No full-text available
To read the full-text of this research,
you can request a copy directly from the authors.
Postmodernism, or, the Cultural Logic of Late Capitalism
... A merican youth are growing up during a time referred to by various analysts as postmodernity, neoliberalism, or the era of capitalist realism. This period is defined by cultural pastiche, socio-political malaise, the belief that there is no foreseeable horizon beyond the coordinates of 'flexible labor,' 'side hustles,' and precarity, and where knowledge of prior internationalist struggles against domination have been vanquished from collective memory (Fisher 2009;Jameson 1984Jameson , 1988Mueller and McCollum 2022). As such, youth were living through a time dubbed 'the end of history/ideology,' and there was nothing much one could do about it. ...
... In short, what was lacking was the ability to cognitively map. Cognitive mapping, as a broad concept, describes the way in which the individual conceives of their place, or individual/isolated events, within and across the larger web of global social relations (Jameson 1984(Jameson , 1995Tally 2014Tally , 2022Toscano and Kinkle 2015). It is an attempt to go beyond conspiracy theories of social rule and make an "effort at trying to figure out where we are and what landscapes and forces confront us … whose abominations are heightened by their concealment and their bureaucratic impersonality" (Jameson 1995: 3; see also Tally 2022). ...
As 2019 concluded, the social media and pop cultural phenomena of #OKBoomer exploded. This cynical political position framed social problems as one of 'old folks vs. the youth.' However, the following years saw widespread youth mobilization across the United States, in a more politically cognizant manner. Millions of youth mobilized against racism, police violence, and the arming-and-funding of other countries' wars. This invites us to ask: what factors contributed to this mobilization? This article interrogates how age-based political mobilizations are related to political, economic, and ideological structures that, under certain conditions, generate openings for expanded political activation. To do so, it deploys the theory of cognitive mapping, which explains how people make sense of their place within the coordinates of our complex, global social system. It finds that conditions of oppressive and racist police tactics at home, coupled with funding-and-support-for militarized violence abroad, lead many youth to question why these activities happened not only under a Republican Presidential administration, but a Democratic one as well.
... Doch die postheroischen sind eben allzu oft auch die willigen Vollstrecker einer ´consumer culture´, in der das Subjekt sich selbst zur Ware macht: "the commodities the postmodern subject desires are commodities that allow her to produce more commodities" (Cosey 2018, S. 8). Nicht nur, dass deren Wert zerstört wird, es geht weder um Resonanz noch um Befreiung, sondern um den bloßen Prozess des Konsums der Kommodifikation (Jameson 2001 ...
... Si tal y como argumenta Daniel Bar-Tal (1989), las discusiones sobre relaciones intergrupales se centran en creencias que describen acciones como la violencia, la alianza o la negociación, esto significa que todos los asuntos intergrupales estarán mediados por percepciones, creencias y actitudes. Según Fredric Jameson (1991), para que las imágenes no se desarrollen sólo como estereotipos y se confirmen como realidades, debe mantenerse una distancia considerable entre los contenidos y lo que éstos representan. El objetivo de este estudio es analizar las películas citadas tanto ISSN: 2660-4213 Andalucía y Cataluña. ...
En un momento históricamente controvertido para la política territorial española, en el que la tensión entre el gobierno central y el de algunas comunidades autónomas era manifiesta —especialmente a raíz de la celebración de los «referéndums» en el País Vasco y Cataluña—, las películas Ocho apellidos vascos (Emilio Martínez-Lázaro, 2014) y Ocho apellidos catalanes (Emilio Martínez-Lázaro, 2015) se convirtieron en las películas más taquilleras de la historia del cine español. El objetivo de este capítulo ha sido analizar las películas citadas tanto desde una perspectiva hermenéutica, como desde un punto de vista crítico relacionado con el contexto social y político donde se realizaron. Como demuestran la historia publicitaria española y la planificación turística de los últimos cincuenta años, cuando el Estado español ha querido mostrar una imagen atractiva del país ha tomado como modelo «lo andaluz». Ninguna de estas películas habría tenido éxito sin incluir esa contraparte andaluza. Desde una perspectiva crítica, se ha demostrado como ambas películas han desactivado todos los estereotipos representados como resultado de dos factores clave. En primer lugar, en ambos filmes los estereotipos se muestran de manera hiperbólica, y las exageraciones y los dramas excesivos que se producen en torno a ellos dinamitan las bases que les daban sentido. En segundo y último lugar, las dos películas cuestionan las identidades históricas y sus propias circunstancias controvertidas convirtiendo la violencia en carcajadas a través del humor.
... My interlocutors' disregard for truth and refutation in such narratives, however, should not be considered simply a reflection of their inability to grasp a changing world or simply as false consciousness (see Jameson 1991;cf. Sunstein and Vermeule 2009). ...
... En definitiva, la idealización del pasado reconforta un presente dificultoso. Ante las crisis acontecidas, la nostalgia pasa a ser un aspecto central de las sociedades y acaba permeando en la cultura e identidad (David, 1979;Jameson, 1991;Goulart Ribeiro, 2018). De hecho, "la memoria constituye un espacio donde se establecen nexos entre la identidad y la percepción en términos de presente y su proyección hacia el pasado" (Berruga Sánchez, 2015: 392). ...
