Postmodern Paradigm Research Articles

Transition to Metamodernism: Anthropology of Space

The article presents the evolution of views on the state of contemporary culture in the framework of postmodern and metamodern concepts. The relevance of this study is associated with the formation of a new attitude to visuality in the metamodern concept. The proposed approach demonstrates a new principle of working with the phenomenon of visualization, both in terms of detail and generalization. The author explores the concept of a loft-style in the context of general trends in visual practices during the transition from the postmodern culture to the metamodern one. The analysis of the loft aesthetics makes it possible to see the development of postmodernism as a common worldview paradigm of the late twentieth century. In turn, changes in the loft-style technique become markers of the transition to the metamodern. The loft object demonstrates the layering of senses and meanings, historical eras and aesthetic preferences. The loft style reflects the influence of aesthetic, technical and communicative preferences on the formation of a specific human-environment paradigm. A comparison of the loft-style and the collage art practices allows to make definite conclusions as to the post-modern art space practice and its implementation in an urban concept. This appears as a single process of the postmodern paradigm development realized on a different scale. The loft and art collage techniques of the last quarter of the 20th century served as the basis for the metamodern technology of constructing the historicity (authenticity) of the environment. At the same time, an important moment of space is the entourage of authenticity, combined with cutting-edge urban technology. Metamodern understands the visual image as a phenomenon of consciousness, inscribed in the complex system of interactions, where physicality, sociality, psychology, and other anthropological projections are viewed as conditions, not as the means of expressing meanings. The article proposes the original approach to the phenomenon of visualization: visual image is presented as a result of the formation of a complex semiotic system which reflects the experience of the multi-level spatial environment.

Digital storytelling: a tool for life design career intervention

Life design is a postmodern paradigm in career interventions for which technology plays an important role in helping clients in career decision-making process. Accepting the role of technology and information technology in life, this study aims to investigate the effect of digital storytelling on career counseling process with life design paradigm. This is a quasi-experimental study with pretest, posttest, and follow-up with control group. For this purpose, 45 students in Tehran were randomly selected to participate in the labor market entrance course and they were assigned to (i) the digital storytelling (15 students), (ii) the face-to-face storytelling (15 students), and (iii) the control (15 students) groups. The career decision-making and the career decision-making self-efficacy questionnaires were completed in the pretest, the posttest, and the follow-up test. The findings showed that career decision-making and career decision-making self-efficacy of the subjects in the intervention groups increased relative to the control group and the group in which the digital storytelling was used for career interventions obtained higher career decision-making self-efficacy than other groups. According to the findings, it can be said that although no difference exists between students’ use of the digital storytelling and the face-to-face storytelling, the use of the digital storytelling results in higher career decision-making self-efficacy of students.

Features of the modern post-capitalist era

Modern society can be identified as a capitalist civilization, rapidly developing through the accumulation of capital in the process of entrepreneurial (primarily innovative scientific and technical) activities, which radically transformed the world around us and ensured the progress of mankind. Fighting against the closed elite-hierarchical religious system of the Premodern (traditional society), Modern (capitalism) raised the slogan: Freedom, Equality, Fraternity, which, according to its ideologists, could be realized on the basis of the secular democratic structure of society and scientific and technological progress. The article says that ultraeconomics is an economy that is not justified by anything (labor, capital, innovation etc.). The necessary condition for the victory of ultraeconomics was the destruction of scientific and rational reason, morality and conscience. This dirty work was done by countermodernism and ultra-liberalism. The victory of countermodernism, ultra-liberalism and ultra-economism led to the state of Postmodernism, and then to the global financial and economic crisis, the way out of which is impossible in the Postmodern paradigm.

Paradigma Posmodern Sebagai Dasar Filosofi Perilaku Budaya Masyarakat Indonesia di Masa Pandemi

This paper focuses its study on the postmodern paradigm as the basis for the philosophy of cultural behavior of the Indonesian people during the COVID-19 Pandemic. This study aims to determine the relevance of the application of the postmodern paradigm as the basis for shaping and strengthening the national immunity of the Indonesian people. The approach used in this study is metodeliterature review. This approach is used because data collection and analysis is based on the literature study stage. The findings of this study are 1) the postmodern paradigm is a paradigm that appears as a critical reaction to the failure of modern projects, 2) rejection and denial of metanarations, monoliths, convention and arbitration systems, as well as rejection and denial of the objectification of truth, subject determination and limitation of freedom. are elements contained in the postmodern paradigm, 3) the postmodern paradigm is relevant to be applied as the basis for the philosophy of Indonesian people's behavior during the COVID-19 pandemic because it can help strengthen national values in Indonesian society.

