Hypermodern Chess Praxis and Theory, and Chess As an Art Form
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Reactionary Postmodernism? Neoliberalism, Multiculturalism, the Internet, and the Ideology of the New Far Right in Germany
University of Vermont ScholarWorks @ UVM UVM Honors College Senior Theses Undergraduate Theses 2018 Reactionary Postmodernism? Neoliberalism, Multiculturalism, the Internet, and the Ideology of the New Far Right in Germany William Peter Fitz University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/hcoltheses Recommended Citation Fitz, William Peter, "Reactionary Postmodernism? Neoliberalism, Multiculturalism, the Internet, and the Ideology of the New Far Right in Germany" (2018). UVM Honors College Senior Theses. 275. https://scholarworks.uvm.edu/hcoltheses/275 This Honors College Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM Honors College Senior Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. REACTIONARY POSTMODERNISM? NEOLIBERALISM, MULTICULTURALISM, THE INTERNET, AND THE IDEOLOGY OF THE NEW FAR RIGHT IN GERMANY A Thesis Presented by William Peter Fitz to The Faculty of the College of Arts and Sciences of The University of Vermont In Partial Fulfilment of the Requirements For the Degree of Bachelor of Arts In European Studies with Honors December 2018 Defense Date: December 4th, 2018 Thesis Committee: Alan E. Steinweis, Ph.D., Advisor Susanna Schrafstetter, Ph.D., Chairperson Adriana Borra, M.A. Table of Contents Introduction 1 Chapter One: Neoliberalism and Xenophobia 17 Chapter Two: Multiculturalism and Cultural Identity 52 Chapter Three: The Philosophy of the New Right 84 Chapter Four: The Internet and Meme Warfare 116 Conclusion 149 Bibliography 166 1 “Perhaps one will view the rise of the Alternative for Germany in the foreseeable future as inevitable, as a portent for major changes, one that is as necessary as it was predictable. -
New Modernism(S)
New Modernism(s) BEN DUVALL 5 Intro: Surfaces and Signs 13 The Typography of Utopia/Dystopia 27 The Hyperlinked Sign 41 The Aesthetics of Refusal 5 Intro: Surfaces and Signs What can be said about graphic design, about the man- ner in which its artifact exists? We know that graphic design is a manipulation of certain elements in order to communicate, specifically typography and image, but in order to be brought together, these elements must exist on the same plane–the surface. If, as semi- oticians have said, typography and images are signs in and of themselves, then the surface is the locus for the application of sign systems. Based on this, we arrive at a simple equation: surface + sign = a work of graphic design. As students and practitioners of this kind of “surface curation,” the way these elements are functioning currently should be of great interest to us. Can we say that they are operating in fundamentally different ways from the way they did under modern- ism? Even differently than under postmodernism? Per- haps the way the surface and sign are treated is what distinguishes these cultural epochs from one another. We are confronted with what Roland Barthes de- fined as a Text, a site of interacting and open signs, 6 NEW MODERNISM(S) and therefore, a site of reader interpretation and of SIGNIFIER + SIGNIFIED = SIGN semiotic play.1 This is of utmost importance, the treat- ment of the signs within a Text is how we interpret, Physical form of an Ideas represented Unit of meaning idea, e.g. -
Connections Between Gilles Lipovetsky's Hypermodern Times and Post-Soviet Russian Cinema James M