En un contexto social, político, económico y cultural marcado por una concatenación de crisis y la polarización ciudadana, España se enfrenta al ascenso de la derecha radical y con él al recuerdo y la nostalgia de la dictadura franquista. Ante esto, y conociendo que los videojuegos son instrumentos de transmisión deideologías, el objetivo principal de este trabajo es relacionar el contexto político, social e ideológico del país con videojuegos contemporáneos que tratan la memoria histórica, en concreto, ROJO: A Spanish Horror Expe-rience. Este es un videojuego de terror que transporta al jugador a la casa de un nostálgico franquista, el cual decide torturar y asesinar a izquierdistas. A través de una entrevista al creador y un análisis crítico del discurso, el trabajo muestra cómo el videojuego refleja el resurgir de la derecha radical y cómo las españoladas se posicionan como importantes símbolos para contextualizar el pasado y el presente político del país. Así, ROJO se erige como un videojuego de terror que utiliza la sátira para enviar un mensaje antifascista, utilizando símbolos que, hoy día, son parte de la imagen de partidos como Vox, pues los usan para su propia identificación.
... As Eşanu (2021) further explains, the rise of the mockument could be easily understood as part of a process of erosion of credibility of both the document and monument, and also of society-a sort of "cynical, ironic, and satirical corruption of these other two instruments of time." It is thus very close to what Fredric Jameson (1992) famously called pastiche in the context of postmodernism (i.e. an empty parody, a statue with blind eyes), but unlike pastiche, "which ridicules the modernist phantasms of artistic autonomy and essence and the bourgeois belief in a 'unique self,' what the mockument mistrusts and finds impossible is memory and ultimately modernist Truth." (Eşanu 2021) A mockument is thus understood as "a sort of counter-instrument of time," which for us means a void, a fabrication, a fiction that is often claimed to be lie-a sort of make-believe adjustment (Walton 1990), a role play for the real world. ...
The article focuses on the lively urbanism of Central European historical centres in the second half of the twentieth century and, based on a private photo album, ref lects on the processes of shaping local socio-cultural customs and practices. If the common features of these centres are the careful preservation of the historic core and the more or less systematic re-construction of residential districts or industrial complexes, it is the selective blindness to the gaps and spaces “in between,” escaping any coherent or consistent urban planning, where these processes manifest themselves most “naturally” and almost without any imposed control. Indeed, these imaginary “black holes” are where everyday experience unfolds. To this end, the current approaches of Central European Studies are connected with the history of art and visual culture. A specific triadic model of monument-document-mockument and the concept of the “living monument” are used to develop a crucial link between them all and contemporary urban studies. The theoretical insights are illustrated by the case study of the city of Olomouc in the Czech Republic, using the private photographic documentation of local artist and graphic designer Oldřich Šembera.
... In the field of Social Science, various logics have been studied (e.g., [21,176,257]). This paper aims to explore potential extensions of these logics, including their expansion into Neutrosophic Logic. ...
Body-Mind-Soul-Spirit Fluidity is a concept rooted in psychology and phenomenology, offering significant insights into human decision-making and well-being. Similarly, in social analysis and social sciences, frameworks such as PDCA, DMAIC, SWOT, and OODA have been established to enable structured evaluation and effective problem-solving. Furthermore, in phenomenology and social sciences, various logical systems have been developed to address specific objectives and practical applications. This paper extends these concepts using the Neutrosophic theory, revisiting their mathematical definitions and exploring their properties. The Neutrosophic Set, an extension of the Fuzzy Set, is a highly flexible framework that has been widely studied in fields such as social sciences. By incorporating Neutrosophic Sets, we aim to improve their suitability for programming and mathematical analysis, providing advanced methods to tackle complex, multi-dimensional problems. We hope that this research will inspire further studies and foster the development of practical applications across various related disciplines.
... Another feature of postmodern poetry is that a poem comes to be a mixture of different sources, like religion, science and myths. (Jameson, 1991. 184) ...
This study aims at shedding light on women’s exploitation and liberation at the same time in Atwood’s “Helen of Troy Does Countertop Dancing.” It is divided into an introduction and five other sections and a conclusion. The introduction introduces the reader to the world of myth and how they participate in framing the mind of the primitive man concerning different issues and phenomena. The first section gives some definitions of myth which concludes that there is no specific definition for it. The second one is devoted to the relationship between myth and literature which proves that the origin of literature was mythical. The third section tackles remaking myth in modern and postmodern literature. The fourth one talks about how the poet uses myths to express her desired themes while the fifth section deals with one of Atwood's poems to show the areas of allusion to the original text and differences with it. Then comes the conclusion which sums up the result which the study reached.
Keywords: Myth, Atwood, Helen of Troy, victimisation, marginalisation.
... Na medida em que o sujeito do nosso tempo perde a capacidade de organizar passado, futuro e presente em uma experiência coerente, os signos são tangidos para dentro de currais significativos; as palavras, coisas e seres são inseridos em um simulacro de coerência no qual fragmentos são postos como partes inteiras, e semelhanças são estilhaçadas em alegorias assimétricas. Assim, a relação deste sujeito com a memória engendra-se em um "empilhado" aleatório, heterogêneo e conflitante (Jameson, 1991). Não é difícil reconhecer o contorno patológico do isolamento do indivíduo, sobretudo burguês, em nosso tempo. ...