Парадигмальный подход в анализе российских и европейских молодежных субкультур

European scientific tradition distinguishes between modern and postmodern subcultural paradigms. Contrary to that, the issue of youth subcultural paradigms in Russian research tradition is still open. The specificity of the Russian subcultures is that they trace their origin either in Europe or the USA. In view of this, it is important to identify the features of European cultural phenomena that are present in the Russian cultural space. The European paradigm approach is introduced through the works of D. Hebdige and D. Muggleton. Paradigm features of subcultural analysis offered by these scholars provide the basis for analysis of the Russian empirical material. In particular, the study takes into account such characteristics as the presence / absence of a border between subcultures, the presence / absence of the ideology of a subculture, the fixity / fluidity of subcultural identity, the presence / absence of the influence of mass media on subcultural identity, the presence / absence of capitalist values in the subculture, the presence / lack of protest potential in subcultures. Interviews with representatives of the first and second waves of the Samara graffiti subculture became the empirical material of the study. We identified paradigmatic characteristics in the first and second waves of the subculture and compared them. The results obtained allow concluding that the Russian subcultural space has its own specifics, and the subcultural paradigms of both the first and second waves are of a hybrid nature, containing features of both modern and postmodern paradigms.

An introduction to the postmodern paradigm via contrast to the modern paradigm: Relevance for direct social work practice

Abstract Since the late 1980s, a number of innovative practice approaches have appeared on the social work scene informed by postmodern thought. Yet the esoteric nature of postmodern theories often creates difficulties in accessibility for social work students and practitioners, which commonly result in the misapplication and misunderstanding of key elements to these approaches. To remedy this situation, this paper offers an introduction to the fundamental philosophical foundation upon which postmodern theories and practices rest. Designed as an aid for students and practitioners who wish to try or refine these practices, the description of this philosophical foundation—or paradigm—is light on concepts and focuses more on implications for social work practice that arise from the concepts. Examples of these implications are given for each aspect comprising the postmodern paradigm utilizing the following: the strengths perspective, narrative therapy, and solution building therapy. Lastly, the article concludes with an extended case example which serves to illustrate the application of the postmodern paradigm to practice.

A travelogue of the second degree: “The Letters from Norway” by Isidora Sekulić as a pretext of the book about Norway of Vida Ognjenović

The work of the Serbian writer Vida Ognjenović “A Travel to a Travelogue” (2004) is dedicated to her stay in Norway and the perception of this country through the prism of the well-known Serbian travelogue “The Letters from Norway” (1914) by Isidora Sekulić. Ognjenović’s text contains not only impressions of life in Norway, but also a reflection on the travelogue genre, on the text of her predecessor and the controversy caused by Sekulić’s work. Within the framework of Serbian literature, “The Letters from Norway” became a hypotext for the perception of Norwegian culture. In addition to the extensive metatextual layer Ognjenović’s work contains “The Letters to Isidorа Sekulić from Norway”, in which the author addresses her predecessor in an epistolary form and tells her about the trip to Norway. Having studied the Norwegian route of Sekulić in detail, Ognjenović decided to repeat it and to share her impressions with an imaginary Sekulić. The hypertext by Ognjenović offers not only a new reading of the Sekulić’s travelogue, which has become a reference book for Serbian emigrants in Norway, but also contains a bold assumption that Sekulić’s “Letters” were addressed to the famous critic Jovan Skerlić, who would later call the writer “Scandiphile”, and would condemn her for lack of patriotism. Ognjenović’s travelogue with its intense intertextual connections and palimpsest elements has pronounced features of a postmodern text, but does not completely fit into the paradigm of postmodernism, occupying a borderline position between the veneration of Logos, of authority and the postmodern irony.

