Others chose the Belgian deconstructionist Ann Demeulemeester, or the minimalist Helmut Lang.
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Future toggles between cheerleader and deconstructionist, a lo-fi hitmaker and hi-test moodmaker.
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It's got everything you could ever want: anime, racing stripes, deconstructionist camouflage, and even anime.
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The role of Yuka Maeda, the video's director, was assumed as a creator and deconstructionist.
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By making hauntings more personal, viewers were able to relate to the deconstructionist narrative choices.
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Iconoclastic, deconstructionist, post-modernistic and futuristic are among the more common, if not always accurate, adjectives.
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Hägglund is a deconstructionist; his second book, " Radical Atheism " (2008), was about the work of Jacques Derrida.
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A classic deconstructionist turns garments into sculptures and models into scaffolding; Martin Margiela often covered his models' faces.
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Last we heard of RF Shannon, the Texas-based deconstructionist country musician born Shane Renfro, he was grappling with solitude.
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A deconstructionist approach highlights the range of style and inspiration within the play itself, sometimes speaking to its internal tensions.
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In 2014, Hood By Air's Shayne Oliver called the term "lazy" when it's used to describe his gender-bending, deconstructionist wares.
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In the late 21s, he connected to deconstructionist philosophies that had as their background the radical May 28 student demonstrations in France.
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The hero and the antihero of the first modern novel, which is also the first postmodern novel, and also the first deconstructionist novel.
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"We've been making deconstructionist choices all along, and those are what excite us, and that's why we continue to make the movies," he said.
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As a result of his association with the Yale School, Professor Hartman was often called a deconstructionist, but his critical stance eluded tidy classification.
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She has made a career out of taking pieces of material and elaborately combining them in surprising ways — less of a deconstructionist than a reconstructionist.
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When Ocean first became popular, early this decade, he was lauded as an R. & B. deconstructionist, reviving a genre that was thought to have ossified.
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"It was not 'we want to change,' non," says the now-62-year-old Colonna, referring to that loosely-associated group of so-called deconstructionist designers.
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Sometimes the distancing works, but in other moments the theatricality feels forced, as if the creators were faithfully adhering to the rules of a deconstructionist playbook.
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When you join a movement — whether it is deconstructionist, feminist or Jungian — you join a community, which can sometimes feel like family in ways good and bad.
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In the mid-1980s, he starred in "It's Garry Shandling's Show," a deconstructionist sitcom (created with Alan Zweibel) that destroyed the fourth wall, then played with the rubble.
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Crossed-out words also recur in his paintings and are weirdly reminiscent of the bracketing or slashing of text in deconstructionist philosophy, to emphasize the cultural and biased nature of language.
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In an interview with Hyperallergic, the exhibition's curator, Sarah Magnatta, identifies Rigdol's work as deconstructionist, in that it does not hold one meaning, but instead can be read in multiple and often conflicting ways.
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In 2018, chunky dad sneakers were popular beyond imagination—from this creation of legendary deconstructionist label Maison Margiela that is almost too beautiful to look at, to a new American classic, the more moderately priced Nike M2K Tekno.
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The English techno deconstructionist, born Chris Clark, revealed at the tail end of 2015 that he'd spent some time putting together a score for the multinational Canal+ crime drama (which also, incidentally, featured a track from David Bowie).
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In the run up to Objekt's 2014 LP Flatland, the Berlin-based dark techno deconstructionist released a white-label called "The Stitch Up." That vinyl-only rarity is now available in digital formats, after Objekt uploaded it to Bandcamp today.
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Kerry Emanuel, a climate scientist at MIT and former member of NAS, says he was initially drawn to the organization because he was worried about what he saw as a growing relativism in the academy, evident in the work of deconstructionist philosophers like Jacques Derrida.
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In Sam Gold's rowdy, deconstructionist staging, every time Mr. Isaac mud-wrestles, or lofts a prop skull or performs a mad scene in just a T-shirt and briefs, he seems to be working through his own loss, transforming raw private grief into riveting public performance.
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Nietzsche has been recovered as an ethicist teaching a creed of radical libertarianism, an aesthete who saw the world as akin to a piece of literature, a "perspectivist" who taught that all philosophy is essentially autobiography and more recently a deconstructionist and "critical theorist" who advanced his genealogical method against all received ideas.
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A New Critic might have scrutinized form and irony, explicating the interplay between overt and actual meaning; a deconstructionist might have been attuned to the way the metaphors and propositions in a passage undermined each other; a historicist to the way the meanings of a text might be situated within larger political or social tensions.
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Feminism proposed two alternative sets of criteria between 1970 and 1990: in the 1970s, the first — in whose development Schapiro participated — challenged the formalist canon for its exclusion of so much political narrative, and even formal content and materiality, and proposed alternatives that looked to craft, costume, folk art, surrealism, the real, lived experience, and the body; the second, developed by deconstructionist feminism during the 1980s, challenged the first for its essentialism and looked back to aspects of modernism other than those promoted by Greenberg, namely the fragmentary, the filmic, the appropriational, and the disruptive aesthetics of Brechtian distantiation.
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Take "Ten," a rhythmic workout from "Life of a Hot Boy 2: Real Trapper" — it's familiar Bankroll Fresh, a sum of small parts adding up to an ambitious whole: We got magazines and you can get your issueWe need mo' liquor, we need mo' SwishersMoney, cars, ménage à trois, new Audemars, new pistolsMight pull up in the Fisker, Polo bucket like a fisherLiving like the mob, fly to Vegas just to ditch youDom Pérignon sipper, cigar clipper, Vuitton slippers Most of the best-known Atlanta rappers of the moment are spacey melodists, be it the deconstructionist master Young Thug or the playground singsong upstart Lil Yachty.
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This metaphysical, deconstructionist virus requires a multi- disciplinary approach and doctors, semioticians, linguists, anthropologists, and even art critics present theories as to its source and treatment.