Our objective is to introduce Ann Lauterbach’s poetic and critical work by outlining four aspects of her writing: (1) poetic language irresolution as trace; (2) memory and its residual and fragmental interaction with language, time and subjectivity; (3) contemporary and untimely attitude towards tradition and transgression; (4) the poetical effort to subjective unsettlement. Therefore, through those four aspects we demonstrate how the poet - born in 1942 in New York City, United States - apprehends language as architectural to rectify absences. Lauterbach is aware that the intentions that teases the artist’s mind and body may
not align with the reader’s apprehensions. The poet believes that readers search for their own meaningful fragments. Then, we offer a critical reading on memory and its relation to the poet’s écriture. In this case, we approach the contraction between remembrance and forgetting concerning time and subjectivity. Those aspects lead us to delve into the anachronistic quality of the contemporary. We argue on the conception of polyrhythmic, contemporary and untimely perception of the poet’s writing. Finally, we reach the subjective tension that underlies Lauterbach’s work. In that case, we show how the poet moves from the egotistic “I” to the congregational “we”, hoping for a continuum in the poetic realm as a form of community.
Minimalism is a movement that was emerged in 1960s, in painting and later in various other art forms. It is an opposed to the traditional approaches rather believes in originality and simplicity which reflects in its Music, Architecture, Visual arts, Literature. Minimalism is known by several names like ABC Art, Primary Structure, Dirty Realism and many more. It follows new method of representation that advocates ordinary, simple, and spacious stuff. It is far away from complex designs of the past. To a certain extent, it is characterized by simple and visual qualities which eliminate nonessential details from designs, structures, paintings, and writings. This paper discusses the meaning, use, and origin of Minimalism.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
In Control, players navigate a world in which time, space, and identity convalesce into something unrecognizable. Jesse Faden, the protagonist, journeys through the Oldest House—a place of shifting architectures and obscured histories that mimics her own transformation from a manipulated instrument to a potent force in pursuit of agency. Yet, Jesse’s awakening awareness of her relationship to power unfolds into a convolution of contingencies: her Dasein—the way the game represents agency—increasingly depends on it (Heidegger). So, rather than presenting agency as a concrete goal, Control suggests that it is “always already” compromised, as Martin Heidegger might phrase it, by forcing players to confront the precarious nature of autonomy within a hyperreality in spatiotemporal flux (15). Jesse is perpetually near something resembling autonomy but can never attain it so long as she engages at all. This entanglement of agency harkens Fredric Jameson’s schema of late capitalist cultural forms as a factory of "hyperspace" that disorients subjects, preventing them from locating themselves in historical or spatial continuity (Postmodernism 44). The Oldest House, a Deleuzian “society of control” within itself, enacts this concept through its shifting, recursive architecture that resists stable navigation through time or space, paralleling Jesse’s unstable subjectivity. The game’s world is a direct reflection of postmodern anxieties surrounding surveillance, control, and the dissolution of agency under capitalist structures— and their simulated, X-marked, “townsquare” bastardizations.
This study discusses the importance of pastoral counselling for Christian adolescents in the postmodern era, which is marked by moral degradation and shifting social values. Using a qualitative approach, this study explores the views of pastors and teenagers on the role of pastoral counselling in facing moral challenges. The results show that pastoral counselling plays an important role in providing guidance and affirming the relevance of biblical teachings in the midst of social change. This article is expected to contribute to the development of the theory and practice of pastoral counselling in the church. Abstrak Penelitian ini membahas pentingnya konseling pastoral bagi remaja Kristen di era postmodern, yang ditandai oleh degradasi moral dan pergeseran nilai-nilai sosial. Dengan pendekatan kualitatif, penelitian ini mengeksplorasi pandangan pendeta dan remaja tentang peran konseling pastoral dalam menghadapi tantangan moral. Hasil penelitian menunjukkan bahwa konseling pastoral berperan penting dalam memberikan bimbingan dan mengukuhkan relevansi ajaran Alkitab di tengah perubahan sosial. Artikel ini diharapkan dapat berkontribusi pada pengembangan teori dan praktik konseling pastoral di gereja.
O mapeamento e análise de emoções e sentimentos em conteúdos publicados nas redes sociais online tem sido uma das ferramentas mais modernas em uso atualmente para promover uma comunicação engajadora e eficaz com públicos diversos na internet. Com o avanço de tecnologias algorítmicas e de inteligência artificial, o recurso tem se mostrado útil para identificar e responder a emoções pré-programadas. Neste artigo, após extensa revisão de literatura sobre o estado da arte dos estudos que remetem à virada emocional no campo da comunicação, são apresentadas duas ferramentas interativas baseadas em respostas emocionais: o chatbot Fabi Grossi e o sistema de monitoramento de emoções Code of Hope. Conclui-se que ambas, apesar de divergirem na forma de funcionamento, possuem premissas similares no entendimento da importância da dimensão emocional da comunicação para prevenir casos de suicídio entre jovens e representam bons exemplos de como a virada emocional pode ser útil e eficaz no contexto de sistemas automatizados de comunicação.
This article seeks to cast a critical eye on musical modernism through the experiences of its percussionist practitioners. It charts the origins and accepted truisms of percussion ontology as it is understood through the modernist sensibility, and demonstrates how certain modernist assumptions have been inherited by many contemporary practitioners. Some of these individuals’ resulting expressions of grief, anger, and sadness in the wake of modernism's waning are presented, and a reparative reading of modernist percussion that seeks to make the repertory inhabitable and sustaining is instead offered. This practice is illustrated through a feminist and performer-led analysis of Karlheinz Stockhausen's Kontakte (1958–60), for piano, percussion, and tape. It is ultimately argued that performer knowledge and affective attachment is essential to understanding modernism's history and aesthetics, as well as its place in the contemporary moment.
