos actores políticos tanto de naturaleza pública (organizaciones internacionales gubernamentales, subunidades político-administrativas, entidades descentralizadas, etc.) como privada (organizaciones sin ánimo de lucro, medios de comunicación, empresas transnacionales, etc.), han venido acumulando, ejerciendo y monopolizando funciones que tradicionalmente le han correspondido al Estado desde su creación.
... Antes bien, como señala Fokkema (1998, p. 29), posmodernidad es una palabra que ha sido empleada con varias acepciones en disciplinas como la economía, la ciencia política o la sociología. En economía, por ejemplo, suele relacionarse con una etapa avanzada del capitalismo caracterizada por la consolidación de un mercado internacional y la implementación de nuevos modelos de producción (Barsky, 2001); y en política, como un proyecto que busca acercar las dinámicas locales con las globales, suprimir las teorías hegemónicas tradicionales y construir nuevos referentes y objetos de estudio (Rojek, 1995;Hassan, 2001). ...
... De cualquier modo, aun sin llegar a un consenso sobre sus orígenes, lo cierto es que la posmodernidad apunta a una idea más compleja: si se piensa como un momento histórico (ya que puede dar lugar a otras interpretaciones) en ningún caso puede proyectarse como un proceso lineal, absoluto o totalizador. Contrario a ello, es una experiencia que si bien es global, se manifiesta con fuerzas, magnitudes y tiempos sui generis alrededor del mundo (Hassan, 2001). De lo anterior, surge la premisa de que más que asimilar la posmodernidad como una parte de la historia universal, lo que se busca es estudiarla como un fenómeno incompleto e inacabado, que muta constantemente y que adopta ciertos símbolos y significados dependiendo del contexto. ...
... Esta disposición epistemológica implica posicionarse sobre aquellas transformaciones radicales que dieron paso a una nueva sociedad y que marcaron un punto de quiebre o de maximización (dependiendo de la carga positiva o negativa que se le atribuya) de las condiciones modernas. Entre otros procesos de cambio, se podrían nombrar, por ejemplo, el posmodernismo como un producto cultural e intelectual en la filosofía, las ciencias sociales y las artes; el posestructuralismo en la semiótica, la lingüística y la psicología; el feminismo en la teoría política y el discurso social; o la aparición o solidificación de fenómenos como el capitalismo multinacional, las cibertecnologías, el terrorismo internacional, la radicalización de los movimientos nacionalistas, étnicos y religiosos, la implementación y propagación del neoliberalismo, la descolectivización y reconstrucción del sujeto político, etc. (Hassan, 2001). ...
Con ocasión de las profundas transformaciones del siglo XX, especialmente las tecnológicas y comunicativas, la ciencia política se ha valido de nuevos instrumentos epistemológicos para explicar la realidad y los fenómenos que le atañen. Una de estas herramientas es el macromolde posmoderno, surgido con fuerza en la disciplina filosófica pero que, paulatinamente, se ha ido convirtiendo en una escuela de pensamiento autónoma que incorpora sus propios principios, reglas y valores. Sin embargo, ya sea por la reticencia científica que genera o su origen transdisciplinar, es muy poca la literatura académica que ha desarrollado rigurosamente las características epistemológicas de este macromolde: su naturaleza normativa, sus fronteras conceptuales o sus alcances explicativos. Por esta razón, el presente artículo busca dotar de un sentido inequívoco a lo posmoderno en el universo político, dando cuenta de su aplicación como corriente de pensamiento (posmodernismo) y como periodo histórico (posmodernidad), utilizando una metodología propia de la teoría política normativa, específicamente, la aclaración conceptual.
... В этом смысле международная премия Future Generation Art Prize, учрежденная с 2009 года PinchukArtCentre, теряет основание. Впрочем, своим существованием эта премия доказывает правоту И. Хассана, убежденного в том, что постмодернизм, однажды «свернув не в ту сторону», обречен блуждать посткультурными пространствами, мутируя, глумясь, похотливо практикуя вуайеристичную девиацию, кренясь в китч, ускользая от дефиниций, но являясь как художественный, философский и социальный феномен «каждый раз, когда мы избавляемся от него», вновь и вновь манипулируя фантомными «разорванными или неопределенными формами» фрагментированного дискурса, как «выговоренного молчания» [1], напрочь лишенного полноты молчания хайдеггеровской алетейи. Так технократический «прогресс» ликвидирует трансцендентные структуры высокой культуры, перерождая ее в де-сублимированную, срощенную с материальной культурой физикализма, стирая истину и идеалы, так что «новизна сегодняшней ситуации заключается в сглаживании антагонизма между культурой и социальной действительностью путем отторжения оппозиционных, чужих и трансцендентных элементов в высокой культуре, благодаря которым она создавала другое измерение реальности» [6, с. 320-321, 340]. ...
... Используемые для продвижения работ мастеров инструменты маркетинга зачастую приводят к тому, что сами предметы искусства не несут для общественных масс какой-либо содержательности. [1] Современное искусство является трудным для восприятия точки зрения своей стилевой направленности. К примеру, при рассмотрении того же анимационного фильма нельзя однозначно сказать, является ли это частью классического кинематографа, результатом работы художников или только результатом использования компьютерных технологий без непосредственного участия человека. ...
... This new feeling, which could only be called postmodernism, was so person-specific, fragmented, vague, and hard to grasp that its definition is almost impossible. By the end of his more than 30-yearlong studies of postmodernism, Hassan concluded that he knew less about it than he had initially thought (Hassan 2001). ...