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Architect Michael Rose accuses Vosko of being a "liturgy deconstructionist."Dellachiesa.com "Church Renovator Thrives on Manipulation Skills" 2004Michael S. Rose "Church Renovator Thrives on Manipulation Skills", Catholic.Culture.org; accessed March 1, 2017.
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Karasick received her Ph.D., in 1997 from Concordia University in Montreal and was the first interdisciplinary scholarship, which linked the work of French deconstructionist philosophy with 13th-century hermeneutics. Her doctoral dissertation, Of Poetic Thinking: A 'Pataphysical Investigation of Cixous, Derrida and the Kabbalah, examined the relationship between the major texts of Kabbalistic discourse and contemporary deconstructionist and literary practices.Karasick, Adeena (1997). Of Poetic Thinking: A 'Pataphysical Investigation of Cixous, Derrida and the Kabbalah, PhD Dissertation.
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Every text is a vocalization of a vocalization. Miller asks a vital question at the beginning of his essay: when a text contains a citation from another text, is it like a parasite in the main text or is it the main text that surrounds and strangles the citation? Many people tend to see the deconstructionist reading as a parasite on its host, the univocal reading. Miller argues that deconstructionist reading is an essential and thoroughly naturalized ingredient in every reading, such that we cannot identify its presence.
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Searle did not consider Derrida's approach to be legitimate philosophy or even intelligible writing and argued that he did not want to legitimize the deconstructionist point of view by dedicating any attention to it. Consequently, some criticsMaclean, Ian. 2004.
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She argued that patriarchal cultures build male domination into their language and literary canon, and that a feminist revolution must account for this. She urged female writers to adopt deconstructionist methods and forward their own vision of life as a woman.
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21, February 1971. or that it even surpassed Burroughs' original work.Tony Lewis, Locus no, 125, October 27, 1972. Even among those who did not enjoy the plot or deconstructionist aspects of the book, most found Farmer's writing to be of high quality.
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By the end of the day, the young doctor was truly part of the gang and had accomplished a great deal of work on Durant Street. The story is told in a second-person narrative. Thus, the identity of the young deconstructionist is not revealed.
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In the early 1970s, Searle had a brief exchange with Jacques Derrida regarding speech-act theory. The exchange was characterized by a degree of mutual hostility between the philosophers, each of whom accused the other of having misunderstood his basic points. Searle was particularly hostile to Derrida's deconstructionist framework and much later refused to let his response to Derrida be printed along with Derrida's papers in the 1988 collection Limited Inc. Searle did not consider Derrida's approach to be legitimate philosophy, or even intelligible writing, and argued that he did not want to legitimize the deconstructionist point of view by paying any attention to it.
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Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. Cultural production manifesting as intermedia, installation art, conceptual art, deconstructionist display, and multimedia, particularly involving video, are described as postmodern.
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Harrison and Jillette credit both Ellis and Pike. Kernighan and Pike listed Mark V. Shaney in the acknowledgements in The Practice of Programming, noting its roots in Mitchell's `markov`, which, adapted as `shaney`,Kernighan, Pike, p. 84 was used for "humorous deconstructionist activities" in the 1980s.Kernighan, Pike. p.
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American Film is a movie magazine originally published by the American Film Institute (AFI) as a print publication between 1975 and 1992. The magazine emphasized analysis and deconstructionist criticism in a format similar to Film Comment magazine. AFI re-launched the magazine as an ongoing monthly digital edition in April 2012.
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The EPs Scarecrow, Water and Sweatbox followed, produced by Robin Guthrie. These were later compiled (with some remixed versions) as The Legendary Wolfgang Press And Other Tall Stories. The AllMusic Guide to Electronica describes Scarecrow as "a lighter, more streamlined affair", Water as spotlighting "ominously sparse torch songs", and Sweatbox as "deconstructionist pop".
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82 Dewdney pointed out "perhaps Mark V. Shaney's magnum opus: a 20-page commentary on the deconstructionist philosophy of Jean Baudrillard" directed by Pike, with assistance from Henry S. Baird and Catherine Richards, to be distributed by email. The piece was based on Jean Baudrillard's "The Precession of Simulacra", published in Simulacra and Simulation (1981).
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Social interpretations of race regard the common categorizations of people into different races, often with biologist tagging of particular "racial" attributes beyond mere anatomy, as more socially and culturally determined than based upon biology. Some interpretations are often deconstructionist and poststructuralist in that they critically analyze the historical construction and development of racial categories.
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He was always inspired by his dad's trance DJing and then went on to discover R&B; and hip-hop through MTV Base. Later, he stumbled upon experimental electronica and ambient music through Grouper, Tim Hecker and Ben Frost. He tends to describes his music as deconstructionist, using samples from mainstream rap artists like Tyga but combined with his own dark, industrial beats.
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"Introduction: Building for Eternity." Journal of Black Psychology, 44(8), 827–833. Cokley and Garba's article specifically discusses how Black Psychology has formed as a discipline within and outside of Eurocentric Psychology. The authors propose three methodological approaches: Deconstructionist, Reconstructionist, and Constructionist, to organize the evolution of major concepts and theories of Black Psychology since the origin of the ABPSi.
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Alun Munslow (1947–2019) was a British historian known for his deconstructionist and postmodernist approach to historiography. He was Professor Emeritus of History and Historical Theory at Staffordshire University. He was also Visiting Professor at the University of Chichester. His argument is that prior to engaging with the past historians need to acknowledge that the past and history do not share the same ontic and epistemic space.
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He describes neon animation, (neonism)...as a deconstructionist, post-modern animation filmmaking style that utilises appropriation and pop art techniques in a "Warhol meets Vegas" look. It is a stream-of-consciousness narrative with a cartoon aesthetic. Neonism takes modernist stream-of-consciousness filmmaking into a post-modern and humorous form.Montreal Jewish Film Festival "The Loser who Won" 2005 Metempsychotic (reincarnated) modernism is another description of Feldstein's neon animation aesthetic.