This paper examines the role of language in postmodern fiction, focusing on how authors challenge traditional ways of using language to convey meaning. Unlike modernist literature, which sought to uncover universal truths, postmodern fiction often embraces ambiguity, fragmentation, and playfulness in language, reflecting the complexity and uncertainty of contemporary life. Through the works of writers like Thomas Pynchon, Don DeLillo, and Jean Baudrillard, the study highlights how language is used not just to communicate, but to question the relationship between words and reality. Central to this is the idea that meaning in postmodern fiction is fluid and ever-changing, with language constantly shifting and open to multiple interpretations. The paper also explores how techniques like metafiction and intertextuality reveal the constructed nature of language and narrative. Ultimately, the representation of language in postmodern fiction challenges readers to reconsider the limits of language in shaping our understanding of identity, truth, and the world around us. ANNOTATSIYA Ushbu maqola postmodern adabiyotda tilning rolini o'rganadi hamda mualliflarning tili ma'no yetkazishning an'anaviy usullarini qanday qiyinchiliklarga solib, o'zgartirayotganini tahlil qiladi. Modernizm adabiyotidan farqli o'laroq, postmodern adabiyot tilni noaniqlik, parchalash va o'yinchanlik orqali ishlatadi, bu esa zamonaviy hayotning murakkabligi va noaniqligini aks ettiradi. Tomas Pinçon, Don Delillo va Jan Bodryyar kabi yozuvchilarning asarlari orqali til faqat aloqa vositasi emas, balki so'zlar va haqiqat o'rtasidagi munosabatni savolga solish uchun ishlatilishi ko'rsatiladi. Postmodern adabiyotda ma'no doimiy ravishda o'zgarib turadi va til har doim yangilanishga ochiq bo'lib, bir nechta talqinlarga ega. Maqolada shuningdek,
The aim of this article is to examine the relevance of Jacques Derrida's concept of hauntology to literary criticism and translation studies, with a focus on Edgar Allan Poe's The Raven and its French translations. It demonstrates how hauntology—emphasizing the spectral interplay between presence and absence, origin and trace, and meaning and deferral—reframes texts as sites of revenance: haunted spaces of fragmented meanings and deferred interpretations. By analyzing the challenges of translating The Raven's rhythmic complexity, phonetic resonance, and iconic refrain, "nevermore," this study highlights the text's spectral nature and resistance to closure. Additionally, the paper seeks to provide a new perspective on the dispersion of meaning in translation. It shows how French translations by Baudelaire, Mallarmé, and others exemplify Derrida's notion of dissemination, contributing to contemporary discussions in literary studies, translation theory, and philosophical criticism.
Postmodernism, as a reaction against modernism, embraces diverse perspectives and rejects the idea of a singular truth, focusing instead on the fluidity of reality and the multiplicity of interpretations. In literature, the postmodern novel disrupts traditional notions of truth and narrative closure, opting instead for open-ended storytelling that relies on irony, pastiche, and intertextuality. These features invite readers to engage with a text on multiple levels, revealing new meanings through linguistic play and unconventional narrative strategies. Jules Verne’s Doctor Ox’s Experiment exemplifies this postmodern approach by challenging conventional literary norms. Through Verne’s use of irony, he deconstructs the stereotypes of the inhabitants of Quiquendonia, while blending fictional elements that blur the boundaries between reality and fabrication. Additionally, the intertextual connections present in the story enhance its depth, linking it to broader literary traditions. This study aims to explore Doctor Ox’s Experiment through a postmodern lens, examining how Verne employs key postmodern techniques to offer a nuanced critique of reality and narrative structure. By analyzing these features, the paper provides a fresh interpretation of Verne’s work, showcasing its significance within the framework of postmodern literary analysis.
This paper investigates the multiple dimensions of picturebooks about flight by analysing six picturebooks that focus on Germany as a place or destination of flight. First, a general script of flight is developed to pinpoint the textual and visual strategies in relation to key issues associated with flight. Second, the paper elaborates on nostalgia as a prominent feature of certain picturebooks on flight. Finally, the paper investigates the procedures employed by picturebook makers to appeal to the readers’ empathy to the extent of using propaganda messages. With respect to the selected picturebooks, three refugee movements can be discerned: flight from the National Socialist dictatorship, refugee movements in the postwar years from Eastern Europe to Germany, and escape from East Germany to West Germany after the erection of the Berlin Wall in 1961. Against this backdrop, the paper demonstrates how the interplay of nostalgia and propaganda in these picturebooks is calibrated.