As of today, archaeological theory is represented by numerous simultaneously developing approaches. Some of them feature the ways archaeological theory conceptualizes the past. Others are self-reflexive and explore the political and social dimensions of contemporary archaeological practice. However, these different ways to discuss today’s archaeology rarely approach it in a holistic way, while recent advances in the studies of arts and culture , namely metamodern studies, suggest another perspective and foster looking at archaeology as a whole, drawing connections between the philosophical aspects of archaeological knowledge and the social and cultural features of archaeology as practiced by 21st-century scholars.
This paper tests metamodernism as a theory capable of structuring and coherently describing contemporary archaeological practice. After outlining the most prominent structures of feeling of the 20th century – modernism and postmodernism, – it introduces metamodernism as a theoretical framework that describes the culture and society of 21st century. While this framework does not present any novel paradigm or suggest any new way of conducting archaeology, it aims to structure the existing practices more clearly. The paper explores the capacity of metamodern concepts to bridge posthumanism, actor-network theory, and epistemic scaffolding and reveals their logical connection to the structure of today’s archaeological research.
Keywords: metamodernism; oscillation; glocalization; posthumanism; capitalism; postmodernity; scaffolding.
... In the last several decades, postmodernism has developed into a worldwide movement that permeates every element of life and is not restricted to any one area. Ihab Hassan (2001) essay, From Postmodernism to Postmodernity: The Local/Global Context, makes the distinction between postmodernity and postmodernism, referring to the "geopolitical scheme" and the "cultural sphere", respectively. ...
Pakistani Anglophone writers not only connect local and international readerships but also provide valuable perspectives on the intricacies and complexities of Pakistani life and society, playing a significant role in enriching the vibrant and diverse literary landscape. The contemporary grand narratives of religion, science, nationalism, caste, gender, colonialism, knowledge, justice, and culture are all called into question by postmodern fiction. The postmodern condition idea put forward by Lyotard in his report titled The Postmodern Condition is contextualized in this study. According to Lyotard, “the term postmodern designates the state of our culture following the transformations which have changed the rules of science, literature, and the arts since the end of the nineteenth century” (Lyotard, 1984, p.7). He expresses his incertitude about the hegemony of metanarratives by pointing out that there are many viable interpretations rather than a single, definitive one. The selected novel is also explored by employing the postmodern historiographic metafictional technique developed by Linda Hutcheon. Additionally, the selected novel is examined using Baudrillard's idea of hyper-reality. According to Baudrillard's (1994) notion of hyper-reality, reality has been supplanted by images. The current research study explores literary postmodernism that is further divided into three categories, i.e., historiographic metafiction, disbelief towards metanarratives, and hyper-reality in the selected novel The Diary of a Social Butterfly. The study is grounded in the theoretical framework of postmodernism, and the research approach chosen for the current study is textual analysis.
... The postmodernism originated as an aesthetic paradigm, invented in the 1970s by the American literary critic Ihab Hassan, to designate a form of hyper modernism in literature. The postmodern authors usually liberate themselves from the traditional cultural framework and the literary and artistic creation methods of traditional socialist realism through a series of postmodernist creation techniques such as satire, ridicule, fantasy, exaggeration, irony, absurdity and abnormality to deconstruct the meaning of works and the traditional narrative style, and reconstruct a new meaning in an aesthetic space of rupture and fragmentation [18]. The adolescence is a period of self-construction, a period associated with an identity quest, nevertheless, this work is linked to the issue of suicide, which goes beyond the transition between childhood and adulthood [19]. ...
Canada is an immigrant country, with early settlers from England and France. Over time, people from various countries have continued to immigrate, forming different ethnic enclaves. Canadian French literature mainly refers to literature from Quebec, which is densely populated by French-speaking immigrants. Before French children’s literature emerged, children mainly read reprints of French literature. After World War I, french children’s literature in Canada began to emerge. Even though this type of literature has a short history, there is now a wide range of high-quality works, reflecting social, educational, and literary values. This paper will trace the development of Canadian french children’s literature against the backdrop of Canada’s historical development, and analyze the characteristics and influence of Canadian children’s literature.
... The survey of leading employers from around the world has contributed to the ranking of 10 high-demand competences up to 2020 with a prominent role in the ability and willingness to complex problem solving, critical thinking, creativity, management, coordination, cooperation, reflection, decision-making, service orientation, negotiation and cognitive flexibility. (Hassan, 2001). ...
... Sadece akademik alanlarda değil iş, siyaset, medya ve eğlence sektörlerinde de yer almıştır. Ancak tam olarak ne olduğuna yönelik ortak bir kanıya hâlâ varılamamıştır (Hassan, 2001). ...
... The survey of leading employers from around the world has contributed to the ranking of 10 high-demand competences up to 2020 with a prominent role in the ability and willingness to complex problem solving, critical thinking, creativity, management, coordination, cooperation, reflection, decision-making, service orientation, negotiation and cognitive flexibility. (Hassan, 2001). ...
The paper is devoted to the issues of the project-based approach in STEM/STEAM education. STEM education (Science, Technology, Engineering, Mathematics) is an educational trend under conditions of which the curriculum includes enhanced natural science component with the use of innovative technologies. STEAM is a way to take the benefits of STEM by integrating it in and through the arts. The authors analyse the development of STEM/STEAM-education in Ukraine, compare competence level of educators and their level of using principles of STEM/STEAM education. The paper considers interdisciplinary aspects of STEM/STEAM education, in particular, implementation of robotics and 3D technology into the learning process as an important component of STEM education. The paper addresses the issue of gender equality, namely, wide involvement of girls and women in the IT field, STEM education in particular. The solution for attracting more women and girls to the STEM can be realized via incorporating Art and Design to the equation-to transform STEM into STEAM. The authors construct the model of engaging the Art component in creating the science-based methodological training system. The research also considers Learning StartUps as a project-based approach in STEAM education. The authors present examples of implementation of the project-based method in teaching 3D technology via Learning StartUps. Besides, the research shows how to involve Art and Design components in STEM education.