Duginova dekonstrukcija postmoderne - postliberalizam i postpolitika

The paper studies Dugin's argumentation of postmodernity. In his philosophical and politicological works (Philosophy of Politics, Postphilosophy, Fourth Political Theory and Postmodern Geopolitics) written after 2000, Dugin applies the deconstruction method to explain the postmodern paradigm which the West definitely stepped into at the end of the twentieth century. We begin with his understanding of the end of modernism and revelation of liberalism as a matrix of the emergence of the postmodern paradigm. Afterwards we study the revelation of postmodern liberalism as postliberalism. Moreover, the question is analyzed as to how postmodernization of the liberal individual into the postindividual one proceeds. In the final considerations we speak of the transformation of modern politics into postpolitics.

Notes on some physical-geographic sciences in the postmodern culture, synthesis and paradigms

Notes on some physical-geographic sciences in the postmodern culture, synthesis and paradigms

ЗНАЧЕНИЕ ПРИНЦИПА ПРОЛИФЕРАЦИИ В ПОСТМОДЕРНИСТСКОЙ ЭПИСТЕМОЛОГИИ

The paper breaks down certain methodological aspects of the philosophy of Paul Feyerabend as well as focusing upon the problem of how the status of scientific knowledge has changed within the concept of epistemological anarchism in relation to changes in the scientific paradigm. Is has been postulated that in the framework of the postmodern paradigm the problem of scientific knowledge is inevitably linked to the problem of language as a means of the objectification of knowledge. The missing metanarrative as a legal foundation for scientific knowledge and the transition from the concept of ‘broad narratives’ to a paralogical scope of complex semantic games are an immediate cause of changes in scientific methodology. Therefore, numerous theories, which are conceived by the principle of proliferation, stimulate the development of brand new concepts. Besides, the constellation of many a rivaling theory enables to scrutinize the feasibility and justifiability of particular theoretical constructs. As a consequence, the principle of proliferation espoused by the philosophy of Feyerabend is both a way to bypass binary oppositions associated with classical philosophy and an unavoidable challenge as far as the criteria of the scientific value of postmodern epistemology are concerned.

Мовна маска користувача соцмереж як інструмент конструювання множинної ідентичності

The main objective of the article is to analyse significance of the language mask for communications practices in social networks, its role in transformation of personal identity under the influence of network communication. In the study, we applied sociocultural and psycholinguistic analysis in the context of an interdisciplinary approach, as a synthesis of knowledge of social communication, psycholinguistics and cultural theory. In addition, critical analysis of media narratives and typology method have become an important toolkit. Summing up the study results, it should be noted that fulfilment of the universal human need for self-expression in anonymous conditions of network communication leads to a variety of different narrative masks in virtual discourse, which makes it difficult to create their unambiguous unified typology. However, it can be stated that creation of a linguistic mask is one of the important tools for constructing the identity of the author, who simultaneously appears as a marker of this identity. Today the existing typology of language strategies (event, analytical and artistic), in our opinion, should be supplemented by a visually oriented strategy, which is associated with the tendency of minimization of text formats and an increase of emphasis on the visual component. It is difficult to identify a separate strategy among ones that dominate in the modern network space, rather it is hybridity and a mixture of different strategies that generally corresponds to postmodern paradigm. In that regard, the interest in the phenomenon of multiple identity, when the network user creates not one but many language masks, becomes topical and relevant to the contemporary postmodern areas of research (actor-network theory). In this sense, identification of discursive levels (psychological, communication, philological) as meaningful discursive embodiments of narrative masks is relevant for future analysis, which different options of interaction can be used by the author to build a particular mask.

Evaluation of the Shiite-Sunni Rapprochement in Terms of Postmodernism

Bu makale son dönem Şii-Sünni ilişkilerini ele almakta ve bu ilişkilerin postmodern olup olmadığını sorgulamaktadır. Yirminci yüzyılın ikinci yarısından itibaren postmodern bir anlayış ve düşünüş tarzının dünya çapında yayıldığı ileri sürülmüştür. İslam toplumlarını da etkileyen bu paradigmanın temel özelliklerinden biri çoklu hakikat inancını geçerli görmesidir. Şia ve Ehl-i Sünnet İslam coğrafyasının iki ana kolunu temsil etmektedir. Her bir mezhep yüzyıllar boyunca İslam hakikatini kendisinin temsil ettiğini savunmuş diğerinin ise yanlış yolda olduğunu ileri sürmüştür. Ama yine de her iki mezhep tarih boyunca ilişki içinde olmuşlardır. Mezhepleri yakınlaştırma (takrib) çalışmaları da bu ilişkilerden biridir. Bu çalışma, “postmodern paradigma az veya çok her alana sirayet ettiyse Şii-Sünni ilişkilerine de sirayet etmiş olmalıdır” varsayımından hareket etmektedir. Araştırmanın vardığı sonuç, takrib çalışmalarının çoğullaşma eğiliminde olduğu ve postmodern bir yakınlaşma biçiminin varlığının konuşulabileceği yönündedir.

