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THEORIES OF THE PUBLIC SPHERE, AS STANDARDLY FORMULATED, AIM TO SPECIFY THE MINIMAL, NECESSARY CONDITIONS FOR A DISCURSIVE REALM FREE OF COERCION OR MANIPULATION. IN HIS ARTICLE IN SEPTEMBER 1992, DANA VILLA URGED SCHOLARS TO RECONSIDER THIS STANDARD ACCOUNT. HE ARGUED THAT WHEN READ IN LIGHT OF POSTMODERNIST THEORY, HANNAH ARENDT PROVIDES THE BASIS FOR A REVISED CONCEPTION OF THE PUBLIC SPHERE THAT PRIVILEGES PLURALITY AND DIFFERENCE OVER CONSENSUS. JIM JOHNSON SUGGESTS THAT VILLA'S ANALYSIS IS A THINLY VEILED POLEMIC AGAINST CRITICAL THEORY. JOHNSON ARGUES THAT, AS CRITIQUE, VILLA'S ARGUMENT IS NEITHER DECISIVE NOR ENCOMPASSING, AND THAT AS POLEMIC IT BLINDS VILLA TO POTENTIALLY FRUITFUL DISAGREEMENTS WITH CRITICAL THEORISTS. VILLA REPLIES THAT JOHNSON MISSES THE SYNTHETIC THRUST OF THE ORIGINAL ARTICLE BECAUSE HE IDENTIFIED PUBLIC REALM THEORY TOO NARROWLY WITH HABERMAS. THUS, HE MISCONSTRUES THE DIALOGUE VILLA SOUGHT TO FACILITATE BETWEEN ARENDT AND POSTMODERNISM.

Ce texte est l'introduction d'un recueil d'articles éponymes publié en 2000, après presque une décennie de convalescence intellectuelle et de succès économique. De cette situation nait la complexité de la postmodernité chinoise, enfant de la modernité économique, et orpheline des Lumières des années 1980. Ce texte cherche à définir le champ postmoderne en Chine, en questionnant la pertinence d'une épistémè postindustrielle et occidentale rapportée au monde chinois. En introduisant la notion de post-socialisme pour historiciser la présent chinois, les auteurs clament qu'il est « fructueux de postuler un postmoderne chinois » pour sortir la tête haute, de la révolution et du nationalisme.

In Turkey, it is possible to see the traces of the West in almost all of the postmodernism practices that started to give examples within the framework of the modernization movements in the art of painting that emerged after the 1960s. In these periods, postmodernism tried to put forward a structure against modernism, a structure that researches and criticizes modernity. As it is known, the isms in the same field and lane try to exist either in order to completely ignore the previous traces and create their own existence, or by criticizing its doctors and trying to stand out by putting forward new arguments and theses. From this point of view, it is quite normal to examine postmodernism and modernism critically and then try to embody them with innovation movements. It can be said that it started to take shape with examples in the 1980s. This research is important because it makes determinations about the reflections of the transition from the modernism process to the postmodernism stage of Turkish painting on Turkish painting. In this context, examples of postmodernism movements and postmodern understanding in Turkish painting are given. Some of the messages given to the society by some painters who created works in this direction as representatives of Turkish painting art are discussed by examining them. Keywords: Postmodernism Turkish painting Art

"Cover" -- "Contents" -- "Acknowledgements" -- "Notes on Contributors" -- "Introduction" -- "Part I Race" -- "1 Not Irish Enough? Masculinity and Ethnicity in The Wire and Rescue Me" -- "2 Reading and Writing Race in Ireland: Roddy Doyle and Metro Eireann" -- "3 Marching, Minstrelsy, Masquerade: Parading White Loyalist Masculinity as 'Blackness'" -- "4 'Is it for the Glamour?': Masculinity, Nationhood and Amateurism in Contemporary Projections of the Gaelic Athletic Association" -- "Part II Space" -- "5 'Our Nuns are not a Nation': Politicizing the Convent in Irish Literature and Film" -- "6 Fanfic in Ireland: No Country, No Sex, No Money, No Name" -- "7 Widening the Frame: the Politics of Mural Photography in Northern Ireland" -- "8 Tracking the Luas between the Human and the Inhuman" -- "Part III Diaspora" -- "9 Cinematic Constructions of Irish Musical Ethnicity" -- "10 St Patrick's Day Expulsions: Race and Homophobia in New York's Parade" -- "11 Fantasy, Celebrity and 'Family Values' in High-End and Special Event Tourism in Ireland" -- "12 A Mirror up to Irishness: Hollywood Hard Men and Witty Women" -- "Part IV Aporia" -- "13 'Let's Get Killed': Culture and Peace in Northern Ireland" -- "14 Boyz to Men: Irish Boy Bands and Mothering the Nation" -- "15 Quare Theory" -- "16 Camping up the Emerald Aisle: 'Queerness' in Irish Popular Culture" -- "Index" -- "A" -- "B" -- "C" -- "D" -- "E" -- "F" -- "G" -- "H" -- "I" -- "J" -- "K" -- "L" -- "M" -- "N" -- "O" -- "P" -- "Q" -- "R" -- "S" -- "T" -- "U" -- "V" -- "W