... Contemporary art education also recognizes, as does contemporary art, the need to transcend or blend cultural differences and discriminations (Hassan 2001). Consequently, it emphasizes the contextualist and instrumentalist character of a "through arts" education, developing and adopting the connection of art with a variety of factors that are outside art. ...
The purpose of this paper is to examine how different aspects of aesthetic theory can be utilized in education so
as to contribute to a workable, coherent, and multifaceted arts integration approach in elementary education. The
authors begin by presenting specific aspects of aesthetic theory as indicative of the basic theoretical and philosophical
approaches to the phenomenon of art. They then refer to examples of activities designed on the basis of these different
aesthetic aspects, and finally, they present the findings that came out of these activities’ pilot implementations in
preschool and school classrooms. Based on the methodological analysis of these implementations, the authors examine
the benefits of the activities deriving from each of the different aspects of aesthetic theory; how they differ depending on
the aspect from which they arise; and how the implementation of these types of activities as multi-theoretical sets can
reveal a new way to design a coherent and multifaceted arts integration curriculum. What the authors attempt to do is
show that the variety of approaches to the definition of art and the analysis of aesthetics can be the touchstones for
organizing arts integration in elementary education.
Keywords: Arts Integration, Aesthetics, Elementary School
... (Kalantzis & Cope, 2005). All these align with postmodern discourses, which show great interest in the subjective, the local, and the context (Hassan, 2001). Different contexts and functions require different angles of approach. ...
In our postmodern world, music educators deal with questions and problems that need in-depth exploration. As the old certainties are collapsing, today, more than ever, the challenges they face prompt them to reassess students' music knowledge and skills and their connection to real life. This paper argues that many of these challenges can be related to the functions of music, in the context of the new means of communication and postmodernism determinants. Furthermore, it argues that the functions of music are a guiding framework for a music function-based curriculum. Finally, this paper provides examples of how professors may apply such a curriculum in undergraduate music classes at a university context for pre-service general teachers. Music educators can be creative in putting ideas into practice, by taking the functions of music as a theoretical-philosophical base, allowing the functions of music to constitute a space for thinking about music teaching-learning.
... Or think of it as a vast umbrella under which stand various phenomena: postmodernism in the arts, poststructuralism in philosophy, feminism in social discourse, post-colonial and cultural studies in academe, but also multinational capitalism, cybertechnologies, international terrorism, assorted separatist, ethnic nationalist, and religious movement-all standing under, but not causally subsumed by, postmodernity. [9] For Hassan, postmodernity is distinct from postmodernism in its inclusiveness and its planetary, geopolitical contexts. As it simultaneously contains and exceeds the literary schemes of postmodernism, it lends itself conveniently to a broader spectrum of social, historical and political inquiries. ...
... Também o aproximar do fim do milénio desencadeia uma profusão de narrativas obcecadas pela ameaça apocalíptica de uma era que se extinguia, enquanto outras histórias enfatizam, paralelamente a este discurso e num momento de dinamismo e desenraizamento extremos, uma fixação nas relíquias do passado, de que é representativa a expansão da indústria do património (Hewison, 1987). Neste contexto, o presente ensaio explora retratos 1 Ao longo deste trabalho, recorremos à designação pós-modernismo conscientes da dificuldade (ou melhor, impossibilidade), atestada por Ihab Hassan (2001), em defini-la com clareza: "The term [postmodernism], let alone the concept, may thus belong to what philosophers call an essentially contested category. That is, in plainer language, if you put in a room the main discussants of the concept -say Leslie Fiedler, Charles Jencks, Jean-François Lyotard, Bernard Smith, Rosalind Krauss, Fredric Jameson, Marjorie Perloff, Linda Hutcheon and, just to add to the confusion, myself -locked the room and threw away the key, no consensus would emerge between the discussants after a week. ...
Segundo teóricos do pós-modernismo, o final da década de 1960 assinala o termo de um ciclo marcado por narrativas iluministas de progresso e, em simultâneo, o dealbar de uma era global em que serão questionadas, com uma frequência avassaladora, as certezas identitárias. Também o aproximar do fim do milénio desencadeia uma profusão de narrativas obcecadas pela ameaça apocalíptica de uma era que se extinguia, enquanto outras histórias enfatizam, paralelamente a este discurso e num momento de dinamismo e desenraizamento extremos, uma fixação nas relíquias do passado, de que é representativa a expansão da indústria do património (Hewison, 1987). Neste contexto, o presente ensaio explora retratos contemporâneos da época vitoriana traçados por duas obras fílmicas e duas obras literárias produzidas entre o final da década de 1960 e o princípio do século XXI: The French Lieutenant’s Woman (A Amante do Tenente Francês), de 1969, de John Fowles (1926-2005), Possession: A Romance (Possessão), de 1990, de A. S. Byatt (n.1936), e respectivas adaptações fílmicas, realizadas por Karel Reisz (1926-2002) e Neil LaBute (n.1963).
... And like a ghost, it eludes definition'. 31 The ghostlike (omni)presence of postmodernism travels through the blurring spheres of various disciplines, from philosophy and education to science and arts. As a paradigm, therefore, postmodernism is often perceived to be more a set of shifting perspectives than a unified, concrete doctrine. ...