Communication and Theater Association of Minnesota Journal Volume 36 Article 2 January 2009 "Brother," Enjoy Your Hypermodernity! Connections between Gilles Lipovetsky's Hypermodern Times and Post-Soviet Russian Cinema James M. Brandon Hillsdale College, [email protected] Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Film and Media Studies Commons, and the Soviet and Post-Soviet Studies Commons Recommended Citation Brandon, J. (2009). "Brother," Enjoy Your Hypermodernity! Connections between Gilles Lipovetsky's Hypermodern Times and Post- Soviet Russian Cinema. Communication and Theater Association of Minnesota Journal, 36, 7-22. This General Interest is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Brandon: "Brother," Enjoy Your Hypermodernity! Connections between Gilles CTAMJ Summer 2009 7 “Brother,” Enjoy your Hypermodernity! Connections between Gilles Lipovetsky’s Hypermodern Times and Post-Soviet Russian Cinema James M. Brandon Associate Professor [email protected] Department of Theatre and Speech Hillsdale College Hillsdale, MI ABSTRACT In prominent French social philosopher Gilles Lipovetsky’s Hypermodern Times (2005), the author asserts that the world has entered the period of hypermodernity, a time where the primary concepts of modernity are taken to their extreme conclusions. The conditions Lipovetsky described were already manifesting in a number of post-Soviet Russian films. In the tradition of Slavoj Zizek’s Enjoy Your Symptom (1992), this essay utilizes a number of post-Soviet Russian films to explicate Lipovetsky’s philosophy, while also using Lipovetsky’s ideas to explicate the films. -
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Grondmaster ayme, lefl, explafntnq the qallle 01 d»eu to 80"011, c.nter, and USSR Champion Stein, Byrne later floated SteIn 10 anOfher leuon o"er the board. accountmq tor Sleln's only lou 01 lhe lournamenl, SARAJEVO 1967 I 2 3 4 5 6 7 8 A 10 11 12 13 14 15 16 W L D !: ~~::: :::::::::::::::::::::.:.... .::: :' .' ...: . ~ ~~, ---.-~;.-.::~;--:~;-"~,==~: =~~f. =~"tl =j~~=;~t="ii"'\'----;.~:;:--;"-;-·I - ::- -;:===-;~'----;~'---";:""~=- 10 ~ .4- ~ 3. tknko , If.! Y.i: % 0 I 0 1 1 I ~ I \ _ ;-1 _~'~ ,;--;;-, - \1)-5 x 1h 'h ':-l - '--'' 1 I I 1 'h I 0 I ,';-,,'c-- -:';-_-- 1().5_ °1 '""' 1h x 0 0 n 1 n I ¥, I 1 1 I ,..' .....;:3_ ~ 9Ik.5 ~ h 1 x I,i h ~ 1 n h I I,i 1;.--:1_ _ 5 1 9 9h . ~~ ° "1 h 1 I,i x 0 I 'h 0 1 "':"''-''''7----:-1 t 6" 5'- - 8'7 .6% o o lit liz 1 x 1,1: .., .., 1 "':t I t ¥l -.' , 2 ~ 81.1 f1lh 1 0 0 n 0 If. :< 0 0 1 J I n _ -;-I _ ';--;-6_ ,_ _ ,.. - 11 Duc1n tcin .. .. .... ... n ~ ~ ~ ~ : ~ "~'- : : ~ ~ ~ --,~,,-:~:-~ ----.-~ :: ~! 12. Ja.noS('vic .... ... ... ... .. ~_-;";... _~ ~ _Ifl "1 ;;:0'--;,;..0 _ 0,,-:"':-"''7--;;:''--''''' 1 ~"''-.;.I _ _.;:-' _ ;!i 8 f.. 9 13. Pict%.Sch ................................... \o!t Vr 'tit;. _ ";. ,-~O:- 0 n 'fl 0 0 . __1 'h x 0 1:'.1 0 1 6 --;8- - - 5- 10 14. Bogdanuvic .. .................. Y.t 0 0 0 0 lit Yt 0 0 Yt 1 0 I x 0 h 2 8 5 _ _ " "1.100" :~ : ~:~;:~. -
Hypermodern Game of Chess the Hypermodern Game of Chess
The Hypermodern Game of Chess The Hypermodern Game of Chess by Savielly Tartakower Foreword by Hans Ree 2015 Russell Enterprises, Inc. Milford, CT USA 1 The Hypermodern Game of Chess The Hypermodern Game of Chess by Savielly Tartakower © Copyright 2015 Jared Becker ISBN: 978-1-941270-30-1 All Rights Reserved No part of this book maybe used, reproduced, stored in a retrieval system or transmitted in any manner or form whatsoever or by any means, electronic, electrostatic, magnetic tape, photocopying, recording or otherwise, without the express written permission from the publisher except in the case of brief quotations embodied in critical articles or reviews. Published by: Russell Enterprises, Inc. PO Box 3131 Milford, CT 06460 USA http://www.russell-enterprises.com [email protected] Translated from the German by Jared Becker Editorial Consultant Hannes Langrock Cover design by Janel Norris Printed in the United States of America 2 The Hypermodern Game of Chess Table of Contents Foreword by Hans Ree 5 From the Translator 7 Introduction 8 The Three Phases of A Game 10 Alekhine’s Defense 11 Part I – Open Games Spanish Torture 28 Spanish 35 José Raúl Capablanca 39 The Accumulation of Small Advantages 41 Emanuel Lasker 43 The Canticle of the Combination 52 Spanish with 5...Nxe4 56 Dr. Siegbert Tarrasch and Géza Maróczy as Hypermodernists 65 What constitutes a mistake? 76 Spanish Exchange Variation 80 Steinitz Defense 82 The Doctrine of Weaknesses 90 Spanish Three and Four Knights’ Game 95 A Victory of Methodology 95 Efim Bogoljubow -