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Pp 57. According to deconstructionist models, cartography was used for strategic purposes associated with imperialism and as instruments and representations of power during the conquest of Africa. The depiction of Africa and the low latitudes in general on the Mercator projection has been interpreted as imperialistic and as symbolic of subjugation due to the diminished proportions of those regions compared to higher latitudes where the European powers were concentrated.Monmonier, Mark (2004).
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She told The Bookseller's Anna James that the application process had involved a three-hour written examination on the single word 'novelty', adding that, "I wrote about Derridean deconstructionist theory and Christmas crackers [...] I feel like they might have let me in despite rather than because of it". She subsequently completed a doctoral thesis on "the literary and textual afterlives" of the English metaphysical poet and cleric John Donne.
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Following the ideology- critical and identity-critical approach of Frankfurt School's Critical Theory, the emphasis of Bleibtreu-Ehrenberg's mostly post-structural and deconstructionist work (see social constructionism and social constructivism) on socio-psychological prejudice studies lies on the socio-cultural, socio- historical, and socio-psychological research into issues such as Western repression of sensuality (Leibfeindlichkeit) in Indo-European cultures, and extends into research on topics such as deviant sexuality, homophobia, misogyny, gender roles, and patriarchy.
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Postmodern theology seeks to respond to the challenges of post modern and deconstructionist thought, and has included the death of God movement, process theology, feminist theology and Queer Theology and most importantly neo-orthodox theology. Karl Barth, Rudolf Bultmann and Reinhold Niebuhr were neo-orthodoxies main representatives. In particular Barth labeled his theology "dialectical theology", a reference to existentialism. The predominance of Classic Liberalism resulted in many reactionary movements amongst conservative believers.
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Sam An of electronic music project Lana Del Rabies chose the album as one of five that changed her life. On August 25, 2012, they released their first extended play (EP), Deconstructionist. The EP, unlike the previous, was solely ambient music, described by Barrett as "designed to induce trances, possession states, and out-of-body experiences". Barrett was inspired by "ritual trance" while making the EP. Musically, the EP is composed of binaural beats.
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Contrary to that inflated statistic, Peter Carroll himself has stated that only the German and Swiss divisions of the order split off, and together they constituted about 30 percent of the total IoT membership. In his self-published book eismagie. erste einblicke (ice magic. first insights)eismagie - erste einblicke, Edition Magus, Bad Münstereifel 1996 Tegtmeier is radically critical of conventional magic and its shortcomings, calling for a deconstructionist approach stripped from cultural, historical and societal bias.
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Then came his major study of Verdi, built on the foundation of "patient archival research, practical musicianship, a sense of history and wide cultural sympathies", with every opera covered by a detailed discussion of the literary background, compositional process, and the music as part of the drama. The books were "free from obscure technical analysis or deconstructionist jargon". His writing style was "generous to past scholars... generous to his readers. [His prose was] full of wit and relaxed communication".
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Julian S. Garcia has been involved in Chicano literature since the late 1970s when the San Antonio arts and politics journal Caracol had its offices on West Commerce Street in San Antonio, Texas. In 1985, Garcia became one of Caracol associate editors. He was also an Associate editor of ViAztlan, an international journal of ideas and philosophy. A deconstructionist with a penchant for Aristotelian logic and a mentor to Tejano writers, Garcia has a written articles and editorials under a nom-de-plume.
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Paleolibertarianism developed in opposition to the social progressivism of mainstream libertarianism. In his essay "The Case for Paleo-Libertarianism", Rockwell charged mainstream libertarians with "hatred of Western culture". He argued that "pornographic photography, 'free'-thinking, chaotic painting, atonal music, deconstructionist literature, Bauhaus architecture, and modernist films have nothing in common with the libertarian political agenda—no matter how much individual libertarians may revel in them". Of paleolibertarians, he wrote that "we obey, and we ought to obey, traditions of manners and taste".
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Like his "exuberantly cerebral, filmically deconstructionist" work in film and video, the performance defies easy categorization, located at an intersection of filmmaking, criticism, academia, performance art, and personal confession. And, like the original performance, Cockburn's multimedia presentation has been met with "much acclaim." Calum Marsh calls it "part scholarly monologue, part real-time essay film, and part solo theatre": > A bit like Spalding Gray with PowerPoint. All the Mistakes I've Made (Part > 2) is about the cinema, and it is smart and amusing.
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Barthes himself stated that the difference between his theory and New Criticism comes in the practice of "disentangling". Barthes's work has much in common with the ideas of the "Yale school" of deconstructionist critics, which numbered among its proponents Paul de Man and Barbara Johnson in the 1970s, although they are not inclined to see meaning as the production of the reader. Barthes, like the deconstructionists, insists upon the disjointed nature of texts, their fissures of meaning and their incongruities, interruptions, and breaks.
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This is the second novel in the Pontypool Trilogy. In this novel, an outbreak of a strange plague, AMPS (Acquired Metastructural Pediculosis), causes people across Ontario to slip into aphasia and then into a cannibalistic zombie rage. AMPS is transferred through language and the only way to stop its spread is to outlaw communication. This metaphysical, deconstructionist virus requires a multi-disciplinary approach and doctors, semioticians, linguists, anthropologists, and even art critics present theories as to its source and treatment.
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Maison Margiela assigns each of its product ranges a number from 0 to 23 as a reference code, with no particular chronological order. Examples include fine jewelry (12), footwear (22), eyewear (8), objects (13) and fragrance (3). The house produces both artisanal collections and ready-to-wear collections, with the former inspiring the designs of the latter. With formal allegiance to no particular fashion movement, Maison Margiela's designs are famous for deconstructionist traits such as exposed seams, being oversized and upcycling garments.
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Retrieved June 3, 2019.Ollman, Leah. "A Heady Jumble of a Show by David Schafer," Los Angeles Times, February 13, 2015. Retrieved May 17, 2019.Wholey, M.A. "David Schafer Finds Male Hysteria Simmering Beneath the Surface of Art History," Artsy, February 9, 2015. Retrieved June 3, 2019. His approach combines self-consciously formalist aesthetics, a Pop Art sensibility, and postmodern Deconstructionist intent, often appropriating and reframing cultural motifs in order to investigate systems of historical and cultural memory, built space, and language.Tanguy, Sarah.
