HAMPARAN JACQUES DERRIDA: TEORI POSTMODERNISME DALAM WACANA DALAM WACANA SENI PERTUNJUKAN

Kanizar1 Abstract: Deconstruction is a strike of postmodernism to the modern thought that is always subjectively functional, structural, and paradigmatic. Postmodernism deconstructs functional thought that maintain stability, deconstructs structuralism over the conventional meaning, and try to find a new meaning so that the postmodernism is also poststructuralist. Postmodernism deconstructs the existing paradigm questioning to the ability of conventional paradigm in solving a new problem so that the postmodernism is also called post-paradigm. Deconstruction in performing arts that becomes the label “difference” is Tabuik ceremony in Pariaman, West Sumatra. Phenomena from the perspective of postmodernism are to refuse the central authority in the meaning of cultural “label”. Cultural meaning-whatsoever form of performing arst-should not be single, but open to other meanings, so that the researcher-other people-may liberally assume the readable discourse. Meaning may exist in anything; in small thing that is less noticeable, less mentioned that might have signi ficant meaning. Thus, Postmodernism approach refuses all assumption that prevents meanings. It does not mean that postmodernism wants to be selfish, disappointed with the previous research paradigm, and or only trapped on the euphoria, but has a congent reason in producing meanings

Social work practice and competing philosophies

Summary: Social work practice has often been subject to trends, something that could arguably be the case now. Postmodernism is on a march that threatens the long-standing modernist perspective on which social work has traditionally been practiced. However, postmodernism has important lessons to teach and may correctly be observed as an alternative practice approach with distinct theories and methods of application. Findings: The social work profession is under threat from creeping managerialism, bureaucracy and internally competing philosophies. Postmodernist perspectives have much to offer practitioners and the recipients of social work, but may be stifled because organisational structures, including academia, will have to embrace new practice methods in order for postmodernism to achieve widespread legitimacy. Traditional, modern social work practice with its empirically based frameworks and theories remains in the ascendancy for now

Postmodernism and Children’s Literature

All four of my own children clamored for the Sesame Street book titled, The Monster at the End of This Book. On each double page spread, Grover begged them, “Please don’t turn the page because there’s a monster at the end of this book and I am so scared of monsters.” Of course, they loved to tease Grover, so they kept turning pages. The book ends with a smiling Grover, announcing, “I, furry, lovable old Grover am the monster at the end of this book and you were so scared” (Stone, 1971). Despite the silliness of the whole book, it did breed an excitement about turning the page and was a clever way to instill interaction between author and listener or reader. Published in 1971, this particular book was possibly one of the first picture books to show the influence of postmodern thought. It recognized the reader/listener as someone who had a role to play in the story as it unfolded, someone who could influence the outcome or meaning of the story, and ultimately, someone who could question the authority of the text or the author. In the decades since the publishing of this book, many more picture books have been published that bear the mark of postmodernism, so many, in fact, that a new subgenre, postmodern picture books, has been suggested (Goldstone, 2004)

Jean-François Lyotard: a response to Jean-François Lyotard’s view of postmodernism and the denial of the metanarratives

A response to Jean-François Lyotard’s view of postmodernism and the denial of the metanarratives

Postmodernism: Style and Subversion 1970-1990

‘Postmodernism’ was the final instalment of a 12-year series of V&A exhibitions exploring 20th-century design. It examined a diverse collection of creative practices in art, architecture, design, fashion, graphics, film, performance and pop music/video, which the curators, Pavitt and Adamson (V&A/RCA), identified under the common theme of ‘postmodernism’. The exhibition assessed the rise and decline of postmodern strategies in art and style cultures of the period, exploring their radical impact as well as their inextricable links with the economics and effects of late-capitalist culture. The exhibition comprised over 250 objects, including large-scale reconstructions and archive film/video footage, drawn from across Europe, Japan and the USA. It was the first exhibition to bring together this range of material and to foreground the significance of pop music and performance in the development of postmodernism. Pavitt originated and co-curated the exhibition with Adamson. They shared intellectual ownership of the project and equal responsibility for writing and editing the accompanying 320-page book (including a 40,000-word jointly written introduction), but divided research responsibilities according to geography and subject. The research was conducted over four years, with Pavitt leading on European and British material. This involved interviewing artists, designers and architects active in the period and working with collections and archives across Europe. The research led to the acquisition of c.80 objects for the V&A’s permanent collections, making it one of the most significant public collections of late-20th-century design in the world. The exhibition was critically reviewed worldwide. For the Independent, ‘bright ideas abound at the V&A’s lucid show’ (2011). It attracted 115,000 visitors at the V&A (15% over the Museum’s target) and travelled in 2012 to MART Rovereto, Italy (50,000 visitors) and Landesmuseum Zürich, Switzerland (70,000 visitors). Pavitt was invited to speak about the exhibition in the UK, USA, Poland, Portugal, Ireland and Italy (2010-12)

Dakwah Dalam Perspektif Modernisme Antisipasi Menuju Postmodernisme

Dakwah in the age of postmodernism has faced serious challenge due to the high tempo of information exchange which transform communication and cultural landscape of society. Postmodernism essentially rejected the universality of science and ideology. Postmodernism also challenge the neutrality of technology. Postmodernism challenge toward dakwah is aimed to the concept of dakwah itself. Is it possible to communicate Islamic messages in postmodernism era? The author offers five principles for dakwah strategies consisted of synergy, accumulation, convergence, totality, and inclusiveness

Logical and Moral Dilemmas of Postmodernism

This is a preprint (author's original) version of the article published in Journal of the Royal Anthropological Institute 3:747-60. The final version of the article can be found at http://www.jstor.org/stable/3034037. The version made available in Digital Common was supplied by the author.Author's Origina