This article explores the Foucauldian analysis of the linkage between temporality and politics, addressing mainly two loci of Foucault’s production: the assessment of the post-WWII ordoliberal experience in The Birth of Biopolitics and the Iran reportage for “Corriere Della Sera”. The article emphasizes the relevance of Foucault’s assessment of ordoliberal Germany for contemporary studies on neoliberalism and inscribes Foucault in a wider tradition of thought on the relevance of history and temporality for the comprehension of political dynamics. In TBoB , Foucault offered a prescient analysis of neoliberal temporality and its de-politicizing effects. In his view, ordoliberal theorists and politicians sought to ground political legitimacy in the economy itself, giving birth to a political-economic “double circuit” which did away with history and made political consensus “permanent” and automatic. The connection between neoliberalism, the restructuring of state sovereignty, and temporality will be highlighted. Furthermore, by analyzing the almost-coeval Iranian reportages and the eulogy for Clavel, the article further investigates Foucault’s reflection on the link between temporality, politics, and subjectivation processes. If the analysis of ordoliberal temporality in TBoB describes a linkage between de-temporalization and depoliticization, the reportages will be highlighted as a possible “pars construens” – as a way to reinstate the possibility of political action through the appeal to different ways to experience temporality. The article concludes that Foucault’s sparse comments on temporality can be read as an attempt, albeit not fully developed, not only to envision the de-politicizing effects of marketization but also to envisage new, re-politicizing modes of experiencing temporality and history.
Even a cursory exploration of the international semiotics scene today reveals that the work of Julia Kristeva is underrepresented. The radical- ism of her texts is an abiding reason for the fact that Semeiotike remains stubbornly "inconvertible" (Nikolchina 2011) into mainstream semiotics. This essay elaborates two opposed philosophical temperaments and a series of functional dualisms, including signification vs. communication and quasi-sign vs. fully fledged sign, in connection with Kristeva's own dualism, the symbolic vs. the semiotic. The quasi-sign doctrine is just one example of how Kristevan dualisms make possible non-reductive existential and social commitments and afford a written textual method applicable across the board in general semiotics. The Kristevan methods of polylogue, narrativization, and auto-critique are highest-order humanities tools for regulating ideology at the level of the text; they also contribute to the inconvertibility of Kristeva's books as hermetic and seemingly incomprehensible artifacts. The interest of these methods is intractable to quantitative methods and non-describable by natural science. This is one reason we provide such an effective interdisciplinary framework in humanities research - as semiotics aligns more and more with the strug- gle to revitalize the problematic humanities, Kristeva remains/returns as a core theoretic coordinate.
In the contemporary West, the elderly are regarded as somehow “other,” no longer who they used to be, no longer full members of the worlds they once inhabited. Being old is seen as a medical management issue. But old age is not a defective version of what preceded it; it is — like childhood, adolescence, and middle age — its own time of life with its own challenges and gifts. It is an unexpected experience and largely unknown terrain. Winter Light: On Late Life’s Radiance is an exploration of old age as a time when sudden and uncontrollable losses reveal and clarify patterns of existence formerly obscured. In this context, Penick tells of the lives of artists, musicians, and others who, in old age, changed radically through visionary modes of experience that otherwise would not have been possible.
Near the end of their lives, Titian, Michelangelo, Beethoven, Rabindranath Tagore, Jean Rhys, Andrea Palladio, Paul Cézanne, Leoš Janáček, Igor Stravinsky, and others found unforeseen paths and articulated subtleties and beauties never before encountered. Their visions are now woven into our culture and the stories of their lives are signposts for us. As Thoreau once said: “Not ’til we are lost… not ’til we have lost the world, do we begin to find ourselves and realize where we are and the infinite extent of our relations.”
In five essays, concerned respectively with body, connection, pattern, loss, and vision, Winter Light explores irretrievable losses and dawning possibilities. Penick gives voice to aspects of the inner life that in old age unfold with unanticipated depth, breadth, strangeness, and light.
The world, not the planet, is becoming virtual. Our idea of 'the planet' is already a virtual one, as the currently multiplying photos of the globe from space wordlessly attest. When we try to conceive of a 'global system' of any kind, our imaginations prove inadequate to the task. Hence the sublime experience aroused when we attempt. to contemplate our earth in its entirety in one of our more peaceful, less procedural moments, as when a young adult cries at the beach on a summer evening over the fate of humanity. [...]
La cultura visual digital, como los videojuegos, y los dispositivos que la desarrollan, la distribuyen y la ejecutan están realizados en un contexto concreto el cual les impregna no solo de una forma de ver y pensar el tiempo presente, también el tiempo pasado. La recepción y el consumo de estas obras de cultura visual digital son, en muchas ocasiones, vehículos de conciencias históricas concretas. En este artículo vamos a tratar de responder a la pregunta ¿los medios hegemónicos de la cultura visual digital portan una conciencia concreta de la Edad Media? ¿Y de ser así, cuáles son sus causas y consecuencias? Apoyados sobre las obras de Sergio Martínez Luna, Juan Martín Prada y José Luis Brea para examinar la cultura visual contemporánea; las reflexiones acerca de nuestra conciencia histórica elaborados por François Hartog, Hans Ulrich Gumbrecht y Hartmut Rosa; y nuestro propio acervo investigador fruto de nuestra trayectoria investigadora intentaremos ofrecer una respuesta adecuada a la cuestión planteada.
Steve Erickson's recent novel Shadowbahn displays a complex navigation of time that models a new formal mode for envisioning a long-durational and recursive understanding of history. The primary conceit of Erickson's novel is simple: the Twin Towers, famous for their destruction on September 11, 2001, have recently reappeared, fully formed, in the Badlands of the Dakotas. This essay argues that the reappearance of this imperial emblem on Native American land in the heart of America questions the perseverance of colonial thought and persuasively integrates 9/11 into a long genealogy of colonial violence.