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According to The Art Story, Krauss used the journal "as a way to publish essays on her emergent ideas on post-structuralist art theory, Deconstructionist theory, psychoanalysis, postmodernism and feminism". Jeremy Gilbert-Rolfe, one of the co-founders of the journal, withdrew after only a few issues, and by the spring of 1977, Douglas Crimp joined the editorial team. In 1990, after Crimp left the journal, Krauss and Michelson were joined by Yve-Alain Bois, Hal Foster, Benjamin H. D. Buchloh, Denis Hollier, and John Rajchman.
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In 1972, he joined the faculty at Yale University where he taught for fourteen years. At Yale, he worked alongside prominent literary critics Paul de Man and Geoffrey Hartman, where they were collectively known as the Yale School of deconstruction, in contention with prominent Yale influence theorist Harold Bloom. As a prominent American deconstructionist, Miller defines the movement as searching for "the thread in the text in question which will unravel it all,"Vincent B. Leitch (Ed.). (2001). The Norton Anthology of Literary Criticism.
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Nussbaum champions multiculturalism in the context of ethical universalism, defends scholarly inquiry into race, gender, and human sexuality, and further develops the role of literature as narrative imagination into ethical questions. At the same time, Nussbaum also censured certain scholarly trends. She excoriated deconstructionist Jacques Derrida saying "on truth [he is] simply not worth studying for someone who has been studying Quine and Putnam and Davidson". She cites Zhang Longxi, who labels Derrida's analysis of Chinese culture "pernicious" and without "evidence of serious study".
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They also have some quite interesting characters, especially when read with a deconstructionist approach. These 11 later novels by Hubbard are not Scientology literature, but have some topics in common, especially the very strong opposition against 20th century psychology and psychiatry, which is seen as a major source of evil. All open allusions to Scientology are strictly avoided. They are not as successful in their use of suspense and humour as Hubbard's early tales, but have to say perhaps more about the complex personality of their author.
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Fat Worm of Error has been compared to the Dada art movement and invariably fit into the noise rock and free jazz genres. They often employ a constrained composing technique in the tradition of the Oulipo writers for many of their songs. Their songs often have various discernible patterns for one or a few instruments layered over patterns prescribed to the other remaining instruments. Their music is deconstructionist and orchestrated destructionist, and often examine the restrictions and prescriptions of traditional music theories, like time signatures and harmony.
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Adriana Petit Adriana Petit (born 1984 in Palma de Mallorca) is a multidisciplinary artist. Her main mediums of choice include photography, collage, music, writing and video. Nonetheless, her work is characterized by a predominance of content over medium, exploring the relationship between contraries from an autobiographical and deconstructionist point of view. The absence of academic training and the scarce institutional coverage contribute to locate her in the outskirts of the mainstream art context, and digital platforms like Tumblr, Flickr or YouTube are her usual exhibition channels.
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Metafiction is essentially writing about writing or "foregrounding the apparatus", as it's typical of deconstructionist approaches,Richard Dyer (2004) Isaac Julien in Conversation in Wasafiri, Issue 43, 2004, p. 29. making the artificiality of art or the fictionality of fiction apparent to the reader and generally disregards the necessity for "willing suspension of disbelief." For example, postmodern sensibility and metafiction dictate that works of parody should parody the idea of parody itself.César J. Ayala, Rafael Bernabe (2007) Puerto Rico in the American century: a history since 1898 p.
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The deputy director of the Taiwan Affairs Office of Zhejiang Province, Shao Jiangwei, stated the offer was being considered favorably. However, when the statue arrived at Daxi in 79 segmented pieces (originally and erroneously reported as more than 200 pieces), the plan to transfer the statue to Xikou was abandoned. Instead, the 8 m statue was partially reassembled at Cihu by a local artist, Guo Shao-zong, with some missing pieces and unveiled on . The resulting deconstructionist sculpture, now entitled Wounds and Regeneration is one of the most popular statues in the park.
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Feminist art criticism is a smaller subgroup in the larger realm of feminist theory, because feminist theory seeks to explore the themes of discrimination, sexual objectification, oppression, patriarchy, and stereotyping, feminist art criticism attempts similar exploration. This exploration can be accomplished through a variety of means. Structuralist theories, deconstructionist thought, psychoanalysis, queer analysis, and semiotic interpretations can be used to further comprehend gender symbolism and representation in artistic works. The social structures regarding gender that influence a piece can be understood through interpretations based on stylistic influences and biographical interpretations.
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Danish philosopher Søren Kierkegaard, and others, sees irony, such as that used by Socrates, as a disruptive force with the power to undo texts and readers alike.Kierkegaard, S, The concept of irony with continuous reference to Socrates (1841), Harper & Row, 1966, p. 278. The phrase itself is taken from Hegel's Lectures on Aesthetics, and is applied by Kierkegaard to the irony of Socrates. This tradition includes 19th-century German critic and novelist Friedrich Schlegel ("On Incomprehensibility"), Charles Baudelaire, Stendhal, and the 20th century deconstructionist Paul de Man ("The Concept of Irony").
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Rolling Stone. 862:65 common elements of the De Stijl aesthetic are demonstrated on the album cover, which sets the band members against an abstract background of rectangles and lines in red, black and white. The White Stripes have cited the minimalist and deconstructionist aspects of De Stijl design as a source of inspiration for their own musical image and presentation. The album was dedicated to furniture designer and architect Gerrit Rietveld of the De Stijl movement, as well as to the influential Georgia bluesman Blind Willie McTell.
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East Bay Express writer M.T. Richards said Plumb "often feels like several albums forcibly wedged into one" which leads to an uneven listening experience. Nevertheless, he said "even its more superfluous failures are endearing". Pitchfork writer Aaron Leitko reviewed Plumb positively, but expressed some disappointment at the album's deconstructionist approach compared to the more conventional structure of Measure, saying: "Plumb is a little too fussy", with strong hooks being abandoned too quickly and before being rushing into the next musical idea. Leitko said the songs don't stand as well on their own when removed from the context of an album.