Постмодернистские нарративные приемы в малой прозе А. Гаврилова

В данной статье описаны особенности реализации постмодернистской парадигмы фрагментарности, неупорядоченности мира в малой прозе А. Гаврилова. На основании референциальной модели коммуникации, предложенной О. Г. Ревзиной и И. И. Ревзиным, описаны нарушаемые постулаты «нормального общения» в процессе взаимодействия героев его рассказов, в частности, постулаты детерминизма, тождества, истинности и семантической связности. Авторское несоблюдение рефренциальных связей в рассказах-драмах писателя соответствует общей постмодернистской установке на отказ от логоцентризма и создание неустойчивой, гибридной коммуникативной игры. Показано, что в его произведениях действует принцип нонселекции Д. Фоккема, нарушающий связность повествования и создающий эффект «нарративного хаоса». Выделены и описаны случаи использования автором таких техник создания «информационного шума» в рассказах, как избыточность и прерывистость. Формальные нарративные аномалии в прозе А. Гаврилова отражают авторскую философскую установку на восприятие мира как хаоса, так называемую «постмодернистскую чувствительность».

УКРАЇНСЬКИЙ НАРОДНО-СЦЕНІЧНИЙ ТАНЕЦЬ У КОНТЕКСТІ КУЛЬТУРИ ПОСТМОДЕРНІЗМУ

The purpose of the article is to identify the specifics of the implementation of the primary technique and artistic-figurative features of postmodern aesthetics in the Ukrainian folk dance stage adaptation of the 21st century. Research methodology. The author applied a cultural research method, which helped to develop an appropriate view towards the folk stage choreography of the 21st century and the specifics of the implementation of the concept of postmodernism in the stage space; the method of art history analysis, which made it possible to study the direction of stylisation of folk dance stage adaptation as a unique factor in the culture of postmodernism; the dialectical method, the use of which contributed to the identification of the relationship and interdependence of the development of sociocultural factors, factors of social art and the development of folk dance stage adaptation; the method of diachronic analysis, which contributed to the identification of traditional and innovative means of expressiveness of folk-stage dance. Scientific novelty. For the first time in Ukrainian art studies, there is an attempt to analyse the modern tendencies of folk dance stage adaptation through the prism of postmodern culture; to extrapolate the philosophical concept of postmodernism to the branch of folk stage choreography; to analyse and generalist trends in the development of folk dance in the modern sociocultural space; to reveal the specificity of the aesthetics of postmodernism as well as the main technique and artistic-figurative features of its implementation in the context of the development of Ukrainian folk dance stage adaptation of the 21st century. Conclusions. The study has shown that within the postmodern paradigm, folk dance stage adaptation as a form of choreographic art undergoes specific destruction, like any aesthetic value in its classical understanding. The influence of postmodernism is manifested in augmentation of images; strengthening the freedom of creative self-expression and the interest of Ukrainian choreographers-directors to the inner state of the audience (targeted emotional impact); shifting emphasis from complex artistic models to simple structures, to enhance the aesthetic effect; complication of the associative and metaphorical aspects of the styling of the choreographic performance; the use of techniques of transition from one sign system to another to create new dimensions of understanding the work; the use of audio and visual game technologies; enrichment of the semantic and content aspects of archetypal ideas.