In The Political Unconscious, Fredric Jameson regards genres as ‘literary institutions’, arguing that genres are political and a reflection of the socio-historical circumstances. Earlier in Marxism and Form, Jameson had proposed that the key aspect of a text is its form and that content is only secondary to form. In this sense, interpretation is inseparable from literary form — and all interpretation is historical. This paper attempts to map Jane Eyre’s ‘political unconscious’ to suggest that the novel’s generic elasticity — its elaborate fusion of Gothic transgression, romance dialectics and echoes of autobiography and Bildungsroman — is the hidden and coded manifestation of a utopian imagination. In effect, Jane Eyre incorporates a technique of montage and a (subsequent) collapse of generic boundaries, because the text’s political unconscious dreams of a disintegration of class boundaries. It is often argued that the concept of genre is no longer relevant in our postmodern context, as postmodern texts are characterized by a tendency to transgress generic boundaries. This paper considers the theoretical implications of such transgression for an interpretation of Jane Eyre’s generic affiliations.
... Contemporary art education also recognizes, as does contemporary art, the need to transcend or blend cultural differences and discriminations (Hassan 2001). Consequently, it emphasizes the contextualist and instrumentalist character of a "through arts" education, developing and adopting the connection of art with a variety of factors that are outside art. ...
The purpose of this paper is to examine how different aspects of aesthetic theory can be utilized in education so
as to contribute to a workable, coherent, and multifaceted arts integration approach in elementary education. The
authors begin by presenting specific aspects of aesthetic theory as indicative of the basic theoretical and philosophical
approaches to the phenomenon of art. They then refer to examples of activities designed on the basis of these different
aesthetic aspects, and finally, they present the findings that came out of these activities’ pilot implementations in
preschool and school classrooms. Based on the methodological analysis of these implementations, the authors examine
the benefits of the activities deriving from each of the different aspects of aesthetic theory; how they differ depending on
the aspect from which they arise; and how the implementation of these types of activities as multi-theoretical sets can
reveal a new way to design a coherent and multifaceted arts integration curriculum. What the authors attempt to do is
show that the variety of approaches to the definition of art and the analysis of aesthetics can be the touchstones for
organizing arts integration in elementary education.
Keywords: Arts Integration, Aesthetics, Elementary School
... By 2000 he had concluded 'that postmodernism mutates into postmodernity, which is our global/local condition', and thus that 'postmodernism has become, consciously or unconsciously, for better or for worse, an interpretative category, a hermeneutic tool'. 36 of course, Charles Jencks's extensive writings were very important for their link with Hollein's position that architecture and communication are intimately connected -that is, that both are media. Heinrich Klotz went further than Jencks in analysing Postmodernist architecture as a kind of fiction, as something that not only communicated but also told a story. ...
Set within the broader context of post-war Austria and the re-education initiatives set up by the Allied forces, particularly the US, this book investigates the art and architecture scene in Vienna to ask how this can inform our broader understanding of architectural Postmodernism. The book focuses on the outputs of the Austrian artist and architect, Hans Hollein, and on his appropriation as a Postmodernist figure. In Vienna, the circles of radical art and architecture were not distinct, and Hollein's claim that 'Everything is Architecture' was symptomatic of this intermixing of creative practices. Austria's proximity to the so-called 'Iron Curtain' and its post-war history of four-power occupation gave a heightened sense of menace that emerged strongly in Viennese art in the Cold War era. Seen as a collective entity, Hans Hollein's works across architecture, art, writing, exhibition design and publishing clearly require a more diverse, complex and culturally nuanced account of architectural Postmodernism than that offered by critics at the time. Across the five chapters, Hollein's outputs are viewed not as individual projects, but as symptomatic of Austria's attempts to come to terms with its Nazi past and to establish a post-war identity.
... Earlier, we attempted to contain and draw a boundary around the concept of postmodernism, by anchoring it to the concept of modernism. This is because scholars have intermittently and struggled to define it with limited success (Hassan, 2001). However, we submit that the following description by (Jameson, 1991) should suffice to support our theorization: "Postmodernism is the consumption of sheer commodification as a process". ...
... Earlier, we attempted to contain and draw a boundary around the concept of postmodernism, by anchoring it to the concept of modernism. This is because scholars have intermittently and struggled to define it with limited success (Hassan, 2001). However, we submit that the following description by (Jameson, 1991) should suffice to support our theorisation: "postmodernism is the consumption of sheer commodification as a process". ...
At the turn of the XX – XXI centuries, there is a certain "fatigue" in the humanities from the term "postmodern" / "postmodernism", various works appear summarizing and offering alternative concepts to describe modernity. The article attempts to analyze the arguments in favor of preserving or replacing the concept of "postmodernism", advanced by theorists, many of whom participated in the initial discussions about "postmodernism". In order to identify the essential markers of this concept, formulated initially by Western researchers rather amorphously and vaguely, the authors of this study analyzed individual texts of both pioneer theorists, which undoubtedly include Ihab Hassan, Fredrik Jamieson, Brian McHale, Terry Eagleton, Linda Hutcheon, and scientists who joined the debate later: Alan Kirby and Stuart Jeffries. The conceptual basis of the article is the theory of F. Jamieson, who defines "postmodernism" as the cultural dominant of capitalism at its "late" stage. The comparative method is used in the course of the study. The following grounds of criticism are revealed: the initial failure of the term, its semantic uncertainty (I.Hassan); institutionalization, lack of a theory of political agency (L. Hutchenon, T. Eagleton), overestimation of universality (B. McHale, T. Eagleton); obsolescence and inconsistency with modern realities (A. Kirby). On the other hand, F. Jamieson retains his previous argumentation, abandoning the very term "postmodern" / "postmodernism" in favor of "globalization", and makes some corrective changes. S. Jeffries believes that new technologies have accelerated the spread of postmodernism and contributed to its revival. Such ongoing discussions suggest that the concept of "postmodern" / "postmodernism" retains a certain heuristic potential, and, according to the authors, radical socio-economic and environmental changes pose a real threat to it.