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In 1967 the deconstructionist philosopher Jacques Derrida borrowed the term, but put it to different use, in his book Of Grammatology. Derrida aimed to show that writing is not simply a reproduction of speech, but that the way in which thoughts are recorded in writing strongly affects the nature of knowledge. Deconstruction from a grammatological perspective places the history of philosophy in general, and metaphysics in particular, in the context of writing as such. In this perspective metaphysics is understood as a category or classification system relative to the invention of alphabetic writing and its institutionalization in School.
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A good example of this theory is found by looking to the reason large businesses tend to grow larger. The answer includes the benefits of mass production and distribution, international advertising, and more funds for product development. These self- amplifying effects, known as the economies of scale, give rise to selection effects which have a quantitative nature, unlike the qualitative effects described by the theory of memetics. On the whole, cultural selection theory embraces the inherent complexity of cultural change and vouches for a systemic, rather than deconstructionist, approach to analyzing the way a society's norms and values change.
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The Dutchess and the Duke was a folk band formed in Seattle, Washington, by singer-songwriters Jesse Lortz and Kimberly Morrison. Their music has been compared to the raw garage rock of the early 1960s. Friends since childhood, Morrison and Lortz have been connected musically since 2002, when they played together in a deconstructionist R&B; band called The Flying Dutchman. Once The Flying Dutchman folded, Lortz established his own record label, Boom Boom Party Records, and played in punk trio The Fe Fi Fo Fums, while Morrison performed with such acts as The Intelligence, The Fallouts, and most recently the Unnatural Helpers.
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Difference feminism holds that there are differences between men and women but that no value judgment can be placed upon them and both genders have equal moral status as persons. The term "difference feminism" developed during the "equality-versus-difference debate" in American feminism in the 1980s and 1990s, but subsequently fell out of favor and use. In the 1990s feminists addressed the binary logic of "difference" versus "equality" and moved on from it, notably with postmodern and/or deconstructionist approaches that either dismantled or did not depend on that dichotomy. Difference feminism did not require a commitment to essentialism.
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Robert Eisenman is from New Jersey. He was born to assimilated Jewish parentsEran Neuman, Longing for the Impossible, Haaretz, 12 May 2010. Quote (referring to his brother, Peter Eisenman): "I didn't know I was Jewish until I encountered anti-Semitism at the age of 10..." Even though he grew up in a non-Zionist and assimilated family where his father held radical leftist views.... His brother is deconstructionist architect Peter Eisenman – best known for his design of the Holocaust Memorial in Berlin, the Visitor's Center at Santiago de Compostela in Spain, and the Arizona Cardinal Football Stadium.
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In the early 1970s, Searle had a brief exchange with Jacques Derrida regarding speech-act theory. The exchange was characterized by a degree of mutual hostility between the philosophers, each of whom accused the other of having misunderstood his basic points.Derrida, Jacques. Limited, Inc. Northwestern University Press, 1988. p. 29: "...I have read some of his [Searle's] work (more, in any case, than he seems to have read of mine)" Searle was particularly hostile to Derrida's deconstructionist framework and much later refused to let his response to Derrida be printed along with Derrida's papers in the 1988 collection Limited Inc.
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Bové led what Joffe calls a "deconstructionist mob" against McDonald's to protest against its effects on French cuisine, later turning up in Ramallah to denounce Israel and announce his support for Yasser Arafat. "Arafat's cause was Bové's cause ... here was a spokesman for the anti-globalization movement who was conflating globalization with Americanization and extending his loathing of both to Israel."Joffe, Josef. "Nations we love to hate: Israel, America and the New Anti-Semitism" , Posen Papers in Contemporary Antisemitism, No.1, Vidal Sassoon Center for the Study of Antisemitism, Hebrew University of Jerusalem, 2004, p.9.
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House of the Tiger King is a 2014 British–Swedish deconstructionist documentary released in 2004. A British travel writer/explorer, Tahir Shah, and documentary filmmakers David and Leon Flamholc, join forces to go on an expedition to Peru in search of Paititi, the Inca lost city of gold. Things do not go as planned, and on their first attempt, they are forced to give up due to two main setbacks: terrible conditions and troubles with their guide, American survivalist Vietnam-war veteran Richard Fowler. On their second attempt, Flamholc and Shah find various locals to help them, including Eduardo Huamani Padilla.
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Fishelov's topics of research include genre theory, poetic simile, biblical characters in modern literature, the role of literary and artistic dialogues in canon formation, 18th-century English literature, and modern Hebrew poetry. His book Metaphors of Genre made a significant impact on the field of genre studies. In it, Fishelov described the role played by conceptual metaphors in modern theories of literary genre: Literary genres have been compared to biological species, to families, to social institutions, and to speech acts. Unlike post- structuralist and deconstructionist criticism, the book argues that generic categories still play an important role in the process of the production, reception, and interpretation of literary texts.
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The New Criticism changed this. Though their interest in textual study initially met with resistance from older scholars, the methods of the New Critics rapidly predominated in American universities until challenged by Feminism and structuralism in the 1970s. Other schools of critical theory, including, post-structuralism, and deconstructionist theory, the New Historicism, and Receptions studies followed. Although the New Critics were never a formal group, an important inspiration was the teaching of John Crowe Ransom of Kenyon College, whose students (all Southerners), Allen Tate, Cleanth Brooks, and Robert Penn Warren would go on to develop the aesthetics that came to be known as the New Criticism.
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She remains with Fly, Arlene, and Albert until they are sent into space to follow a signal transmitted by friendly aliens who had attempted to warn Earth of the impending invasion. Her attempts to return to the Hawaii base fall apart, although it is later revealed that she survived the war, writing a history of Fly and Arlene's adventures (the first two novels) and a treatise on the whole premise between the Hyperrealist-Deconstructionist war. At the end of the fourth novel, Jill exists as an AI within the rebuilt Salt Lake Tabernacle, and a clone which was not woken up within the novels.