Social representation of PR activism: Perceptions of early career public relations professionals in South Africa

A critical, socio-cultural turn in the public relations research agenda has shifted attention away from a predominately organisational focus to include the individual practitioner, and their symbolic power relationships (Curtin & Gaither, 2005). This has resulted in critical interrogation of issues such as dissent, power and activism in professional role enactment with an emergent, activist stance that actively questions and resists existing power structures and normative practices (Holtzhausen, 2012). This turn requires PR as well as in a diverse range of other disciplines to find new forms of addressing some of the wicked problems of our time, such as the social and cultural influences that public relations practitioners are subject to in enacting culturally sensitive public relations roles in their practice. The positioning of the critical-cultural and postmodern paradigms lends itself to the application of social representation theory (SRT) as a framework for analysis and understanding (Bauer & Gaskell, 2008; p. 351). However, to date limited research has been conducted on the social influences public relations practitioners are subject to in enacting culturally sensitive public relations roles in their practice, especially in respect of public relations practitioners who occupy junior to mid-level positions in formal employment contexts. In particular, individual influence and agency of entry level or early career public relations practitioners in South Africa has been under researched. It is against this background that this study aims to determine the perceptions of early-mid career South African PRPs on how they socially represent their activism in a poly-contextual and diverse cultural context. This is especially important in a context where PRPs are required to justify the value their actions have in achieving social change. The findings suggest that South African activist public relations practitioner (PRP) role enactment may not only entail promoting the interests of those who are marginalised and excluded from social contexts, but also requires advocating for the legitimacy of their own activist role in their contexts of practice.

Zuhud, Sebuah laku Tasawuf untuk Tazkiyah Peradaban Akuntansi

This study aims to reconstruct modern accounting with the postmodernism paradigm and Zuhud as a decosntructive analysis approach. Based on the results of the analysis, the practice of accounting must return to the divine values; to force Allah subhana wa ta'ala, to carry out his commands and stay away from his prohibitions, also to make Allah subhana wa ta'ala as the goal of life.

Winterbach’s Spyt and Scholtz’s production: An expression of a postmodern impasse

Some scholars have declared metamodernism to be postmodernism’s successor, and Afrikaans novelist Ingrid Winterbach’s work has been argued to be an example of this distinct move away from the postmodern paradigm. However, in this article I present the alternative interpretation that Winterbach’s play, Spyt (Regret), rather represents postmodernism’s inability to give way to its successor. An investigation from a postmodern perspective leads me to conclude that, in both the text and performance of this play (directed by Brink Scholtz), an escape from the postmodern paradigm entails the end of all representation. Winterbach reduces all of the characters’ endeavours to surfaces which become parodies. All their experiences are commodified and any attempt at uncovering a deeper meaning to life is undermined by ridicule. Winterbach furthermore draws attention to some of her characters’ limited vocabulary and reliance on English loanwords. This culminates in a powerful scene where the loanword ‘awesome’ is repeated to the extent that it becomes simultaneously meaningless and indispensable; a tension that she does not resolve. In addition, the crossing of the boundary between life and death, which has been described as postmodernism’s final frontier, is portrayed by relying on an obsolete narrative. The play therefore suggests a postmodern impasse, rather than a move towards a new paradigm. an a move towards a new paradigm.

Análisis y examen de modelos de explicación del proceso de formulación de políticas: un enfoque para el paradigma posmodernismo

La posmodernidad ha cruzado las fronteras del arte y la filosofía muy rápidamente y al desafiar los fundamentos filosóficos de las ciencias sociales, ejerce una gran influencia en el dominio de la teorización de estos campos. En consecuencia, la ciencia de la formulación de políticas en general, y las teorías de formación de políticas en particular, no han permanecido inmunes a las doctrinas posmodernas. Dicho esto, el objetivo del presente ensayo es el análisis y examen de los modelos de explicación del proceso de formulación de políticas basados ​​en un enfoque del paradigma posmodernista. Con este fin, se analizan los problemas de la racionalidad en la posmodernidad, la racionalidad en la formulación de políticas, y los enfoques que siguen varios tipos de racionalidad. Se esbozan los principales modelos de explicación del proceso de formulación de políticas que han llamado mucho la atención de los pensadores. Los estudios sugieren que nociones tales como la crítica de la objetividad, la racionalidad que se escapa, el superficialismo y la negación de origen y nociones como el mejoramiento, el desarrollo y la justicia, se encuentran entre las características del paradigma posmoderno que influyen en las ideas de formación de políticas. La influencia de las nociones antes mencionadas en el proceso de formulación de políticas debe considerarse como un recordatorio de temas como el modelo caótico en la formulación de políticas, los centros de poder, los grupos de presión, el mecanismo para incluir los temas marginales e insignificantes en la agenda, la falta de modelos universales y insistencia en modelos nacionales de desarrollo y toma de decisiones públicas, pluralismo y participación.