System Requirements Recommended Hardware Supported Hardware
System Requirements • IBM AT or Compatibles • Machine: 386SX 16 MHz or faster • Hard drive installation (11 MB free) • 640K Base RAM (590,000 bytes) and 2048K EMS free • 3.5” 1.44MB high density floppy drive • Operating System: DOS 5.0 or higher • Graphics: VGA • Sound: Soundcard Recommended Hardware • 486DX • Mouse • SoundBlaster or Pro Audio Spectrum Supported Hardware • Adlib and Roland INSTALLING Gambit Gambit comes on five high density 3.5 inch disks. To install Gambit on your hard drive, follow these instructions: 1. Boot your computer with MS-DOS (Version 5.0 or higher). 2. Place Disk 1 into a high density disk drive. Type the name of the disk drive (example: a:) and press Enter. 3. Type INSTALL and press Enter. The main menu of the install program appears. Press Enter to begin the installation process. 4. When Disk 1 has been installed, the program requests Disk 2. Remove Disk 1 from the floppy drive, insert Disk 2, and press Enter. 5. Follow the above process until you have installed all five disks. The Main Menu appears. Select Configure Digital Sound Device from the Main Menu and press Enter. Now choose your sound card by scrolling to it with the highlight bar and pressing Enter. Note: You may have to set the Base Address, IRQ and DMA channel manually by pressing “C” in the Sound Driver Selection menu. After you’ve chosen your card, press Enter. 6. Select Configure Music Sound Device from the Main Menu and press Enter. Now choose your music card by scrolling to it with the highlight bar and pressing Enter. -
Hypermodernism
9 Hypermodernism If postmodernism’s objective was to announce the end of modernity, then, according to Gilles Lipovetsky. it is now redundant. Modernity, for Lipovetsky, did not come to an end. Rather, it is undergoing its consummation, and the name Lipovetsky suggests for this new phase of the modern is ’hypermodernity’. Postmodernism was characterized by an essentially liberal impulse - a concerted effort towards deregulation in the aesthetic, philosophical, ethical, and political spheres. But, invigorating though these developments may have been, they have been outstripped by the accompanying trend towards the liberalization and deregulation of the market. The unfettered logic of market forces has put paid to postmodernism’s enthusiastic ambitions, and has even crept into the institutions of state, church, and family that withstood many of the onslaughts of postmodernism. The result, says Lipovetsky, is an endemic and unbridled consumerism, giving rise to a cult of excess - hence his choice of the prefix ‘hyper-’ to designate a culture that is ever demanding more and more. This view is in broad agreement with the position of Jeffrey T. Nealon in Part One, who regards post-postmodernism as deriving from an economic intensification o f the power of the market and o f consumerism. This consumerism does not always manifest itself simply as a naked consumerism, but rather as an extreme form of individualism. The hypermodern individual lives a life characterized by flexibility, adaptability, and a demand for continuous improvement, both in the workplace and throughout his or her general life. But Lipovetsky is quick to point out a paradox here: the drive towards flexibility and improvement is something that is demanded of the hypermodern individual, as well as something that the hypermodern individual demands as a consumer. -
Hypermodernism As Deceleration, Re-Stabilisation and Reconciliation