This paper is a detailed review of the article by P.A. Orekhovsky and V.I. Razumov 'The Carnival Time: Russian Higher School and Science in the Postmodern Era'. The author considers the main problems shown in this article. In order to study these problems the author uses a method of analysis of inverse relations in hierarchical systems as a theoretical basis. System inversion is a form of relations in hierarchical systems, in which the lowest element receives the dominant value in the system, formally remaining in the same subordinate position. This situation can occur both in the social hierarchy and, for example, in the hierarchy of values. As a result of the developed inversion, contradictions accumulate in the system, which can lead to the collapse of this system or to a radical transformation. Such processes can be observed in modern education. This is why there is a priority of the visible over the existent, as it happens in the situation of 'carnival'. The article by P.A. Orekhovsky and V.I. Razumov examines the postmodern cultural context in which modern education functions. In this regard, the author presents an interpretation of the postmodern situation from the point of view of analyzing system inversions. The current state of the educational sector is determined by the resolution of inversion in the system of human activity. This inversion covers the instrumental and symbolic aspects of human activity. Due to this, there are features of educational activities related to the introduction of digital technologies, which P.A. Orekhovsky and V.I. Razumov pay special attention to. The authors of the article describe the status of the modern teacher's activity as 'spiritual prostitution'. Indeed, the activities of some teachers can be described by this term. However, this happens when both the teacher and the student experience a value inversion (as is the case with ordinary prostitution). Instead of this model of behavior, the author suggests another one, more worthy, – a 'soldier of culture'. 'Soldiers of culture' do not 'provide educational services', they have a mission to broadcast and enrich culture, which is the highest, terminal value.

Kantianism, Postmodernism and Critical Legal Thought presents a challenging alternative theory of legal philosophy. The central thesis of the book suggests an accommodation between three of the most influential contemporary theories of law, Kantianism, postmodernism and critical legal thought. In doing so, it further suggests that the often perceived distance between these theories of law disguises a common intellectual foundation. This foundation lies in the work of Immanuel Kant. Kantianism, Postmodernism and Critical Legal Thought presents an intellectual history of critical legal thinking, beginning with Kant, and then proceeding through philosphers and legal theorists as diverse as Heidegger and Arendt, Foucault and Derrida, Rorty and Rawls, and Unger and Dworkin. Ultimately, it will be suggested that each of these philosophers is writing within a common intellectual tradition, and that by concentrating on the commonality of this tradition, contemporary legal theory can better appreciate the reconstructive potential of the critical legal project

1. Introduction: Philosophy of the People -- 2. Nature and Nature -- 3. Emerson and Peirce -- 4. The Crack in Everything: Emerson and Žižek on the Dialectical Nature of Philosophy and the World -- 5. Evolutionary Existentialism of Emerson and Paz -- 6. Postmodern Emerson and the Sorites of Ethical Difference: Emerson and Irigaray -- 7. Emerson and Beauvoir: Seriousness as a Form of Clutching -- 8. Emerson and Heidegger on Thinking -- 9. Emerson and Rorty: Baring and Bearing Reality -- 10. Emerson and Derrida: Traces of Meanings, Genres without Borders -- 11. Emerson and Ta-Nehisi Coates: On the Ideas We Find Ourselves in and on the Way Out -- 12. Conclusion.