LA ESTÉTICA POSMODERNA EN EL CINE: UNA APROXIMACIÓN TEÓRICA

La posmodernidad surge como contraposición al pensamiento moderno que manifestaba su exaltación a la razón, optimismo racionalista e inclinación por sistemas de metarrelatos. La perspectiva posmoderna se torna en una imagen pesimista y crítica de la sociedad, que se vislumbra como la deconstrucción de la razón. En el ámbito cinematográfico, la posmodernidad también hizo mella, tomando como iniciativa los mismos parámetros que la conformaban: critica de la razón e inclinación por la dispersión, lo múltiple y lo fragmentario. Es un nuevo enfoque que se inclina por la sensibilidad hacia la diferencia, la pluralidad y la exaltación de la subjetividad e individualismo. El presente artículo de reflexión realizará un recorrido por las características del paradigma posmoderno y su aplicación en la cinematografía en cuanto a la deconstrucción de la razón, muerte del sujeto, fragmentación e intertextualidad.

Alias in women's literature: feminist aspects in a gender context

The problem of the identity of the woman hiding her gender under a male pseudonym makes us recollect U. Eco’s arguments about the truth and the purpose of literature as well as A. F. Losev’s ideas about the name and the meaning, the theories of the feminist literary critics K. Millett, M. Ellman, T. Moi, E. Showalter, etc. who have presented "women`s writing" and "writing about women" in the feminist field. As one of the central principles of feminist criticism is that no scientific view can ever be neutral, the problem of pseudonyms occupies an important place in the contemporary gender studies, explicitly or implicitly highlighting the artificially constructed debate, which divides "serious male literature" and "superficial and secondary female writing". On the one hand, this is the problem of feminism itself, on the other, it is a question of the role and place of the woman in the world` culture and history. In this kind of the analysis we cannot ignore such an epiphenomenon of postmodernism as "label change" with the postmodern emphasis on the sociocultural role of the context, which is especially relevant in aspects of the gender "name problem". The last one, undoubtedly, is included in the problematization of postmodern culture on the whole, since all cultural narratives have always been gender "stories". Today an individual construct his or her gender-reflecting reality, still the modelling of the new gender system is far from being complete. The created sign systems are ambivalent, the meanings are very unstable and can easily be hermeneutically interpreted. However, the role of hermeneutics in analyzing the relationship between the author and the sociocultural context is in the core of the gender aspects of literature, in general, and in the problems of the pseudonym as a change of "name", in particular. The latter is by all means relevant and important. Undoubtedly, one of the main incentives for feminist scholars in their turn to women's literature is connected with the patriarchal demand for women's "silence", their "dumbness" in culture and, accordingly, in literature. Obviously, there are two main interpretations of the concept of "female literature" in feminist criticism. The first one is the representation of female subjectivity in its difference from the male one. The second approach is the representation of "non-essentialist" female subjectivity, which is understood as the logical structure of the difference. In general, in the patriarchal dichotomy of the femininity and masculinity "women who write" are always dangerous. "Three strange sisters" – Anne, Charlotte and Emily Bronte wrote their novels under disguise of male pen names, exactly specifying two conceptual motives: the "Other" concept and the image of "Veil". In this context the motive of androgyny is also important from the point of view of both analysis and literary criticism. In ХIXth century George Sand (Aurora Dupin), having most vividly represented this concept, became an example for many subsequent generations of feminists – writers, actresses and media representatives. However, in our era of gender plurality, the question of the pseudonym as a problem of "genders" is not so relevant; more likely it is still a question of the priorities in the feminist theory. In the contemporary discourse of literary criticism many of the author’s socially significant features are perceived as gender neutral. In the postmodern paradigm the question of the androgynous identity of the man/woman writer requires its further actualization as the androgynous is often replaced by the bisexuality (J. Irving` "In One Person"). In general, it should be recognized that postmodern approaches to gender identity, which paint a "picture of the world" today, transform the female experience of being as the "Other", secondary and insignificant with a conceptual orientation to a fundamental variety of postmodern cognitive perspectives.