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Gang Gang Dance were formed in 2001 by keyboardist Brian DeGraw and drummer Tim DeWit, who first met in Washington, D.C. in 1993 and played in The Cranium. In 1998 the band released one album, A New Music for a New Kitchen on the Slowdime record label, which was described as "deconstructionist anti-music" and "insane, rule-breaking almost-noise",A New Music for a New Kitchen album review. - AllMusic before breaking up. While on tour, DeGraw and DeWit met vocalist Liz Bougatsos (who joined them some years later), a frontwoman for an experimental New York band called Russia at the time.Lizzie Bougatsos and Brian DeGraw interview, part 1.
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Speaking to this need of moving beyond classically "modern" ideas, in the 1960s Cobb was the first to label Whiteheadian thought as "postmodern".David Ray Griffin, Whitehead's Radically Different Postmodern Philosophy: An Argument for Its Contemporary Relevance (Albany: State University of New York Press, 2007), 4. Later, when deconstructionists began to describe their thought as "postmodern", Whiteheadians changed their own label to "constructive postmodernism".John B. Cobb Jr. "Constructive Postmodernism", Religion Online, Like its deconstructionist counterpart, constructive postmodernism arose partly in response to dissatisfaction with Cartesian mind–matter dualism, which viewed matter as an inert machine and the human mind as wholly different in nature.
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By the 1970s, Poulet, and other phenomenological critics, had given way to a new wave of young critics (Leitch et al. 1319). Meltzer (1977) writes, "many critics sense a confidence, or complacency, in Poulet's work, which they believe results from a deafness on his part to the recent problematization of the literary experience and the language of literature" (viii). Formalist critics disagreed with Poulet's disregard for objective standards of literary value while structuralist, poststructuralist, and deconstructionist critics rejected the importance Poulet placed on the role of the author and his belief in engaging with the text as a representation of the author's consciousness. Poulet's books continue to be read and admired.
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In film theory, the institutional mode of representation (IMR) is the dominant mode of film construction, which developed in the years after the turn of the century, becoming the norm by about 1914. Although virtually all films produced today are made within the IMR, it is not the only possible mode of representation. Other possibilities include the primitive mode of representation, which was dominant before being replaced by the IMR; certain avant-garde films that constitute a “deconstructionist” challenge to the IMR; and various non-western modes, notably pre-war Japanese film,Noël Burch (1979). To the Distant Observer: Form and Meaning in Japanese Cinema.
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Kingdom Come is a four-issue comic book miniseries published in 1996 by DC Comics under their Elseworlds imprint. It was written by Mark Waid and Alex Ross and painted in gouache by Ross, who also developed the concept from an original idea. This Elseworlds story is a deconstructionist tale set in a future that deals with a growing conflict between the visibly out-of-touch "traditional" superheroes, and a growing population of largely amoral and dangerously irresponsible new vigilantes, in many cases the offspring of the traditional heroes. Between these two groups is Superman and his assembled team, who attempt to contain the escalating disaster, foil the machinations of Lex Luthor, and prevent a world-ending superhuman war.
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Though Love Me Haiti seems to have a documentary feel; it fits better in the style of a realistic adaptation where the artist blends together observationalism with inductivism, conceptualism with thought- based and Human self-reflection, innovation with open-mindedness and receptiveness to new ideas. In cinéma vérité or true documentary, as per Jean Rouch's theory, the filmmakers cannot change the facts. Surprisingly, when the well-known deconstructionist-philosopher Jacques Derrida later became the subject of two documentary films, he postulated that everything about cinéma vérité is false: once reality passes through the lens of a camera it is no longer authentic. In other words, there is no such a thing as true documentary.
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In 1949, he had the misfortune to brush up against one of academia's least savory characters, the eminent Belgian deconstructionist Paul de Man. Following his friend Mary McCarthy's recommendation, Artinian helped the newly immigrated de Man by offering him a substitute position as professor of French at Bard College, while Artinian spent the academic year of 1949–50 in France as a Fulbright fellow. In 1955, he edited and published "The Complete Short Stories of Guy de Maupassant" (Hanover House), which expurgated sixty-five inauthentic works from the Maupassant canon, and remains authoritative, even after half a century. In 1964, Artinian retired from his post as Chairman of the Division of Languages and Literature at Bard.
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The band Commodore 64 (named after the 1980s computer of the same name) was one of the pioneers of the hip hop music subgenre known as geeksta rap or nerdcore. Formed by four members of a math club and breakdancing troupe in 1992 at a concert in New Jersey, Commodore 64 was the first group to release a single produced entirely using an Apple Macintosh computer, "Horton Hears A Ho" in 1999. Three of the four members of Commodore 64, Smart Money "Bass-I.Q." Teddy Ruxpin, HMO and The Professa MC Squared are well-respected as intellectuals in their jobs, as a mathematics professor, an economics writer and a deconstructionist philosopher respectively.
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Richard Hilton Eckersley (20 February 1941 – 16 April 2006)Richard Eckersley, 65, Graphic Designer, Dies was a graphic designer best known for experimental computerized typography designed to complement deconstructionist academic works. Born in Lancashire, England, his father Tom Eckersley was a noted poster designer during and after the Second World War, later to become head of the School of Art and Design at the London College of Printing in the 1960s. After attending Trinity College in Dublin, Eckersley began his design career at Lund Humphries, the publisher of Typographica and The Penrose Annual, where E. McKnight Kauffer had once been art director. He later joined the state- sponsored Kilkenny Design Workshops in Ireland.
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In 1991, Olson began conducting scholarly interviews of internationally prominent intellectuals including anthropologist Clifford Geertz, linguist Noam Chomsky, deconstructionist Jacques Derrida, postmodern theorist Jean-François Lyotard, philosopher of science Sandra Harding, theorist and cultural critic Donna Haraway, political philosopher Ernesto Laclau, and feminist theorist bell hooks. These interviews were published in JAC and in a series of books. In 1994, the Council of Editors of Learned Journals presented Olson with an International Award for Distinguished Editor for his decade of work editing JAC. In 2002, the Association for Teachers of Advanced Composition established an annual book award in Olson's name: The Gary A. Olson Award for the most outstanding book on rhetorical and cultural theory.