To frame the topic of conflicts, particularly through the historical lens of nation-states, it is essential to consider the historical context of key state formations in the West. From the nineteenth century onward, these formations maintained the power and sovereignty that underpinned Western dominance. Although the traditional Westphalian concept, derived from the Peace of Westphalia (1648), established the notion of nation-states as the primary actors in international law—each with supreme authority over its territory— sovereignty has often been separated from physical territory in practice. Power and authority frequently extend beyond, or fall short of, a state’s geographic boundaries, indicating that sovereignty has increasingly been decoupled from territoriality. In colonial contexts, multiple legal systems and authorities coexisted and often conflicted, creating a fluid and contested landscape of governance. This allowed colonial powers to maneuver between different legal frameworks to maintain control. In these colonies, the suspension of normal legal rules—what is often referred to as a “state of exception”—was more commonly the rule rather than the exception.1
This article conceptualizes the relationship between the transitional aspect of third-world nationhood and its allegorical aspect. It argues that to say that the moment of national self-determinations is “transitional” is not to say that it is a necessary “stage” in the path to proletariat self-determination. Rather, “transition” designates a present nonidentical with itself, in which an undetermined contest for hegemony determines the politics of an anti-colonial movement. Given this nonidentity of such a movement with itself, its every document must be treated allegorically, that is, as necessarily contesting any totalizing representation of the movement as a “national” movement. This article takes as its occasion Fredric Jameson's controversial argument that all third-world texts project a “political dimension,” by rendering individual stories as “national allegories.” The author shows that the persistently undialectical dimension of Jameson's argument, which amounts to a “stagist” reduction of the aforesaid transitional aspect of nationhood, springs from his refusal to see how these very third-world texts invariably also flip the national-allegorical script by treating—as proposed above—the nation as allegory: as an inadequate form of appearance for diverse struggles for self-determination that needs to be read not with but against its own grain.
Media digital telah merevolusi cara karya seni diproduksi, didistribusikan, dan dikonsumsi dalam konteks industri budaya. Salah satu fenomena menarik yang muncul dari perubahan ini adalah popularitas penyanyi-penulis lagu perempuan, Bernadya, yang meraih perhatian luas berkat lirik-lagunya yang sederhana, tetapi mampu menangkap pengalaman umum. Penelitian ini bertujuan untuk menganalisis pengalaman kolektif dalam lirik lagu Bernadya dan komodifikasi lirik tersebut dalam konteks teori Industri Budaya dan participatory culture di era digital. Metode penelitian yang diterapkan adalah analisis wacana Van Dijk, mencakup superstruktur, strukturmakro, strukturmikro, serta kognisi dan konteks sosial. Analisis ini membedah pengalaman kolektif yang dikomunikasikan Bernadya melalui liriknya. Data diperoleh dari lirik lagu pada album Sialnya, hidup harus tetap berjalan yang dipopulerkan oleh Bernadya. Hasil penelitian menunjukkan bahwa lirik lagu Bernadya mencerminkan pengalaman kolektif yang berhasil dikomodifikasi melalui media digital dan menguatkan relevansi teori industri budaya yang kini beradaptasi dengan hadirnya participatory culture. Komodifikasi ini menciptakan homogenisasi selera di kalangan audiens sehingga memperluas penerimaan karya seni Bernadya. Berdasarkan analisis ini, dapat disimpulkan bahwa meskipun teori industri budaya Adorno sering dikritik, prinsip-prinsipnya masih relevan dalam menjelaskan dinamika musik pop kontemporer di era digital.Kata Kunci: Komodifikasi; Industri Budaya; Bernadya; Narasi Kolektif; Media digital
Starting with the synovial fluid lubricating the dancer's knees at the motion capture studio, continuing with the sweat stains on gamers' couches, and culminating with the liquid income that the companies behind hit titles like Fortnite generate by selling choreographic material; there is an overarching liquidity that dance turned into data traces across bodies and devices. Different kinds of liquification can be seen throughout the digitization stages of the dancing body, demonstrating an interconnecting thread between performance and dance on the screen that is fundamentally material, chemical, and physiological. This thread fosters a juxtaposition of digital and physical corporealities that forces users' bodily schemas to be reformulated into techno-human embodiments. The mutual correspondence of the incursion of dance into the numerical field and the numerical into dance evidences the kinetic motor behind the capital accumulation of the new emergent economy of digital dance, whose hallmark is a fluidity that liquifies bodies into currency and back, for the service of an information society.
Face au problème de méthode et de pédagogie que les praticien.nes des cultural studies n'ont cessé de soulever, deux attitudes ont été récurrentes : congédier la question ou « en revenir aux sources ». Contre le récit désormais familier des origines des cultural studies retraçant leur essor à partir d’un socle théorique marxiste dans les années 1960, puis d'une érosion progressive de celui-ci au gré de leur institutionnalisation dans les années 1980, cet article épingle l’éclectisme qui préside d’emblée à l’émergence de cette anti-discipline revendiquée. Mettant au jour un « différend fondateur » entre Raymond Williams et l’historien marxiste E.P. Thompson, qui voit dans le rôle central conféré à la culture dans The Long Revolution (1961) une nouvelle forme de réductionnisme, l’article souligne combien le moment fondateur prétendument marxiste des cultural studies invitait d’emblée un abandon du politique dans une surestimation de la culture-communication aux dépens de la question du pouvoir.