Мета дослідження: аналіз філософських аспектів архітектурної творчості. Методи дослідження. Основним методом дослідження є компаративний метод у сполучені з методиками дедукції, емпіричних досліджень, аналізу й синтезу наукових понять та системного підходу до розгляду існуючих реалій і можливих перспектив розвитку філософсько-архітектурних взаємин у європейському та світовому ареалі. Результатом дослідження передбачається професійно аргументоване критичне ставлення до безцеремонної «всеядності» постмодернізму, позбавленого стримуючих факторів, що призвело до відкритої загрози проникнення в архітектурну практику крайньої постмодерністської сходинки – кітчу, який, на жаль, уже став реальністю у деяких сучасних «постмодерністських творах». Як результат роботи також передбачається оптимізація взаємин філософії й архітектури з орієнтацією на пошук нової гармонії. Висновки. Формування естетичних засад в архітектурі невіддільне від впливу філософського мислення на процеси архітектурного формотворення, враховуючи, що архітектура є відображенням світоглядної логіки епох. Аналіз взаємин філософії й архітектури на нинішньому етапі унаочнює кризові явища в сучасній архітектурній творчості, що виникли під впливом постмодерністської деструкції трьох свобод: свободи змісту, форми і незалежності від духу часу. Така детермінованість характеризується терміном Ж. Бодріара – симуляція, до того ж без можливості «представлення справжності». Такий «внесок» у сучасну реальність – це результат вседозволеності постмодернізму, який вже увійшов у фазу вичерпаності, безперспективності і готовність поступитися місцем новому типу культури, що здатна об’єднати інноваційний дух високого модернізму з традицією нічого при цьому не відкидаючи. З огляду на сказане виникає концепція трансмодернізму із напрямком до інтеграції, прямо протилежної плюралізму і фрагментарності постмодернізму з відсутністю впорядкованого розвитку.
As an academic discipline, Linguistics - the scientific study of language - is associated with a range of concepts. Students of Linguistics are traditionally introduced to these concepts in their first year of study, and everything that follows builds on knowledge of these concepts. But language, as Blommaert (2011) notes, is the most visible sign of social change. Currently, much critical thinking is said to be philosophical outflows of a late or post-modern era, characterized by an intensification of three characteristics that have been part of human history for some time: globalization, migration and the dominant position of English, accompanied by the growth of new hybrid languages in urban spaces. In terms of the ongoing vitality of other languages and the influence of a number of dominant language ideologies (Weber and Horner 2012), these three characteristics have sparked discourses of endangerment, revitalization, commodification and carnivalisation (Duchene en Heller, 2007; Heller, 2010). At the same time, there has been a steady evolution in our understanding of many linguistic concepts, particularly those emanating from particular language ideologies and hierarchical political powers. This paper addresses this issue and its implications for the study and treatment of the colloquial variety of Afrikaans known as Kaaps. The contents of the paper have been slightly modified from the original Afrikaans version which appeared in Kaaps in Fokus.
Jeet Thayil’s Narcopolis (2012), inspired by his own experience as an opium and later heroin addict, paints a vivid picture of the seedy underbelly of 1970s Bombay. The novel features a multitude of characters from the opium dens of Bombay and threads multiple narratives, subversive and carnivalesque, to create a postmodern chronicle of the city. This article analyzes the narrative techniques in Jeet Thayil's novel Narcopolis (2012) to explore traits of postmodernity. It contends that the occurrence of multiple narratives, whose reliability is questionable, indicates a Barthian death of the author, encouraging the readers to give meaning to the text. Also, an inquiry into the novel’s commentary on its own narrative style indicates self-reflexivity. A study of the chronotope will be undertaken to decipher the temporality in the novel. Besides, the article will look out for possibilities of embedded narratives, plot digressions, and intertextuality. It also intends to scrutinize the novel using the tools of social semiotics. Linguistic analysis of discourse entails a monolithic approach, wherein it considers language as the only mode of interpretation of a text. Gunther Kress and Theo Van Leeuwen suggest that this limitation can be overcome by social semiotics, which studies a text in its multimodality. Signs, linguistic as well as nonlinguistic, are apparent through multiple modes, such as language, sound, visual, and so forth. The incorporation of certain pictures, changes in typography of certain pages as well as the book cover of Narcopolis poses a rich possibility of the semiotic understanding of the text through visual mode. Lastly, this article will aim to establish a connection between the narrative techniques and the semiotic interpretation of the text.
L’œuvre de Rick Moody échappe à toute tentative de catégorisation générique, elle est àla croisée de styles qui s’entrechoquent et se heurtent pour donner naissance à une prosehétéroclite. Cette fiction protéiforme n’en demeure pas moins traversée par la répétitiond’un motif invariant : l’accident. C’est le paradoxe de cette observation qui constitue lepoint de départ de cette thèse. Comment l’accident, dont le surgissement paraît toujoursfulgurant, instantané et unique, peut-il se voir répété, décliné et transformé en unprincipe structurant qui préside à la composition de l’œuvre de Rick Moody ? Pourrépondre à cette question, il faut nécessairement changer le présupposé sur lequel reposela définition de l’accident pour qu’il ne soit plus seulement envisagé comme ce quiarrive de manière accidentelle mais pour que soit révélée également sa dimensionessentielle. Cela revient à proposer l’hypothèse que l’accident est toujours déjà là, qu’ilest ontologique. Ce changement de perspective, rendu possible par une manipulationtemporelle, encourage, sur le plan de l’analyse littéraire, une étude de la temporalité del’accident. Son surgissement induit plus largement la question de la représentation de laréalité tandis que sa répétition autorise son inscription dans une durée. Provoquanttoujours une rupture, la temporalité de l’accident est double car elle a la possibilité à lafois de mettre un terme et de faire éclore un nouveau début. L’accident crée des formeset des cycles, il surgit, dure, détruit, mais aussi régénère.
