Temat: postmodernism - Prolib Integro

Skocz do pozycji: 1.

Tytuł:: From Research on the Musical “Trans-avant-garde”: A Contribution to the Discussion on the Terminology Concerning the Historiography of 20th Century Polish Music
Autorzy:: Karwaszewska, Monika
Tematy:: postmodernism; Pokaż więcej
Data publikacji:: 2016
Powiązania:: https://bibliotekanauki.pl/articles/632422.pdf Link otwiera się w nowym oknie
Źródło:: Avant; 2016, 7, 1
2082-6710
Pojawia się w:: Avant
Opis:: he research article discusses the concept of “the trans-avant-garde” (a term coined by theItalian art critic Achille Bonito Oliva to describe certain phenomena in visual arts, espe- cially painting, which have appeared since the end of the 1970s) and attempts to adapt it for a discussion of twentieth century Polish music. The trans-avant-garde (Italian la transavanguardia) is an Italian form of expressionism in art (neo-expressionism), origi- nating as a rejection of modernism, formalism, innovation, originality, and stylistic coher- ence, which began to treat tradition in a new way, extensively referring to 16th century mannerisms, ambiguity, stylistic pluralism and polysemy.While, on the one hand, trans-avant-garde artists are fully aware of the crisis of the avant- garde experiment, on the other, they aim to create content-packed works of deeply expres- sive and romantic character. The trans-avant-garde is widely considered to be an early stage of postmodernism, or simply its synonym. There is a difference, though, between the trans-avant-garde and the postmodern. Oliva speaks of a journey from America to Eu- rope and back. My article discusses these differences, systematizes the most important stylistic aspects and aesthetic ideas, and applies these observations to the study of music-a discipline Oliva did not take into consideration.A key issue in the description of the trans-avant-garde in Polish music is analysis of the trends that precede it, are synchronous with it, and follow it in history. It is also important to trace borrowings and differences along this time axis. In order to offer an insight of thiskind, I first present the different concepts of “modernity” and “postmodernity” that haveappeared in music (and art) of the twentieth century, and I then juxtapose those with the Italian original idea of la transavanguardia.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: ARISTOTLE AND THE POSTMODERN WORLD
Autorzy:: Marcos, Alfredo
Tematy:: Aristotle
postmodernism; Pokaż więcej
Data publikacji:: 2012
Powiązania:: https://bibliotekanauki.pl/articles/507366.pdf Link otwiera się w nowym oknie
Źródło:: Studia Gilsoniana; 2012, 1; 65-73
2300-0066
Pojawia się w:: Studia Gilsoniana
Opis:: With the support of recent scholarship the author proposes an understanding of the Aristotelian Corpus inspired by the biological works. He points out that this understanding is bound up with other current philosophical discussions, especially on biology, rationality, realism, the knowledge of an individual, metaphor, and poetics. The author concludes that Aristotle offers the most promising ontological, epistemological and anthropological basis not only for undertaking a series of urgent reconciliations (of facts and values, of theoretical and practical reason, of understanding and sensation, and of intelligence and emotion), but also for solving many dualisms of modern times, in their Platonic or materialist varieties.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Cracovian modernists - the 60 ties, 90 ties of the XX century - the returns
Autorzy:: Wrana, J.
Tematy:: Cracow
modernism
postmodernism; Pokaż więcej
Data publikacji:: 2009
Powiązania:: https://bibliotekanauki.pl/articles/391276.pdf Link otwiera się w nowym oknie
Źródło:: Budownictwo i Architektura; 2009, 4, 1; 125-132
1899-0665
Pojawia się w:: Budownictwo i Architektura
Opis:: The European reaction of the leading architects towards the period of international style, "The idea of style has yet again become up-to-date. The modern style, covering the whole world, is uniform and coherent..." [4], promoted at the exhibition "Modernist architecture" organized in Museum of Art in New York by architects Henry Russell Hitchcock and Philips Johnson, was immediate. The leading European architects: a) Walter Gropius wrote: "The aim of Bauhaus was not to promote one particular style..." [4], b) Le Corbusier formulated "Fundamental principles of aesthetics" [4], c) Bruno Taut wrote: "Five assumptions of new architecture" [4]. The message that "The form follows the function" became the very principle of modernism. The year 1972, when the blocks of flats in St. Louis, US were blown up, and the year of the actual end of the ideology originating from CIAM, is the agreed time marked as the end of modernism. It was a few years after Le Corbusier's death (1965) - the death of the unchallenged spiritual ideologist of modernism.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Prawda w mediach
The Truth in Media
Autorzy:: Zanussi, Krzysztof
Tematy:: media
truth
postmodernism; Pokaż więcej
Data publikacji:: 2008
Powiązania:: https://bibliotekanauki.pl/articles/20028168.pdf Link otwiera się w nowym oknie
Źródło:: Annales. Etyka w Życiu Gospodarczym; 2008, 11, 2; 191-193
1899-2226
2353-4869
Pojawia się w:: Annales. Etyka w Życiu Gospodarczym
Opis:: It used to be that if some message came from an oral source, its weight depended on reliability of the one who had transmitted it and on the one who had heard it. If, on the other hand, something was printed it intrinsically became credible. Democratization of access to print and similar democratization of media, apart from its undoubtedly positive side, brings also a negative novum – it encourages everyone to speak freely. It is impossible to talk about truth in media, or truth in any other sense, and not relate to the fashionable nowadays in the humanities the vanquisher of Marxism – called postmodernism. This very movement in its popular form sows the seeds of fear of all who proclaim the existence of objective truth or, what is worse, absolute truth. They caution that the supporters of this truth will introduce it by force, so we are in danger of facing totalitarianism, fundamentalism and dark dictatorship. It is uncertainty that drives people to violence. Those who have something to hold on to are more unaffected by despair. The fanatics are often recruited from those who are adrift. Less often from those with a questing mind. But in order to seek one needs to believe that truth exists. Even if it were always incomplete and imperfect in the form in which we are able to assimilate it. To the charges that every certainty leads to violence, I reply that most frequently it is the opposite. It is fear and feeling adrift that drive people to the false certainty. Whoever believes that truth exists will easier accept that he will never grasp it. In the very important debate that was conducted some years ago, the fear of fundamentalism was juxtaposed with the fear of nihilism. I see the latter as a greater threat.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 5.