This paper examines the cultural transpositions and shifts in symbolic meaning of the “barn burning” motif through William Faulkner’s Barn Burning (1939), Haruki Murakami’s Barn Burning (1983), and Lee Chang-dong’s film adaptation Burning (버닝, 2018). Through a comparative analysis, the study delves into the socio-economic underpinnings and contextual metamorphoses that transform the barn from a productive manorial setting of the American South to an emblem of urban marginalization in Murakami’s work, culminating in a signifier of agricultural decline in Lee’s narrative. Interweaving the theoretical framework of world literature, this paper spotlights the divergent realities these texts embody and propagate. It investigates how the notion of “reality” is translated and recontextualized across cultural borders, and how meanings are variously appropriated and reimagined in the realm of world literature. The intertextual study thus emphasizes the complexities in the transmission of symbolic cultural assets, shedding light on the varied interpretations and implications of the barn burning motif as it transcends and evolves through time and space.
In this thesis, I observe what I have called a post-natural shift in environmentalism. This shift has been occurring throughout the last four decades and has, in my view, far-reaching consequences for our approach to environmental topics. It is best epitomised by the motif of the end of nature and philosophically characterised by the refutation of the concept of nature. This motif serves as a central thread for my thesis, in which I set out to study its many forms and contexts, as well as its implications on both environmental thought and practice. To this end, I conduct an extensive review and analysis of academic disputes about the idea of nature in environmentalism. While general and widely interdisciplinary in its scope, the thesis aims for depth in understanding of end-of-nature trope in its intricate ambivalence. After an introductory summary of the life-story of the trope, I offer two case studies that both epitomise and develop the trope: the (North American) wilderness debate and the Anthropocene proposition. Both feature profound questioning of the idea of nature, typically based on social constructionism. In the next step, I thus summarise and review the constructionist critique of nature that has been developing in social sciences since the 1980s. With both an understanding of the philosophical underpinnings of the critique of nature and the two case studies in hand, I return to the end-of-nature trope itself. I develop a typology of the different end-of-nature claims that serves as an analytical tool to shed light on the hidden assumptions and inconsistencies, as well as to evaluate the implications inferred from them. In the next step, I turn to the consequent proposals for environmental thought and practice without/after nature. I present a variety of these visions promising an environmentalism that might step out of its own shadow and better confront all the pressing global issues of today. Finally, to conclude the thesis, I look critically at these visions and sketch an argument that much of this post-naturalism might be (inadvertently) reproducing and legitimising the status quo of the ecological crisis and some of the key tenets of Western culture that lie in its roots.
The late 15thcentury and the early 16th century are
generally considered to be the highest exploration and
exuberance of every aspect of the history of England. England
was really renowned and famous then for its trade and
commercial expansion. The attitude of the English rulers
towards the way of life people went through then was also
encouraging. England during this period was more centralized,
neutralized by the effective government, largely due to the
reformation of Henry VI and Henry VIII and also of Elizabeth’s
harsh punishments to the Tudor defenders, who were cruel
and heinous towards the people of England. It may be assumed
that a rebirth of moral nature of people following the
intellectual progression and awakening during these two
periods, Tudor and Elizabethan, was regarded as one of the
major characteristics of Puritan movement. Though it had
hardly touched the moral nature of people, it reciprocated a
little relief and comfort from the tyrannies of rulers. One,
without assuming the political and moral degradation of a
cultured nation, can hardly read the horrible records of Medici
or the political observation of Machiavelli.
Becoming Animal (2010) by David Abram represents a significant contribution to eco-phenomenological literature. The work describes how, by focusing on the aspect of becoming animal, i.e., tuning our senses to the pulse of the Earth, we can become fully human. The main point of the present paper is to explore the figurative language so abundantly used by the author to determine how it can play a part in opening our senses and helping us to engage with extra-linguistic reality. One recurring theme in the work is interbeing and the fluidity among all participants, a premise which influenced the selection of transmodern concepts as one of my analytical approaches. My examination of figuration is supported by conceptual metaphor theory enriched by the embodied phenomenology of Maurice Merleau-Ponty and his descriptions of how the body plays a crucial role in the creation of metaphorical expressions. The exploration of imagery reveals that metaphor exhibits not only transmodern movement across signs and extra-linguistic reality but is liquid in itself, featuring the potential for free, spirited reversibility, as well as oscillation between metaphorical analogy and literal meaning.
مجلة عمران للعلوم الاجتماعية
This article argues for a rethinking of how we label the diversity of subgenres that have emerged in the postcolonial and post-Cold War world within the global genre of the novel, with the so-called memory turn and its aftermath. We identify the memory novel as one of the most important genres in contemporary global literature, and we zoom in on its forms and dynamics in post-communist Romania. Drawing on a corpus of over 200 novels published in Romania between 1990 and 2022, we propose a new set of subgenre labels that have the potential to more accurately capture the formal, thematic, and political characteristics of contemporary novels from Romania and beyond. These labels are: testimonial novel, post-testimonial novel, coming-of-age novel, transgenerational novel, and historiographical metafiction.
