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If postmodernism is indeed 'the cultural logic of late capitalism', why did typical postmodernist themes like ornament, colour, history and identity find their application in the architecture of the socialist Second World? How do we explain the retreat into paper architecture and theoretical discussion in societies still nominally devoted to socialist modernization? Exploring the intersection of two areas of growing scholarly interest - postmodernism and the architecture of the former socialist world - this edited collection stakes out new ground in charting architecture's various transformations in the 1970s and 80s. Fourteen essays together explore the question of whether or not architectural postmodernism had a specific Second World variant. The collection demonstrates both the unique nature of Second World architectural phenomena and also assesses connections with western postmodernism. The case studies cover the vast geographical scope from Eastern Europe to China and Cuba. They address a wealth of aesthetic, discursive and practical phenomena, interpreting them in the broader socio-political context of the last decades of the Cold War. The result provides a greatly expanded map of recent architectural history, which redefines postmodernist architecture in a more theoretically comprehensive and global way.
Now in paperback, Fredric Jameson’s most wide-ranging work seeks to crystalize a definition of ”postmodernism”. Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.
A study of postmodernism and African-American poets.
In 1996 physicist Alan Sokal published an essay in Social Text--an influential academic journal of cultural studies--touting the deep similarities between quantum gravitational theory and postmodern philosophy. Soon thereafter, the essay was revealed as a brilliant parody, a catalog of nonsense written in the cutting-edge but impenetrable lingo of postmodern theorists. The event sparked a furious debate in academic circles and made the headlines of newspapers in the U.S. and abroad. In Fashionable Nonsense: Postmodern Intellectuals' Abuse of Science, Sokal and his fellow physicist Jean Bricmont expand from where the hoax left off. In a delightfully witty and clear voice, the two thoughtfully and thoroughly dismantle the pseudo-scientific writings of some of the most fashionable French and American intellectuals. More generally, they challenge the widespread notion that scientific theories are mere "narrations" or social constructions.
Containing more than fifty essays by major literary scholars, International Postmodernism divides into four main sections. The volume starts off with a section of eight introductory studies dealing with the subject from different points of view followed by a section that deals with postmodernism in other arts than literature, while a third section discusses renovations of narrative genres and other strategies and devices in postmodernist writing. The final and fourth section deals with the reception and processing of postmodernism in different parts of the world. Three important aspects add to the special character of International Postmodernism: The consistent distinction between postmodernity and postmodernism; equal attention to the making and diffusion of postmodernism and the workings of literature in general; and the focus on the text and the reader (i.e., the reader's knowledge, experience, interests, and competence) as crucial factors in text interpretation. This comprehensive study does not expressly focus on American postmodernism, although American interpretations of postmodernism are a major point of reference. The recognition that varying literary and cultural conditions in this world are bound to produce endless varieties of postmodernism made the editors, Hans Bertens and Douwe Fokkema, opt for the title International Postmodernism.
In this original and eye-opening study, Stefan Morawski sheds light on the often confused debate about postmodernism, postmodernity and human values. Drawing upon a wide range of evidence from the experience of everyday life in the sciences, religion, visual arts, literature, film, television and contemporary music, The Troubles with Postmodernism is an indispensable guide to our understanding and evaluation of contemporary literature.
Political Postmodernisms shows how sites outside of Western Europe and North America undermine an established narrative of architecture theory and history. It focuses specifically on postmodern architecture, which is traditionally understood as embodying the flippant and apolitical aesthetics of capitalist affluence. By investigating postmodern architecture’s manifestations in the unlikely settings of Chile during the neoliberal dictatorship of Augusto Pinochet and Poland during the late socialist Polish People’s Republic, the book argues for a new account that incorporates the political roles it plays when seen in a global perspective. Political Postmodernisms has three goals. First, it challenges the familiar narrative regarding postmodern architecture as following the “cultural logic of late capitalism” (Fredric Jameson) or as a socially conservative project (Jürgen Habermas). Second, it fills in portions of Chilean and Polish architectural history that have been neglected by Chilean and Polish architectural historians themselves. Third, Political Postmodernisms shows how architecture can work as a political form – serving propagandistic purposes and functioning as part of oppositional projects. The book is projected to be of use to students and scholars in global modern and contemporary architecture history, history of urban planning, East European Studies, and Latin American Studies.
In Mapping Postcommunist Cultures Chernetsky argues that Russia and Ukraine exemplify the principal paradigms of post-Soviet cultural development. In Russia this has manifested itself in the subversive dismantling of the totalitarian linguistic regime and the foregrounding of previously marginalized subject positions. In Ukraine, work in these areas shows how the traumas of centuries of colonial oppression are being overcome through the carnivalesque decrowning of ideological dogmas and an affirmation of a new type of community, most recently demonstrated in the peaceful Orange Revolution of 2004. Mapping Postcommunist Cultures also critiques the neglect of the former communist world in current models of cultural globalization.