Tytuł:: Od „dna” ku „denku”. Postmodernistyczna aktualizacja dramatu M. Gorkiego
From the bottom to the shallowness. Postmodernism in M. Gorkie’s drama
Autorzy:: Pieczyński, Maciej
Tematy:: postmodernism
intertextuality
transcontextualization
parody; Pokaż więcej
Data publikacji:: 2018-09-22
Powiązania:: https://bibliotekanauki.pl/articles/915273.pdf Link otwiera się w nowym oknie
Źródło:: Kultury Wschodniosłowiańskie – Oblicza i Dialog; 2014, 4; 151-158
2391-470X
Pojawia się w:: Kultury Wschodniosłowiańskie – Oblicza i Dialog
Opis:: Contemporary Russian drama is situated in a dialogue with literary and more precisely dramatic tradition. For example, this thesis clearly confirms a comedy by Igor Shpric On the bottom. The text at the level of its title refers to Maxim Gorky's play The Lower Depths. Shpric’s comedy parodies this work by presentingGorky's characters in the social and cultural context of contemporary reality. The main purpose of the paper is the intertextual analysis and interpretation of ironic Shpric’s comedy as the transcontextualization of language, poetics, themes, plot and characters ofGorky's text.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 6.

Tytuł:: Wstęp do estetyki Derridy i Lyotarda
Autorzy:: Słomski, Wojciech
Tematy:: Deconstruction
Postmodernism
Post-structuralism; Pokaż więcej
Data publikacji:: 2018
Powiązania:: https://bibliotekanauki.pl/articles/2148218.pdf Link otwiera się w nowym oknie
Źródło:: Prosopon. Europejskie Studia Społeczno-Humanistyczne; 2018, 4(25); 143-145
1730-0266
Pojawia się w:: Prosopon. Europejskie Studia Społeczno-Humanistyczne
Opis:: There have been outlined serious discrepancies between philosophies of Derrida and Lyotard on the grounds of deliberations concerning art. Lyotard questions the notion of beauty, demanding a replacement of it with a notion of the sublime, thanks to which artistic creation could also get rid of its constraints. Lyotard argues that beauty is possible thanks to the mimesis of nature, but the mimesis requires observance of the rules. Rejecting the idea of beauty, as a supreme value in art, we reject the necessity of subordinating art to rules, or, in Lyotard’s words, we sacrifice it for the freedom of practical reason.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 7.

Tytuł:: Systemy filozoficzne Derridy i Lyotarda
Autorzy:: Słomski, Wojciech
Tematy:: Postmodernism
Post-structuralism
Deconstruction; Pokaż więcej
Data publikacji:: 2018
Powiązania:: https://bibliotekanauki.pl/articles/2148222.pdf Link otwiera się w nowym oknie
Źródło:: Prosopon. Europejskie Studia Społeczno-Humanistyczne; 2018, 4(25); 157-173
1730-0266
Pojawia się w:: Prosopon. Europejskie Studia Społeczno-Humanistyczne
Opis:: Jacques Derrida and Jean-François Lyotard are the creators of a philosophical and cultural movement called postmodernism (Lyotard has also contributed to the popularization of the term “postmodernism”), but it should be remembered that currently the term “postmodernism” refers to the entire spectrum of various ideas, the ideas and texts from various fields, therefore, it is impossible to identify the philosophy of Derrida or the philosophy of Lyotard with the movement in philosophy or, more importantly, the humanities and social sciences, which we now call postmodernism. From today’s perspective, both Derrida and Lyotard belong to a large group of authors whose work constitutes broadly understood postmodernism, but it would be unwarranted to claim that this movement stems