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Analyzing whiteness to forge new understandings of white identity has been a field of exploration for academics since the publications which largely founded modern whiteness studies in the mid-1990s. In exploring Ruth Frankenberg's works, and her interchanging use of the two concepts, the separation has been examined by scholars attempting to intellectually "disengtangle each from the other". Sociologist Howard Winant, favoring a deconstructionist (rather than abolitionist) study of whiteness, suggests this methodology can help redefine and reorient understanding of white identity. In biological examination, whiteness studies has sought to expose how "white identity is neither pure nor unchanging – that its genealogy is mixed" in order to unearth biases within the white racial identity.
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But a high-tech strand of modernism persisted in parallel with a formally retrogressive post- modernism; one that often championed "progress" by celebrating, if not exposing, structure and systems engineering. Such technological virtuosity can be discovered during this time in the work of Norman Foster, Renzo Piano, and Richard Rogers, the latter two having designed the controversial Pompidou Centre (1977) in Paris, which opened to international acclaim. What this so‑called high-tech architecture showed was that an industrial aesthetic—an architecture characterized as much by urban grittiness as engineering efficiency—had popular appeal. This was also somewhat evident in so‑called Deconstructionist architecture, such as the employment of chainlink fencing, raw plywood and other industrial materials in designs for residential and commercial architecture.
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Nagarjuna also discusses the four modes of knowing of the Nyaya school, but he is unwilling to accept that such epistemic means bring us ultimate knowledge. Nagarjuna's epistemic stance continues to be debated among modern scholars, his skepticism of the ability of reason and language to capture the nature of reality and his view of reality as being empty of true existence have led some to see him as a skeptic, mystic, nihilist or agnostic, while others interpret him as a Wittgensteinian analyst, an anti-realist, or deconstructionist. Nagarjuna is also said to be the author of the Upāyaśṛdaya one of the first Buddhist texts on proper reasoning and argumentation.Tillemans, "Buddhist Epistemology (pramāṇavāda)" in William Edelglass and Jay L. Garfield (Editors)Oxford Handbook of World Philosophy.
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Much of the series' attraction stems from the interaction of the psychologists' logical, rationalistic viewpoints with the wildly counterintuitive physics of the worlds they visit. Their attitudes provide something of a deconstructionist look at the basic rationales of these worlds, hitherto unexamined either by their inhabitants or even their original creators. Essentially, they allow the reader to view these worlds from a fresh viewpoint. The "worlds" so examined include not only the Norse world of "The Roaring Trumpet", but also the worlds of Edmund Spenser's The Faerie Queene in "The Mathematics of Magic", Ludovico Ariosto's Orlando Furioso (with a brief stop in Samuel Taylor Coleridge's Xanadu from "Kubla Khan") in "The Castle of Iron", the Kalevala in "The Wall of Serpents", and, at last, Irish mythology in "The Green Magician".
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Lie in particular objected to the influence of Edward Said's Orientalism and used the "University of Chicago School" as an example. Lie's objection was that this approach put all Asian countries into one category, did not give enough weight to historical change, and did not place enough emphasis on class differences. In reply to a review by Ian Buruma, however, Harutoonian stated "I am not now nor have I ever been either a 'deconstructionist' or for that matter a Maoist." Harry Harootunian, A Case of ‘Inverted Commas’ (Letter to the editor) New York Review October 24, 2002 Harootunian deplored the overuse of modernization theory in the development of the field, especially the involvement and distorting influence of government agencies and private foundations such as the Rockefeller Foundation and the Ford Foundation.
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Robert T. Pennock is a philosopher working on the Avida digital organism project at Michigan State University where he has been full professor since 2000. Pennock was a witness in the Kitzmiller v. Dover Area School District trial, testifying on behalf of the plaintiffs, and described how intelligent design is an updated form of creationism and not science, pointing out that the arguments were essentially the same as traditional creationist arguments with adjustments to the message to eliminate explicit mention of God and the Bible as well as adopting a postmodern deconstructionist language. Pennock also laid out the philosophical history of methodological and philosophical naturalism as they underpin to science, and explained that if intelligent design were truly embraced it would return Western civilization to a pre- Enlightenment state.
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The abattoir at La Villette at its opening in 1867 The park was designed by Bernard Tschumi, a French architect of Swiss origin, who built it from 1984 to 1987 in partnership with Colin Fournier, on the site of the huge Parisian abattoirs (slaughterhouses) and the national wholesale meat market, as part of an urban redevelopment project. The slaughterhouses, built in 1867 on the instructions of Napoléon III, had been cleared away and relocated in 1974. Tschumi won a major design competition in 1982–83 for the park, and he sought the opinions of the deconstructionist philosopher Jacques Derrida in the preparation of his design proposal. Since the creation of the park, museums, concert halls, and theatres have been designed by several noted contemporary architects, including Christian de Portzamparc, Adrien Fainsilber, Philippe Chaix, Jean-Paul Morel, Gérard Chamayou, on to Mr. Tschumi.
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A relativist denies the existence of such a thing as truth, in the sense of unconditional truth. [...] A deconstructionist can avoid the question of the existence of absolute truth by maintaining that objectivity is an unrealizable ideal. [..] There can never be a fruitful exchange, much less active cooperation, between these two types of postmodern philosophy and the sort that instead believes philosophy to be a vital field in which to seek the truth, and that this search is not performed in vain. Yet, the barrier of incomprehension should not exist between those adhering to the analytical tradition and those trained in the various traditions that form the vast conglomerate of ‘continental' philosophy." Analitici e continentali, concludes Dummett, helps to break down the barrier of "ignorance of one group’s work with respect to that of the other.