As educational decision makers and learning design professionals alike explore how to move beyond emergency measures enacted during the pandemic, much conversation centers around the idea of the “new normal.” In this paper, I explore the idea of the “new normal” along with why blended learning has such strong appeal as both a micro and macro strategy. Metamodernist theory helps to frame the discussion on how seemingly contradictory ideas may be brought together and how blending is a form of reconstruction.KeywordsBlended learningNew normalMetamodernismDesign
21. Yüzyılda yükselen kültürel üretim, şu ana kadar birçok farklı disiplinden araştırmacıların tartışma konusu olmuştur. Bu yeni kültürel üretimin kendine has doğasını anlamak adına, kimi araştırmacılar duygulanım kavramına yeni yaklaşımlar geliştirirken, kimileri ise yeni samimiyet dalgasına dikkat çekmişlerdir. Bu çalışma, ileri sürdüğü “mikrofaşizme dönüş” kavramıyla mevcut tartışmaya katkıda bulunmayı amaçlamakta ve kapitalizmin son evresinin,“yeni modern an” olarak adlandırdığı çağdaş anı nasıl şekillendirmekte olduğunu anlayabilmek için mikrofaşizme dönüşün anlaşılması gerektiğini savunmaktadır. Bu çalışmaya göre, mikrofaşizme dönüşle olumsuz duygulanımların yoğunlaştırılmasından çok sempati gibi olumlu duygulanımların yoksunlaştırılması günümüzde direniş ve devrimci hareketleri için en büyük tehdidi oluşturmaktadır. Bu düşünce doğrultusunda, bu çalışma mikrofaşizme dönüşü sempati sorunsalıyla olan ilişkisi bağlamında ele almayı ve Ian McEwan’ın Cumartesi romanını inceleyerek bu yeni duygu yapılarının çağdaş romandaki yansımalarını göstermeyi amaçlamaktadır.
Andrew Sean Greer’s comedic novel Less is a self-reflexive version of the Odyssey, featuring a gay love story in which the narrator and his subject merge to produce a postmodern homophrosyne that recapitulates the like-mindedness of Odysseus and Penelope. Although the novel makes explicit allusions to specific events and characters of the Homeric epic, its most significant intertextuality is not inscribed in Less’s events and characters, but rather in their telling, as if by a male Penelope to whom Odysseus recounted his tales. Using the device of the mise-en-abyme, and yet disrupting the conventions of novelistic story-telling, Greer aligns the recursive structures of his text in order to intertwine theories of narratology with sexual identity.
This chapter advances the argument that the neo-Victorian TV series Penny Dreadful (Showtime/Sky 2014-16) relies on the fact that the fandom of Victorian period drama is enduring. Various forms of knowledge mediate the reception of this period TV series – knowledge of the conventions of Victorian screen adaptations and broader textual conventions of Victoriana – to the extent that Penny Dreadful’s fan following results from cumulative Victorian and neo-Victorian fandoms. The notion of cumulative fandoms echoes and upgrades Joy Gould Boyum’s observation in the 1980s that filmmakers use adaptation in a conscious attempt to extend to the film the prestige of the novel, a condition that would favour, from the outset, the commercial success of the production; in Boyum’s words (1985, 5), “to adapt a prestigious work … was – and in fact still is – to borrow a bit of that work’s quality and stature”.
The monograph is devoted to topical issues of training pre-service teachers of computer science for teaching educational robotics in secondary education. There is an analysis of the state of the research problem, scientific substantiation and development of a model of building educational robotics competences of pre-service teachers of computer science. The pedagogical conditions of building competences are determined. Moreover, there is substantiation of the main components of the developed methodical system on the basis of pedagogically balanced and harmonious combination of traditional methodical systems of training and modern information and communication technologies. The issue of its introduction into the educational process of pre-service teachers of computer science is considered.
According to the proposed methodical system of preparation of pre-service teachers of computer science for teaching educational robotics, the result of training is the built educational robotics competences of pre-service teachers of computer science.
Монографія присвячена актуальним питанням підготовки майбутніх учителів інформатики до навчання освітньої робототехніки в закладах середньої освіти. В роботі проаналізовано стан проблеми дослідження; розроблено структуру компетентностей учителя в галузі освітньої робототехніки; науково обґрунтовано і побудовано модель формування компетентностей у галузі освітньої робототехніки майбутніх учителів інформатики; визначено педагогічні умови їх формування. Теоретично обґрунтовано основні компоненти розробленої методичної системи на основі педагогічно виваженого і гармонійного поєднання традиційних методичних систем навчання й сучасних інформаційно-комунікаційних технологій; розглянуто питання її впровадження в освітній процес майбутніх учителів інформатики.
Результатом навчання, згідно із запропонованою методичною системою підготовки майбутніх учителів інформатики до навчання освітньої робототехніки в закладах середньої освіти, є сформовані компетентності у галузі освітньої робототехніки майбутніх учителів інформатики.
In this chapter, I closely read Said’s (1975/1985) second book, Beginnings: Intention and Method, wherein he discusses Freud’s (1899/2010) magnum opus The Interpretation of Dreams among other texts to investigate Freud’s intentions and methods not as a psychoanalyst but as a writer. For Said (1975/1985), The Interpretations of Dreams is a “text whose intention is to begin a discourse one of whose principal purposes is to the conscious avoidance of certain specific textual conventions” (p. 162). Is that Said’s way of downplaying the scientific status of psychoanalysis and elevating Freud’s contributions to the humanities?