directly from their achievements. These philosophers have begun a new way of practicing philosophy and proposed a new point of view, but they did not create concepts that would be widely accepted by philosophers who describe themselves as postmodernists. They also did not raise any disciples or successors who would attempt to develop the concepts outlined by them, although undoubtedly some of their concepts have had a significant impact on both the development of philosophy and the humanities, and social sciences. The concept of Derrida’s deconstruction proved to be the most influential (by that, however, it is necessary to understand the general method of reading texts, but not the collection of Derrida’s views, sometimes referred to as “deconstruction”), and Lyotard’s thesis concerning the end of Grand Narratives. The detailed theses on aesthetic, social, semantic and, finally, political issues are, as it seems, known primarily to philosophy experts.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 8.

Tytuł:: O dekonstrukcji
Autorzy:: Słomski, Wojciech
Tematy:: Deconstruction
Postmodernism
Post-structuralism; Pokaż więcej
Data publikacji:: 2018
Powiązania:: https://bibliotekanauki.pl/articles/2148232.pdf Link otwiera się w nowym oknie
Źródło:: Prosopon. Europejskie Studia Społeczno-Humanistyczne; 2018, 4(25); 261-268
1730-0266
Pojawia się w:: Prosopon. Europejskie Studia Społeczno-Humanistyczne
Opis:: From general assumptions concerning the method of reading the text, a series of detailed implications, important both for philosophy and for social, and political reality are drawn by Derrida. One of the binary oppositions, which Derrida submits to deconstruction, is the opposition between literalism and a metaphor. Also, that opposition, according to the French thinker, after a closer examination turns out to be a myth. According to popular belief, the literal meaning of the expression takes precedence over all metaphorical use in the sense that it is the foundation upon which the metaphorical use is built. From this point of view, a metaphor is supposed to be at most an addition and an ornament, and if it is supposed to be used in philosophy, it is only in exceptional circumstances, and to facilitate the understanding of the content that the philosopher tries to explain in any way possible in a language devoid of metaphors. In accordance with the assumptions of deconstruction, Derrida reverses this order and the concept, traditionally considered subservient to its opposition, puts in the first place. First of all, he notices that a metaphor does not belong to the language of philosophy, but to the colloquial language. We could expect that in order to understand the meaning of a metaphor in a philosophical text, we should translate it into a natural language in which we will be able to discover its literal meaning. Derrida believes that the process of reaching that literality we can admittedly begin, i.e., for any philosophical metaphor we can indicate some other term that comes off as literal, however, the term, after a closer analysis, also turns out to be a metaphor for which we need to find another expression that comes off as literal, etc. The difference between a philosophical metaphor and a natural expression comes down to the superficial impression of literalness, while, as a matter of fact, the natural expressions turn out to be old, “worn-out”, as Derrida expresses, metaphors.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 9.

