Post-structuralism

Postmodernism Artistic, cultural, and theoretical movement Postmodernism encompasses a variety of artistic, cultural, and philosophical movements. It emerged in the mid-20th century as a skeptical response to modernism, emphasizing the instability of meaning, rejection of universal truths, and critique of grand narratives. While its definition varies across disciplines, it commonly involves skepticism toward established norms, blending of styles, and attention to the socially constructed nature of knowledge and reality. The term began to acquire its current range of meanings in literary criticism and architectural theory during the 1950s–1960s. In the 1990s, "postmodernism" came to denote a generally celebratory response to cultural pluralism. Historically, it arose alongside industrialization, globalization, and cultural upheaval, with early uses in art and literature evolving into philosophical and social theory through figures like Lyotard, Derrida, Foucault, Baudrillard, and Jameson. [edit] History

Advanced Search 1–10 of 157 documents found Edmund Husserl was the principal founder of phenomenology—and thus one of the most influential philosophers of the 20th century. He has made important contributions to almost all areas of philosophy and anticipated central ideas of its neighbouring disciplines such as linguistics, sociology ... Christian Beyer Husserl, the Brain and Cognitive Science 1. Varela and van Gelder: retention without representation 2. Many authors use the term ‘psychologism’ for what they perceive as the mistake of identifying non-psychological with psychological entities. Martin Kusch Phenomenology is the study of structures of consciousness as experienced from the first-person point of view. David Woodruff Smith Roman Ingarden (1893 – 1970) was a Polish phenomenologist, ontologist and aesthetician. Amie Thomasson A system of categories is a complete list of highest kinds or genera. Shaun Gallagher and Dan Zahavi James DuBois and Barry Smith Charles Siewert Michael Barber

Existentialism Existentialism is a term applied to the work of certain late 19th- and 20th-century philosophers who, despite profound doctrinal differences,[1][2][3] shared the belief that philosophical thinking begins with the human subject—not merely the thinking subject, but the acting, feeling, living human individual.[4] In existentialism, the individual's starting point is characterized by what has been called "the existential attitude", or a sense of disorientation and confusion in the face of an apparently meaningless or absurd world.[5] Many existentialists have also regarded traditional systematic or academic philosophies, in both style and content, as too abstract and remote from concrete human experience.[6][7] Definitional issues and background[edit] There has never been general agreement on the definition of existentialism. The term is often seen as an historical convenience as it was first applied to many philosophers in hindsight, long after they had died. Concepts[edit] The Absurd[edit]

Affects, Objects and Lyric Identity – Kairosis Affects, Objects and Lyric Identity Dr Keith Russell keith.russell@newcastle.edu.au See Kenosis, Katharsis, Kairosis: A Theory of Literary Afffects There are three main models of identity in Western philosophy. The lyric artist is expert in the search for what T.S. Any object that is taken over as an objective correlative is a designed object in that the object is being brought to attention for the purpose of its ability to illuminate the human condition.

Will to power The will to power (German: der Wille zur Macht) is a prominent concept in the philosophy of Friedrich Nietzsche. The will to power describes what Nietzsche may have believed to be the main driving force in humans: achievement, ambition, the striving to reach the highest possible position in life; these are all manifestations of the will to power. Background[edit] Friedrich Nietzsche found early influence from Schopenhauer, whom he first discovered in 1865. Schopenhauer puts a central emphasis on will and in particular has a concept of the "will to live." Writing a generation before Nietzsche, Schopenhauer explained that the universe and everything in it is driven by a primordial will to live, which results in all living creatures' desire to avoid death and procreate. Nietzsche began to speak of the "Desire for Power" (Machtgelüst), which appeared in The Wanderer and his Shadow (1880) and Daybreak (1881). In 1883 Nietzsche coined the phrase “Wille zur Macht” in Thus Spoke Zarathustra.

Closer to a Poetics of Design and Play – Kairosis Towards a Poetics of Design Keith Russellkeith.russell@newcastle.edu.au Abstract Design as we might and will, there is something altogether too concrete about things designed; the outcome of the process of designing is too much there, too much its own put on face. Taking off this mask reveals the abject enclosed in the object as presence. Play as we might and will, there is something fundamentally suspect about our playing; the outcome of our play evidences the abject as absence in the consequent objects of our play. In the heaped-up of the human world, are we more than garbage women and men? One sits and beats an old tin can, lard pail. One beats and beats for that which one believes. That’s what one wants to get near. Be merely oneself, as superior as the ear To a crow’s voice? Pack the heart and scratch the mind? Solace itself in peevish birds? Is it a philosopher’s honeymoon, one finds On the dump? 1. Some makers bother to offer an account of their virtue. I despise provincial utopias.