z-Bazen somut şiir ya da desen şiiri olarak da adlandırılan görsel şiir, en eski şiir türlerinden birisidir. Cizvit desenlerinden kaligrafik Çin metinlerine kadar uzanan tarihsel bir arkaplanda kendine yer bulan görsel şiir şairlere dil ve biçimi eğip bükerek denemeler yapma imkanı sağlamış ve kendilerine ait bir dil oluşturmalarına olanak sağlamıştır. Aynı zamanda, görsel şiir sanatçı ile okuru arasında daha önce eşi görülmemiş, kendiliğinden oluşan ve samimi bir bağ kurulmasına yardımcı olur. Burjuvanın öngördüğü ve dayattığı normların sanatı hayattan koparttığı ve kitleleri özgün sanatın üretim ve tüketim süreçlerine yabancılaştıran bu çağda böyle bir bağın kurulmasının elzem olduğu inkar edilemez. Görsel şiir farklı biçimleri, kalıpları ve dilsel yapıları bir araya getirir, böylelikle şiir tek bir görsel imgeye dönüşür ve okuyucuyu anlamın yaratılması sürecine dahil olmaya zorlar. Bu bağlamda, bu makale görsel şiirin, ve daha geniş bir çerçevede avantgart sanatın, burjuva estetiği normları ve değerlerini nasıl dönüştürdüğü ve ne ölçüde sanatın politik yönünü ve gündelik hayatın pratik yönlerini bir araya getirebildiği Avrupa avantgart akımları ve Amerika'da avantgardın gelişimi açısından değerlendirmeyi amaçlamaktadır. Anahtar Kelimeler-Görsel şiir, avantgart sanat, dil, biçim ideoloji. Abstract-Visual poetry, sometimes named as concrete poetry or pattern poetry, has been one of the oldest genres in poetry. Ranging from Jesuit and Chinese calligraphic design to modern-avantgarde and contemporary media design, visual poetry inspired poets to experiment with language and form and provided a unique opportunity to create their own language. It also ensured an unprecedented, instant and intimate communication between the artist and the audience in an age when bourgeois ideology separated art from life and alienated the masses to the production and consumption processes of authentic art. Visual poetry assembles forms, frames, and linguistic structures so that the poem itself becomes one single visual sign and urges the reader to engage in the creation of meaning. This study , in this regard, will discuss how visual poetry, and avant-garde art in general, served to radically transform the norms and values of bourgeois aesthetics and to what extent it enabled to reunite politics of art and practicality of everyday life with particular references to European avant-garde as well as American avant-garde.
This essay examines the way Paul Auster's Sunset Park (2010) moves beyond postmodern conceptions of narrative by treating it as a liberating phenomenon and a strategy of survival. It argues that the characters' thoughts and decisions, which value construction and communication, represent an underlying motive to transcend the generic postmodern incredulity toward narrative to reveal. Although the novel offers disjointed narratives as part of an attempt to deny unification and coherence, it also conveys a longing for connection—regardless of its possibility—to move beyond the postmodern mood of disbelief and skepticism. To clarify its argument, this essay draws on the theories of Irmtraud Huber about contemporary fiction and how new aesthetic shifts have sidelined postmodern maxim of deconstruction in favor of a more constructive approach. Therefore, by analyzing scenes from Sunset Park that display such a sensibility, this research attempts to examine this new understanding of the interplay between narrative and knowledge as a larger experiment beyond postmodern principles.
This study traces the concept of binary oppositions in ancient Rome and its role in determining cultural identity in the Flavian age. The very concept of imperial vs. periphery was elemental in separating the emperor from his centre, Rome, and the remote periphery. It was for the first time in the Flavian age that the emperor was not directly connected with the main centre of civility and the entire empire, Rome. The concept of binary oppositions became pivotal in determining identities and in creating new ideologies that dominated the ancient world for centuries. This very concept further expanded its power in later millennia to become a fundamental guarantor of stability for logic, philosophy and ideology." Applied to the Roman empire, it is easy to see how the centre and periphery are not purely geographical, but fit into a series of binary oppositions underpinning Roman ideology."(Zissos, 2016, p:224) As such, Rome was one of the main metropolises that introduced the concept of binary oppositions, depending mainly on the intrinsic concept of linearity. Jacque Derrida, the postmodernist thinker, tried to debunk the very idea of linearity in his theory known as Deconstruction through enforcing his coined concept known as iterability. This study further explores the vulnerability of Derridean iterability, which is the main pillar of Derridean Deconstruction, if seen from a pragmemic prism. By revisiting past correspondences between John Searle and Jacques Derrida, regarding the very idea of deconstructing texts, one can pinpoint salient aspects in Searle's logic that were not fully crystallized at the time. By adopting a new approach to understanding speech acts today, especially from the prism of Jacob Mey's Pragmemic theory, one observes that the idea of iterability, repetition of context in particular, is a spurious one. According to Mey, speech acts do not exist outside their nurturing context (Mey, 2010); meaning that a speech act on its own is a helpless verb that carries out no action without being pertinent to a unique context of situation. Having considered this new understanding of speech acts, one could re-evaluate the concept of deconstruction in its entirety; hence deconstruction does not exist in the actual world of contextualised pragmemes. In Pragmatics, language, whether written or spoken, is seen as a form of behavioural action, depending vehemently on the uniqueness of contexts. Every context is unique in its existence, creating thus a chain of unique pragmemes in their respective contexts. The idea of iterability as such fails to represent this intrinsic element in human language, which is the uniqueness of the situated context. This study will answer the following question: Do speech acts exist as such as influential verbs in context or as distinctive entities called "Culturemes"?. The study also concludes with emphasizing the efficacy of the Roman concept of binary oppositions, which is preponderantly influential in human thought.
