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The period known as Postmodernism is over. With it goes the pervasive cynicism, apathy, and nihilism that defined so much of American culture during the latter 20th century. Now, a new sensibility--called "Metamodernism" by an emerging consensus--has occasioned the return of various ideas long denigrated under Postmodernism, but also transformed by it. This Metamodern sensibility is characterized by a thorough reimagination of transcendence, and the exploration of new modes of depth and dimensionality for meeting the challenge of the contemporary meaning crisis. Such is the argument presented in this short but incisive text, as it tracks the development of this new period from the decline of Postmodernism to today. In addition, this analysis is supplemented by two accompanying essays that explore the Metamodern reconstruction of meaning through artistic mythmaking, with examples from contemporary art and literature.
Opening -- Part I. Metarealism. How the real world became a fable, or, The realities of social construction -- Part II. Process social ontology. Concepts in disintegration & strategies for demolition ; Process social ontology ; Social kinds -- Part III. Hylosemiotics. Hylosemiotics : the discourse of things -- Part IV. Knowledge and value. Zetetic knowledge ; The revaluation of values -- Conclusion : becoming metamodern.
Brings together many of the most influential voices in the scholarly and critical debate about post-postmodernism and twenty-first century aesthetics, arts and culture.
The modern world is in turmoil. The decline of the old religious myths has generated profound psychological instability for many people, with nothing yet to take their place. The resulting "meaning crisis" lies at the heart of so much of our cultural tumult, and will continue to unravel society until we find a way to affectively reintegrate a sense of mythic meaning and common purpose back into our lives. Personal myth offers us a constructive way forward. Since Carl Jung first explored the idea in the mid-20th century, numerous psychologists and comparative mythologists have advanced the concept in fruitful ways. This book attempts to develop it even further-to show how the process of personal mythmaking can not only return a sense of meaning to our individual lives but also form the basis of genuinely edifying spiritual community. The task of reimagining the sacred calls each of us to do our part-a project every bit as bold as the building of the great cathedrals. What will you build with your life?
No doubt the 21st century will continue to surprise us, but the battle for the soul of humanity appears to be quickening. Do we have what it takes to save ourselves from ourselves? The internet has fundamentally changed our experience of shared life, for good and bad. The spiritual and ecological exhaustion of modernity is watched and discussed in a public realm mostly controlled by private interests, where our attention is easily hijacked and vulnerable to manipulation. There is joy and hope in life as always, but our species faces a capricious future. This anthology is an attempt to perceive our contexts and opportunities more clearly with an exploration of the metamodern sensibility: a structure of feeling, cultural ethos, epistemic orientation and imaginative outlook that is coalescing into an important body of theory and practice. Leading metamodern writers, including Zachary Stein, Bonnitta Roy, Lene Rachel Andersen, Hanzi Freinacht, Minna Salami and John Vervaeke, reflect upon the conjunction of premodern, modern and postmodern influences on the present to help contend with our plight in the 2020s and beyond. Fourteen chapters traverse a range of disciplines and domains to help the reader move beyond critique into vision and method. The aim is to create and inspire viable and desirable futures in this time between worlds, where one pattern of collective life is dying and another needs our help to be born.
The flourishing of religious or spiritually-inspired music in the late twentieth and early twenty-first centuries remains largely unexplored. The engagement and tensions between modernism and tradition, and institutionalized religion and spirituality are inherent issues for many composers who have sought to invoke spirituality and Otherness through contemporary music. Contemporary Music and Spirituality provides a detailed exploration of the recent and current state of contemporary spiritual music in its religious, musical, cultural and conceptual-philosophical aspects. At the heart of the book are issues that consider the role of secularization, the claims of modernity concerning the status of art, and subjective responses such as faith and experience. The contributors provide a new critical lens through which it is possible to see the music and thought of Cage, Ligeti, Messiaen, Stockhausen as spiritual music. The book surrounds these composers with studies of and by other composers directly associated with the idea of spiritual music (Harvey, Gubaidulina, MacMillan, Pärt, Pott, and Tavener), and others (Adams, Birtwistle, Ton de Leeuw, Ferneyhough, Ustvolskaya, and Vivier) who have created original engagements with the idea of spirituality. Contemporary Music and Spirituality is essential reading for humanities scholars and students working in the areas of musicology, music theory, theology, religious studies, philosophy of culture, and the history of twentieth-century culture.
The world is entering a new technological, social and global age and it is our ability to create meaning which will decide whether we face a bright future or a tragic decline. We are living in an unsustainable state of cultural tension. Stress and depression are becoming more common, we are destroying our environment and while the rich become richer, inequality has spread both domestically and globally. The world's entire democratic system is strained and the only 'meaningful' story left is our role as consumers. We flee to and are trapped by the gilded illusion of happiness that is dictated to us by consumerism. In The World We Create, Tomas Björkman takes readers on a journey through history, economics, sociology, developmental psychology and philosophy, to illuminate where we have come from and how we have reached this breaking point. He offers new perspectives on the world we have created and suggests how we can achieve a more meaningful, sustainable world in the future.
The author suggests that in this era following the postmodern we have entered a new, monist epoch in which aesthetically mediated belief replaces endless irony as the dominant force in culture. The book documents the "new monism" through an examination of popular films and novels such as American beauty, Life of Pi, and Middlesex as well as in the work of major architects and artists such as Sir Norman Foster, Andreas Gursky, and Vanessa Beecroft. --book cover.
Transcending the Postmodern: The Singular Response of Literature to the Transmodern Paradigm gathers an introduction and ten chapters concerned with the issue of Transmodernity as addressed by and presented in contemporary novels hailing from various parts of the English-speaking world. Building on the theories of Transmodernity propounded by Rosa María Rodríguez Magda, Enrique Dussel, Marc Luyckx Ghisi and Irena Ateljevic, inter alia, it investigates the links between Transmodernity and such categories as Postmodernity, Postcolonialism and Transculturalism with a view to help define a new current in contemporary literary production. The chapters either follow the main theoretical drives of the transmodern paradigm or problematise them. In so doing, they branch out towards various issues that have come to inspire contemporary novelists, among which: the presence of the past, the ascendance of new technologies, multiculturalism, terrorism, and also vulnerability, interdependence, solidarity and ecology in a globalised context. In so doing, it interrogates the ethics, aesthetics and politics of the contemporary novel in English.
A great many theorists have argued that the defining feature of modernity is that people no longer believe in spirits, myths, or magic. Jason Ā. Josephson-Storm argues that as broad cultural history goes, this narrative is wrong, as attempts to suppress magic have failed more often than they have succeeded. Even the human sciences have been more enchanted than is commonly supposed. But that raises the question: How did a magical, spiritualist, mesmerized Europe ever convince itself that it was disenchanted? Josephson-Storm traces the history of the myth of disenchantment in the births of philosophy, anthropology, sociology, folklore, psychoanalysis, and religious studies. Ironically, the myth of mythless modernity formed at the very time that Britain, France, and Germany were in the midst of occult and spiritualist revivals. Indeed, Josephson-Storm argues, these disciplines’ founding figures were not only aware of, but profoundly enmeshed in, the occult milieu; and it was specifically in response to this burgeoning culture of spirits and magic that they produced notions of a disenchanted world. By providing a novel history of the human sciences and their connection to esotericism, The Myth of Disenchantment dispatches with most widely held accounts of modernity and its break from the premodern past.