Ideation (idea generation) Ideation is the creative process of generating, developing, and communicating new ideas, where an idea is understood as a basic element of thought that can be either visual, concrete, or abstract.[1] Ideation comprises all stages of a thought cycle, from innovation, to development, to actualization.[2] As such, it is an essential part of the design process, both in education and practice.[3] In Ideation: The Birth and Death of Ideas, Douglas Graham and Thomas T. Bachmann propose that methods of innovation include: Problem solution This is the most simple method of progress, where someone has found a problem and as a result, solves it. Derivative idea This involves taking something that already exists and changing it. Symbiotic idea A symbiotic method of idea creation is when multiple ideas are combined, using different elements of each to make a whole. Revolutionary idea A revolutionary idea breaks away from traditional thought and creates a brand new perspective. Serendipitous discovery

Kenosis Katharsis Kairosis – Kairosis Aristotle, in his Poetics, offers the affect of Katharsis (Catharsis) to account for the particular emotional experience of an audience watching a play. While he refers to the other two traditional genres, the epic (novel) and the lyric (poetry), Aristotle does not offer equivalent affects for these other two genres. Since Aristotle, this absence of affective categories has gone unnoticed. Literary criticism and psychology have employed Katharsis to describe affects regardless of the adequacy of the concept of purging or cleansing to the experiences of art and individuals. In his PhD thesis (University of Newcastle, 1990 – Keith Russell offers an expanded set of affects to account for the three genres. In its simplest form. While these extended affective concepts have their origins in theology, Russell develops literary uses in parallel and comparison with the historic uses of Katharsis. Katharsis (Catharsis) Katharsis means purging or self-cleansing.

Perspectivism View[edit] People always adopt perspectives by default – whether they are aware of it or not – and the concepts of one's existence are defined by the circumstances surrounding that individual. Truth is made by and for individuals and peoples.[3] This view differs from many types of relativism which consider the truth of a particular proposition as something that altogether cannot be evaluated with respect to an "absolute truth",[citation needed] without taking into consideration culture and context. Interpretation[edit] See also[edit] References[edit] Jump up ^ Mautner, Thomas, The Penguin Dictionary of Philosophy, page 418Jump up ^ Schacht, Richard, Nietzsche, p 61.Jump up ^ Scott-Kakures, Dion, History of Philosophy, page 346Jump up ^ Schacht, Richard, Nietzsche. External links[edit] La Voluntad de ilusión en Nietzsche; bases del perspectivismo| in Konvergencias

Queer Phenomenology: Orientations, Objects, Others - Sara Ahmed DIVIn this groundbreaking work, Sara Ahmed demonstrates how queer studies can put phenomenology to productive use. Focusing on the “orientation” aspect of “sexual orientation” and the “orient” in “orientalism,” Ahmed examines what it means for bodies to be situated in space and time. Bodies take shape as they move through the world directing themselves toward or away from objects and others. Being “orientated” means feeling at home, knowing where one stands, or having certain objects within reach. Ahmed proposes that a queer phenomenology might investigate not only how the concept of orientation is informed by phenomenology but also the orientation of phenomenology itself.

Apollonian and Dionysian The Apollonian and Dionysian is a philosophical and literary concept, or dichotomy, based on certain features of ancient Greek mythology. Many Western philosophical and literary figures have invoked this dichotomy in critical and creative works. In Greek mythology, Apollo and Dionysus are both sons of Zeus. Apollo is the god of reason and the rational, while Dionysus is the god of the irrational and chaos. The Greeks did not consider the two gods to be opposites or rivals, although often the two deities were interlacing by nature. The Apollonian is based on reason and logical thinking. German philosophy[edit] Although the use of the concepts of the Apollonian and Dionysian is famously linked to Nietzsche's The Birth of Tragedy, the terms were used before him in German culture.[1] The poet Hölderlin spoke of them, while Winckelmann talked of Bacchus, the god of wine. In anthropology[edit] Paglia's usage[edit] Post-modern reading[edit] Michael Pollan[edit] Stephen King's usage[edit]