Tytuł:: Kategoria „duchowości życia” w perspektywie religijnej i flozofcznej
Autorzy:: Guzowska, Beata
Tematy:: spirituality
religiosity
life
postmodernism; Pokaż więcej
Data publikacji:: 2022-10-24
Powiązania:: https://bibliotekanauki.pl/articles/44732050.pdf Link otwiera się w nowym oknie
Źródło:: Przegląd Religioznawczy; 2022, 3/285; 73-80
1230-4379
Pojawia się w:: Przegląd Religioznawczy
Opis:: The category of „Spirituality of Life” is a kind of „product” of modern change in religion and religiosity. The spirituality of life strives to be an alternative to human needs that are not met in traditional religions and concern the diversity of values, norms and paths of development.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 10.

Tytuł:: Specyfika postmodernizmu ukraińskiego
Specificity of the Ukrainian postmodernism
Autorzy:: Szydło, J.
Tematy:: postmodernizm
modernizm
modernizm ukraiński
postmodernizm ukraiński
postmodernism
modernism
Ukrainian modernism
Ukrainian postmodernism; Pokaż więcej
Data publikacji:: 2013
Powiązania:: https://bibliotekanauki.pl/articles/398762.pdf Link otwiera się w nowym oknie
Źródło:: Ekonomia i Zarządzanie; 2013, 5, 2; 81-93
2080-9646
Pojawia się w:: Ekonomia i Zarządzanie
Opis:: W artykule poruszono zagadnienie postmodernizmu ukraińskiego. Skoncentrowano się na analizie twórczości Jurija Andruchowycza. Pokazano, że ukraińska refleksja nad ponowoczesnością, jako zjawiskiem kulturowym, wiąże się ściśle z przełomem politycznym. Postmodernizm w dawnych państwach socjalistycznych przybrał inny kierunek niż na Zachodzie; nie jest tak bogaty, dobrze znany i wpływowy jak zachodni. Niemniej jednak okazuje się wysoce kreatywny, unikatowy i oferuje inny aspekt kulturowego pluralizmu. Zwraca się do rezerwuaru narodowego dziedzictwa, a szczególnie do tej jego części, która dawniej w modernizmie postrzegana była jako prowincjonalna, niekosmopolityczna, a na tyle międzynarodowa, aby potraktować ją poważnie i dostrzec walor narodowy. Regionalizm okazuje się jedną z charakterystycznych cech ponowoczesności. Nie wyklucza to jednak wartości międzynarodowych. Postmodernizm ukraiński jest próbą unowocześnienia ukraińskiej tożsamości kulturowej, umożliwiającej znalezienie w niej miejsca dla różnorodności.
The text raises the question of postmodernism. It aims to show that Ukrainian postmodernism is a specific phenomenon based on the relationship between East and West. It is something distinctive from what has been previously discussed in the literature of postmodernism. It is not as clear and unambiguous, as there is no clear foundation. It is based on complexes, insularity, twists of history, and specific political “games”. Writing this text was a journey of budding creativity in a neighbouring, but yet little discovered country. The more so with so many outstanding characters absorbing attention of their talents and an interesting world view.
Dostawca treści:: Biblioteka Nauki

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