This article posits that postmodernism and its focus on disenchantment, subjective experience(s), and the argument for the incoherency between modernist conceptions of truth, reason, universality, progress, logic, and knowledge are exhausted and have been transcended by a flexible successor. Named ?metamodernism,? this new modality addresses the polemics left in the wake of postmodernism like alienation, hyperindividualism, and the breakdown of collectivity and unity. As such, metamodernism represents a more awakened sense of the modernist search for meaning and progress, albeit supplemented with self-conscious awareness of the goal?s seemingly unattainability. However, this renewed interest in reestablishing truth, certainty, assurances of identity, self-realization progress, and reinstatement of usable modes of I/We integrality is hardly new at all. Instead, this burgeoning ?metamodern? development represents the rekindling of the ?negative dialectic? as previously outlined by G. F. Hegel, but now with a heightened focus on its ?positive? development, that is speculative philosophy and the pursuit of sublated individuality-in-unity. In this article, I will explore this argument in four sections. I will outline Hegel?s process of alienation to reunification as elaborated in ?The Phenomenology of Spirit,? the ?Science of Logic,? and the ?Encyclopedia of Logic.? Next, I will explore how postmodernism buckled under its contradictions, introduce the philosophy of ?metamodernism,? and argue for a Hegelian reading by focusing on three elements: Ironic Sincerity, Becoming, and Self-Renewal. While only looking at three aspects of a much broader fabric, metamodernism as a cultural shift is not estranged from postmodernism but is instead given life through it.
The Urdu literary critic Shamsur Rahman Faruqi (1935–2020) favored a formalist style of literary criticism, and applied it productively to the reading of major Urdu poets like Mīr and Ġhālib. Despite its formidable success, Faruqi’s approach had certain limitations in some cases. This article examines some of these limitations in the context of Faruqi’s writings on the poet Muḥammad Iqbāl, and in doing so explores more generally the analytical as well as political limits of the non-cognitivist assumptions of formalism when applied to certain modalities of reading, writing and understanding Persian and Urdu poetry. It thus makes the case for more flexible and pluralistic models of literary criticism that can better understand and accommodate multiple ways of apprehending Persian and Urdu poetry, including those which treat poetry as a possible source of knowledge, truth, and ethical guidance.
In this essay I adress the issue of postsocialist transition as it was captured by three photographers of the former socialist states: Boris Mikhailov, Alexander Gronsky, Tamas Dezsӧ. The sudden transition that followed the fall of the Berlin Wall had visible consequences on the socio-economic reality in Eastern Europe, „the post-soviet man” trapped in a liminal space, on the border between a failed ideological project he tries to erase from its history (socialism) and one that fails to fulfil its promises, and even proves destructive (neo-liberalism). Combating normative Northwest European aesthetics, through the selected series of photographs I make a critique of the post-socialist period, showing in what way the new reality of late capitalism ruins homeless bodies and derelict spaces. Boris Michailov shows that the new dominant ideology is written in the flesh, choosing to take photos of the social class that suffers the most in post-socialism, and Alexander Gronsky and Tamas Dezsӧ contribute to a panorama of places that are no longer destinations in themselves, but unwelcoming or abandoned, because in late capitalism people migrate to metropolises. Keywords: postsocialism, postcolonial effect, documentary photography, corporeality, corpo-politics of knowledge, normative aesthetics, liminal spaces.
The paper examines the current state of Romanian cinema, focusing on the rise of Vidra Productions, a company producing commercially successful movies following the Hollywood comedy formula. The analysis explores the economic context, funding mechanisms, and the artistic merits of Vidra Productions movies, particularly through the lens of their most successful film, Teambuilding. By applying theories from Pierre Bourdieu, Jeffery Sconce, David Bordwell, and Kristin Thompson, the paper seeks to understand the broader cultural and social implications of this new trend of Romanian cinema, which blends Hollywood formulas with online influencer culture. The study ultimately calls for a more inclusive dialogue within the Romanian film industry.
In this essay I adress the issue of postsocialist transition as it was captured by three photographers of the former socialist states: Boris Mikhailov, Alexander Gronsky, Tamas Dezsӧ. The sudden transition that followed the fall of the Berlin Wall had visible consequences on the socio-economic reality in Eastern Europe, „the post-soviet man” trapped in a liminal space, on the border between a failed ideological project he tries to erase from its history (socialism) and one that fails to fulfil its promises, and even proves destructive (neo-liberalism). Combating normative Northwest European aesthetics, through the selected series of photographs I make a critique of the post-socialist period, showing in what way the new reality of late capitalism ruins homeless bodies and derelict spaces. Boris Michailov shows that the new dominant ideology is written in the flesh, choosing to take photos of the social class that suffers the most in post-socialism, and Alexander Gronsky and Tamas Dezsӧ contribute to a panorama of places that are no longer destinations in themselves, but unwelcoming or abandoned, because in late capitalism people migrate to metropolises.
This paper explores Miki Muster’s work and its reception in
both socialist and contemporary Slovenia, arguing that a certain type
of public corresponds to a specific aesthetic regime. The central thesis is that the socialist public behaves differently compared to the contemporary configuration, resulting in a changed reception of Muster’s
work. With reference to Miško Šuvaković, the socialist social configuration follows a distinctive mode of governance, meaning that the heterogeneity of acting in public needs to be taken into account. This paper demonstrates that Muster intertwines Western visual images of his
comic characters with the historical aesthetic configuration of Socialist
Yugoslavia. Due to the change of the political system, the current reception of Muster’s work operates as a nostalgic phenomenon, which
is demonstrated by the questionnaire distributed to different generations. In the concluding part, the paper presents a synthesis via Ann
Rigney’s dynamic model of cultural memory and elaborates on the future potential of Muster’s comic imagery
ResearchGate has not been able to resolve any references for this publication.