The paper is devoted to the issues of implementation of STEM education in the learning process of educational institutions. The authors analyse the development of STEM education in Ukraine, determine the level of readiness of educators for understanding the principles of STEM education, and substantiate the need for the introduction of robotics into the educational process as a modern and important trend in STEM education. The concept of educational robotics is analysed. This makes it possible to identify the technical inclinations of students (at an early stage) and development of these inclinations, as well as formation of STEM competency in general. The study focuses on the interdisciplinary aspect of STEM education, in particular on the implementation of interdisciplinary links between STEM subjects and robotics in the conduction process of research and training projects. The authors provide examples of the implementation of robotics in the educational process based on the use of a project method. The article also includes a description of the project for the creation of the Juno Rover robot based on the Arduino robotic platform in university education and two examples of the robotics projects in school education (one of them is implemented on an open platform with freely distributed materials for creating and using 3D printed robots).
The paper is focused on the cultural aspects of the interaction of contemporary art practices with the digital technologies under hybrid conditions of post-culture information spaces. The risks of the commodification processes of visual practices and cultivation of historical and cultural amnesia, which deform the cultural memory of the public consciousness and level the essential identification of art, are clarified. The reasoning of the paper is based on a substantive body of analytical considerations by well-known Western and domestic experts.
Bu çalışma Latin Amerikalı anarşist-mistik sanatçı Alejandro Jodorowsky’nin sinema filmlerinde erken-postmodern özellikleri ortaya koymayı amaçlamaktadır. Sinemacı, oyun yazarı, çizgiroman yazarı ve okültist olarak çok yönlü bir portre çizen Jodorowsky’nin filmleri artık kült mertebesine ulaşmış olmasına rağmen eserlerinin genel olarak akademik ilgiye değer görülmediği iddia edilebilir. Nitekim, hem Türkiye’de hem de Anglo-Sakson Batı literatüründe Jodorowsky sineması üzerine yapılmış akademik çalışmalara rastlamak oldukça zordur. Bu açıdan bakıldığında bu çalışma ulusötesi sinemada sıradışı bir auteur olan ve izleyiciyi grotesk ve vahşet yüklü imajlarla şoke ederek sağaltmayı amaçlayan ve sanatını dünyaya karşı takındığı felsefi tutumun bir dışavurumu olarak gören Alejandro Jodorowsky’ye dair Türkçe literatürde bir kaynak olma iddiası da taşımaktadır.
Bu çalışmada örneklem olarak seçilen üç El Topo (1970), La Montaña Sagrada (1973) ve Santa Sangre (1989) filmleri metin analizi yöntemiyle incelenmiştir. Bu film örneklerinde görülebileceği gibi Jodorowsky, modern dünyada yabancılaşmış karakterleri anlam ve köken arayışına yönelten dairesel alegorik hikayeler anlatması, büyük anlatıları -özellikle de Katolik kilisesi ve onun kurtarıcı mesih inancını- ve de semavi dinlerin ruhanilik anlayışını hicveden parodileri tercih etmesi bakımından postmodern bir sinemacı olarak değerlendirilmektedir.
As an academic discipline, Linguistics – the scientific study of language – is associated with a range of concepts. Students of Linguistics are traditionally introduced to these concepts in their first year of study, and everything that follows builds on knowledge of these concepts. But language, as Blommaert (2011) notes, is the most visible sign of social change. Currently, much critical thinking is said to be philosophical outflows of a late or post-modern era, characterized by an intensification of three characteristics that have been part of human history for some time: globalization, migration and the dominant position of English, accompanied by the growth of new hybrid languages in urban spaces. In terms of the ongoing vitality of other languages and the influence of a number of dominant language ideologies (Weber and Horner 2012), these three characteristics have sparked discourses of endangerment, revitalization, commodification and carnivalisation (Duchêne en Heller, 2007; Heller, 2010). At the same time, there has been a steady evolution in our understanding of many linguistic concepts, particularly those emanating from particular language ideologies and hierarchical political powers. This paper addresses this issue and its implications for the study and treatment of the colloquial variety of Afrikaans known as Kaaps.
As an academic discipline, Linguistics - the scientific study of language - is associatedwith a range of concepts. Students of Linguistics are traditionally introduced to theseconcepts in their first year of study, and everything that follows builds on knowledgeof these concepts. But language, as Blommaert (2011) notes, is the most visible signof social change. Currently, much critical thinking is said to be philosophical outflowsof a late or post-modern era, characterized by an intensification of three characteristicsthat have been part of human history for some time: globalization, migration andthe dominant position of English, accompanied by the growth of new hybridlanguages in urban spaces. In terms of the ongoing vitality of other languages and theinfluence of a number of dominant language ideologies (Weber and Horner 2012),these three characteristics have sparked discourses of endangerment, revitalization,commodification and carnivalisation (Duchêne en Heller, 2007; Heller, 2010). At thesame time, there has been a steady evolution in our understanding of many linguisticconcepts, particularly those emanating from particular language ideologies andhierarchical political powers. This paper addresses this issue and its implications forthe study and treatment of the colloquial variety of Afrikaans known as Kaaps. Thecontents of the paper have been slightly modified from the original Afrikaans versionwhich appeared in Kaaps in Fokus.
This study considers the assumption that postmodern thought rejects universal values and investigates the concept of justice. The use of the term postmodern in literature and philosophy suggests dissatisfaction of expression within Western thought pointing out the 'temporal' and 'logical' limitation of modernity. To explore the modern/postmodern debate the positions on justice of Rawls and Lyotard are investigated. Rawls is committed to providing a concrete criterion upon which principles of justice can find agreement once all differences have been settled. On the other hand, Lyotard maintains that there cannot be a common criterion upon which justice can be formulated and instead recognizes the 'heterogeneity' of language. This study reflects on the ethical instances which constitute the basis of both positions. Within the international arena, after Sep 11 th , the disagreement about justice is between the liberal concept of international law, and the distinction of moral arguments upon which international decisions are taken but taking distance from international cooperation. However, these two approaches relies on the recognition of universal moral principles, therefore, this study critically evaluates them under a postmodern understanding.
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