Architect and architectural historian Stephen Parnell, from Newcastle University's School of Architecture, Planning and Landscape, charts the evolution of Postmodernism in architecture, the critical ...role of Charles Jencks in theorising and propagating it and the seminal place AD has in that history as the main publication that enabled its assimilation around the world.
Post-postmodern authenticity is introduced and used in this conceptual article to characterise a new and emergent approach to negotiating reality and fantasy by tourists through tourism. Alongside ...modern and postmodern approaches, post-postmodern authenticity contextualises recent developments within authenticity discourse. Modernism involves constructive, objective and verisimilitude stances for negotiating authenticity and inauthenticity, including by tourists through tourism. Postmodernism takes more deconstructive, subjective and hyperreal stances. Post-postmodernism meanwhile, implies reconstructive, performative, and as this article is the first to conceptualise, alterreal stances. The three orientations towards authenticity interact and react off of each other. Unable to address the paradoxes of negotiating reality alone, together, they provide a contextual, extended and holistic conceptualisation of complex authenticity.
•Modern, postmodern and post-postmodern authenticity negotiation stances elaborated•Contextualises recent developments within tourism authenticity discourse•Post-postmodern alterreality conceptualised•Three modernity orientations illustrate the complexity of authenticity overall.
Mediated Messages presents a collection of original writing exploring the role played by the media in the development of postmodern architecture in the 1970s and 80s. The book’s twelve chapters and ...case-studies examine a range of contemporary periodicals and exhibitions to explore their role in the postmodern. This focus on mediation as a key feature of architectural post-modernism, and the recognition that post-modernism grew out of developments in the media, opens up the possibility of an important new account of post-modernism distinct from existing narratives. Accompanied by a contextualizing introduction, the essays are arranged across four thematic sections (covering: images; international postmodernisms; high and low culture; and postmodern architects as theorists) and present a range of case-studies with a genuinely international scope. Altogether, this work makes a substantial contribution to the historical account of architectural postmodernism, and will be of great interest to researchers in postmodernism as well as those examining the role of the media in architectural history.
Using the literature-in-marketing approach this study explores the transition said to be occurring in contemporary culture, society and philosophy between the waning postmodern and the ascendant ...post-postmodern. Research gauges a complex unfolding sociocultural moment that has major implications for marketing, but which heretofore has been little described. Song lyrics of prominent pop music artists, Madonna and Taylor Swift, are suggested to illustrate respective characteristics. Lady Gaga is held up as an intermediary between Madonna's deconstructive and Taylor's reconstructive selves. Themes of reputation, revenge and romance highlight how Swift experiments with re-compositions of self in relation to surroundings and vice versa. Her fabulations and manipulations thereof are supported by processes of communality, publicity and transition. The rise of Taylor Swift as a post-postmodern paragon provides insight into where the post-postmodern turn might be observed and how it may impact marketing theory and practice.
Since its first appearance in 1981, critical regionalism has
enjoyed a celebrated worldwide reception. The 1990s increased its
pertinence as an architectural theory that defends the cultural
identity ...of a place resisting the homogenising onslaught of
globalisation. Today, its main principles (such as acknowledging
the climate, history, materials, culture and topography of a
specific place) are integrated in architects' education across the
globe. But at the same time, the richer cross-cultural history of
critical regionalism has been reduced to schematic juxtapositions
of 'the global' with 'the local'. Retrieving both the globalising
branches and the overlooked cross-cultural roots of critical
regionalism, Resisting Postmodern Architecture resituates
critical regionalism within the wider framework of debates around
postmodern architecture, the diverse contexts from which it
emerged, and the cultural media complex that conditioned its
reception. In so doing, it explores the intersection of three areas
of growing historical and theoretical interest: postmodernism,
critical regionalism and globalisation. Based on more than 50
interviews and previously unpublished archival material from six
countries, the book transgresses existing barriers to integrate
sources in other languages into anglophone architectural
scholarship. In so doing, it shows how the 'periphery' was not just
a passive recipient, but also an active generator of architectural
theory and practice. Stylianos Giamarelos challenges long-held
'central' notions of supposedly 'international' discourses of the
recent past, and outlines critical regionalism as an unfinished
project apposite for the 21st century on the fronts of
architectural theory, history and historiography. Praise
for Resisting Postmodern Architecture 'Giamarelos
reflects upon why Frampton's critical regionalism continues to
endure, particularly as a template for an engaged practice on the
part of architects around the world today. He points to aspects of
Frampton's ideas, such as a respect for nature, local landscapes
and site conditions, which easily segue to the pressing
contemporary concerns regarding sustainability and climate change.
For these reasons, Resisting Postmodern Architecture is a worthy,
relevant and innovative work of scholarship.' Mary Pepchinski
This is a translation of the article “Nationalism, Modernization and the Polylogue of Civilizations” by Lithuanian sociologist Vytautas Kavolis. The original article was published in English in 1991 ...in the Comparative Civilizations Review, and the Lithuanian translation appeared in 1992 in a journal Proskyna (translated by Saulius Spurga). In this article Kavolis discusses complex relationship of nationalism and cultural configurations of modernity, postmodernity and antimodernist thinking. He considers how different forms of thinking shape the violent and humane manifestations of nationalism, and what opportunities are offered by globalization to the national identity.
The study examines the postmodern philosophy and its reflection on the visual arts in order to reach its different, various, contradictory and shocking shapes and expressions in many cases, the study ...found that it's a reflection for the development that happened through the formation of human though, the postmodern philosophy defined the art out comes and its manners, and whereas the postmodern community is not real, the postmodern arts are expression for negativity and nonexistence. As well, it is an expression of domination will and power therein, therefore, the art forming was in postmodern phase as radical-criticism for the community, and a criticism for rational and self-modernity, in addition that it's a method to detect the power of production forces and its contradiction which hidden behind modern technologies and ideologist, and this what artist have undermined through liberating him from Illusions of the cultural industry. This study aimed to expose the postmodern philosophy in order to resolve the problems which concerned in understanding art and its philosophical references, and a problematic as such important as this, it was necessary to examine it and define it methodically. يتناول البحث، فلسفة مابعد الحداثة، وانعكاسها على الفنون البصرية، بغية الوصول لفهم أشكالها وتعبيراتها المختلفة والمتنوعة والمتناقضة والصادمة، في كثير من الأحيان، وقد كشفت الدراسة انها انعكاس للتطور الذي جرى في بنية الفكر الإنساني، فقد حددت فلسفة مابعد الحداثة مخرجات الفن وأساليبه، وبما أن مجتمع الحداثة ليس حقيقياً، فإن فنون مابعد الحداثة هي تعبير عن السلبي وعن العدمية، كما هي تعبير عن إرادة الهيمنة والسلطة فيه، لهذا كان التشكيل الفني في مرحلة مابعد الحداثة بمثابة نقد جذري للمجتمع، ونقد للحداثة العقلانية والذاتية، كما أنه وسيلة للكشف عن سلطة قوى الانتاج وتناقضاته، المختفية وراء التقنيات الحديثة والايدولوجيات، الامر الذي عمل الفنانون على تقويضه، من خلال تحريره من أوهام الصناعة الثقافية. وقد هدفت هذه الدراسة الى عرض فلسفة مابعد الحداثة في سبيل حل المشكلات التي تعنى بفهم الفن ومرجعياته الفلسفية. وإن إشكالية على هذا النحو من الأهمية، كان لابد من دراستها، وتحديدها، منهجياً.
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