CHAPTER 1 The concept of ‘Postmodernism’- A Theoretical Approach It is a cliché by now to say that we live in a postmodern world‚ and it is true that the word ’postmodern’ has become one of the most used‚ and abused‚ words in the language. Still‚ it is striking that not many people can say with assurance what this term actually means and involves. Some theorists suggest that ‘postmodernism’ refers to a mood or an attitude of mind‚ others define it as a literary‚ cultural
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However‚ the notions of langue and parole disputes this idea. According to Barthes in 1984‚ "It [la langue] is the social part of language‚ the individual cannot himself either create or modify it". Furthermore‚ Ferdinand de Saussure’s work on structuralism and semiotics demonstrates the subjectivity of language and can be said to have sewn the seeds for modern concepts of intertextuality (such as those developed by Roland Barthes and Julia Kristeva). Intertextuality challenges the idea of a text’s ability
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thinking‚ but other sources unintentionally conflict. In the ‘understanding expressive engagement’ section‚ Sipe states contrasting views on the way children perceive stories. First‚ he says‚ “they are deeply pleasurable for children‚” but then cites Barthes’ types of literary enjoyment as bliss and pleasure: “Pleasure comes from familiarity; the text reflects a world we expect. Bliss comes from delight in the new—new vistas of experience take us out of ourselves” (479). Sipe continues with‚ “I believe
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book introduces are mass culture‚ the Frankfurt School and the culture industry‚ structuralism and semiology‚ Marxism‚ political economy and ideology‚ feminism‚ postmodernism and cultural populism. Strinati explains how theorists such as Adorno‚ Barthes‚ McRobbie and Hebdige have engaged with the many forms of popular culture‚ from jazz to popular television‚ and from teen magazines to the spy novel. The second edition has been revised and updated‚ with new material on Marxism and feminism‚ as well
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It‟s everywhere; in every direction we look. It‟s on the way to the train station‚ it‟s in the train on the wall beside our seat‚ and it‟s even on our coffee cup we just bought from Starbucks. It‟s unavoidable. You can try to run away from it‚ but it always catches up to you. You can pretend like it doesn‟t affect you‚ but ultimately it always does. It‟s powerful. It‟s much stronger then we realize. It can manipulate people into thinking a certain way‚ influence people to do something‚ and even change
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The work of various artist from this time caught my attention but the work of Barbara Kruger stood up as I think with her work one can feel the atmosphere of our society in the late 60s’ early 70s’. The field of aesthetic activism‚ had a branch of precursors that addressed feminism as a recurrent trigger in its production. Several of these artists came out of disciplines such as photography and the "object" to rely on the corporal and the performative. With some exceptions‚ it was during the ’60s
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contemporary theories that have described art in this way include Ernst Cassirer’s philosophy of symbolic forms‚ Susanne K. Langer’s theory of presentational symbols‚ and the works on semiology and semiotics‚ largely inspired by the writings of Roland Barthes‚ that have been fashionable in continental Europe. It seems important to review some of the arguments that have been employed both for and against the overall conception of art that such theories share. In favour of the view‚ it is undeniable that
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Frankenstein There can be no denial of the fact that Mary Shelly’s novel‚ Frankenstein‚ is one of the seminal works of literature of all time. The author goes on to leave a lasting impression on the minds of the avid readers with the sheer aesthetic charm and affective appeal of the novel in context. The literary artist exudes her prowess as a creative artist as she portrays her content via the use of effective literary elements. Now‚ this novel goes on to incorporate inter-textual references
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By examining the story of the naming of Canada told by the Kanien’kehaka people of the Haudensosaunee nation‚ we can see how the collective values of the group are conveyed and how the development of an ethic group boundary as defined by Fredrick Barthes
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Porter Institute for Poetics and Semiotics Analysis and Interpretation of the Realist Text: A Pluralistic Approach to Ernest Hemingway’s "Cat in the Rain" Author(s): David Lodge Source: Poetics Today‚ Vol. 1‚ No. 4‚ Narratology II: The Fictional Text and the Reader (Summer‚ 1980)‚ pp. 5-22 Published by: Duke University Press Stable URL: http://www.jstor.org/stable/1771885 . Accessed: 14/03/2011 05:14 Your use of the JSTOR archive indicates your acceptance of JSTOR’s Terms and Conditions of Use‚
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