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Inspired by Wittgenstein and Heidegger's theory of hermeneutic circle, Shusterman proposes: > the immediacy of uninterrupted understandings of language (as when I > immediately understand simple and pertinent utterances of a language I know > well) and the mediacy of interpretations (as when I encounter an utterance > or text that I do not understand in terms of word-meaning or contextual > relevance and then have to figure out what is meant).R. Shusterman, > "Pragmatism and Criticism", p. 32. Among Shusterman's achievements in the theory of interpretation, there are also the accounts of literary criticism he created in his earlier, analytic period, as well as his pragmatist arguments against interpretational intentionalism and his genealogical critique of deconstructionist (Harold Bloom's, Jonathan Culler's), analytic (Joseph Margolis') and neo-pragmatist (Richard Rorty's, Stanley Fish's, Walter Benn Michaels and Steven Knapp's) literary theories which, as he claims, are all governed at their core by an ideology of professionalism.
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Alden's collaborations with American companies include operas for Lyric Opera of Chicago, Metropolitan Opera, Houston Grand Opera and the Spoleto Festival USA. He created the American premieres of Siegfried Matthus' Judith for Santa Fe Opera and Karol Szymanowski's King Roger for Long Beach Opera, a production so deconstructionist that the reviewer for The New York Times reported "the opera still awaits a true American premiere." In 1990, he mounted the world premiere of William Bolcom's cabaret opera Casino Paradise at the American Music Theater Festival in Philadelphia, and in 1992, he co-directed -- with his brother Christopher -- the three Mozart/Da Ponte operas in a production for the Chicago Symphony Orchestra led by Daniel Barenboim. For film and television, Alden has directed Franz Schubert's Die Winterreise with Ian Bostridge and Julius Drake, Kurt Weill's Die sieben Todsünden and a documentary on the life of Verdi for BBC Television.
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The production met with great success, the Houston Chronicle calling it "intriguing (...) something deconstructionist architect Frank Gehry might conjure if he were a playwright; a story pulled apart at the seams then re-configured with cool wit and 21st-century angst." As of 2014, the play has been performed all around the world from London, New York City and Houston to Shanghai, Beijing and Seoul.Show Real Drama art projects eraShow Real Drama Review Houston ChronicleShow Real Drama Review Tip Berlin In the spring of 2010 her work was featured on the cover of the American Art Magazine Artforum, which ran an extensive story on her body of work.True Lies - The Art of Keren Cytter Artis Contemporary/Artforum Her next play Anke is Gone or I Eat Pickles At Your Funeral opened in Berlin at Hebbel am Ufer in 2011 and was invited to the Images Festival Toronto in 2012.
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Post-1980 deconstructionist criticism has highlighted how the plot was a profitable publishing and ideological production that served to ensure the ascendancy of the middle class. The marriage plot was the liberal age's reformulation of the medieval romance, which excluded all but aristocratic ladies and their chivalrous knights from its epics of love. The marriage plot promises to liberate romance by making it available to greater sections of society: the middle class and to some extent, the working classes, who are relegated to comic relief in 16th- and 17th-century theater, suddenly become serious moral subjects. Today, few doubt the ennobling qualities of love, but giving that nobility of soul to anyone but nobles was an innovation to be found foundationally in the marriage plot, perhaps pioneered by Richardson's Pamela, wherein a lowly but virtuous maid is raised beyond her birth through her insistent chastity and her subsequent marriage to the lordly Mr. B.
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One of the goals of his analysis is to uncover the literal violence sublated in the poetic accounts of spiritual warfare: "in Hermann's view, traditional exegetical and formalist readings have had the effect of obscuring a real (and reprehensible) commitment to violence and terror as instruments of forced cultural conversion in the early Middle Ages". This critical stance was taken within the profession as evidence that "the armies of modern critical theory stand at the gates of one of the last bastions of traditional philological discourse", in a book whose "discursive content is explicitly intended to serve a larger purpose—the dismantling of an established philological tradition which rests on the ideological alliance of modern exegesis and New Criticism". The book received very mixed reviews. Joseph Harris, in a review for Speculum, was not convinced by its supposed "efforts at a high-level Marxist historical analysis" and thought its deconstructionist theme "least satisfactory".
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Other deconstructionist tactics Maison Margiela has utilized include using traditional fabric linings as the outer layers of garments, and the label's 1988 debut womenswear collection included what The Independent described as "a leather butcher's apron reworked into a seductive evening gown," and an old tulle dress worked into several tailored jackets. Other work with unconventional materials has included clothes fashioned of plastic carrier bags and wire coat hangers, trouser suits made from 1970s upholstery fabrics, tops made with leather gloves, and jewelry made of colored ice such that clothes are dyed as the jewelry melts. Trompe l'oeil print jersey dresses by Maison Martin Margiela, Spring/Summer 1996 (left) and 2012 H&M; reissue (right) First shown in 1989 and introduced in 1992, one of the company's more recognized pieces is the Tabi boot, an interpretation of the traditional split Japanese tabi sock which separates the large toe. In 1994 Maison Margiela debuted its first period pieces, with a line of "complete reproductions," after building its previous collection entirely from its archives.
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While Pussy Galore's version is an intentionally deconstructionist approach to remaking the original album, most of the songs on the album remain recognizable and reconcilable to their original versions. One notable exception is Pussy Galore's performance of "Shine A Light", which, while itself an actual recording of that song, was purposefully distorted essentially beyond recognition. On a bootleg which circulates among fans, titled "Exile On Main Street (Unmixed Version)" or simply "Exile Unmixed", many performances that were purposefully obscured on the official release are clearly audible and it seems that the group did make somewhat of a sincere attempt to learn all eighteen songs from the original LP. In addition to the general chaos, purposeful distortion, and incomprehensible mixing and editing, the record also contains bits of dialog from the band members arguing and yelling at one another, as well as some original Rolling Stones versions of tracks from "Exile..." bleeding through the mix at points. One notable appearance comes from what appears to be a copy of The Velvet Underground's song "Heroin", though it sounds as if it is skipping on a damaged vinyl record.
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