Marcin TrepczyńskiArtykuły naukowe Artykuły naukowe Edukacja Filozoficzna 66/2018 ISSN 0860-3839 DOI: 10.14394/edufil.2018.0021 ORCID: 0000-0003-0612-2597 Hypermodernism as Deceleration, Re-stabilisation and Reconciliation Marcin Trepczyński (University of Warsaw, Institute of Philosophy) Introduction1 In view of the claims of some thinkers that we can speak about “the end of the postmodern”2 or that postmodernity “is over”,3 it is reasonable to ask about the dominant indicators of today’s times and to ask whether it is accurate to describe them using concepts and labels developed to define the last decades of the 20th century. Such reflection is an element of a broader consideration of the human situation. It is important from the point of view of such questions as: how do we live and think, where do we go, who are we. From this perspective, reflection on the situation of individuals and societies has great philosophical significance. In this article I will try to address the main diagnoses and concepts concern- ing our times provided by thinkers referring to notions such as “postmodernism”, “the postmodern”, “after modernity” or “liquid modernity”. I will show that, at least today, they are insufficient and inadequate. I will also try to point to present attitudes which should be taken into account in any description of our times and to offer a proper name for them. Finally, I will briefly sketch how it is combined with the philosophical questions mentioned above. 1 The key concepts of this article were presented in my talk at the conference Around Hypermod- ernism, held at the Faculty “Artes Liberales” of the University of Warsaw on June 14, 2018. -
From Modernism to Hypermodernism and Beyond an Interview with Paul Virilio
From Modernism to Hypermodernism and Beyond An Interview with Paul Virilio John Armitage Postmodernism and Hypermodernism JA: Professor Virilio, I would like to begin by charting your place within the contemporary intellectual landscape.1 For instance, your work is closely associated with the cultural movement known as postmodernism. Certainly, your most recently translated study Open Sky (1997 [1995]) is being received as such in the English-speaking world.2 However, you have always been sceptical of the idea of postmodernism. Could you explain the basis of your critique of this concept? PV: Postmodernism is a notion that makes sense in architecture, through the work of [Robert] Venturi (Venturi et al., 1977) and so on. Since I am teaching architecture, to me, postmodernism is a `suitcase' word, a syncret- ism. In architecture it is a clear-cut phenomenon: styles are mixed up, history is ignored, one goes for a `melting pot' of approaches. But as far as thought is concerned, thought as developed in the years 1970±80, I simply cannot understand why people are talking about postmodernism. Post- structuralism? Yes, OK. Postmodernism? It doesn't make any sense to me. Hence, I do not feel linked at all with postmodernity. Moreover, as a teacher in a college of architecture, I believe postmodernism was a catastrophe in the history of modern architecture. Therefore there is no linkage between me and postmodernism. I know that many people tend to associate post- modernism with relativism, especially with cognitive relativism. Well, this is a new polemic that is cropping up, especially here in France, and which does not concern, let alone interest me in the slightest measure. -
Constructive Texts: Theory, Practice, and the "Self" in Composition" (1998)
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Fall 1998 Constructive texts: Theory, practice, and the "self " in composition Deborah Lynne Hodgkins University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Hodgkins, Deborah Lynne, "Constructive texts: Theory, practice, and the "self" in composition" (1998). Doctoral Dissertations. 2043. https://scholars.unh.edu/dissertation/2043 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMt films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Oscillating Towards and Within the Metamodern
Ghent University Faculty of Arts and Philosophy Oscillating Towards and Within the Metamodern Mark Z. Danielewski’s House of Leaves as a Transitional Novel for the New Structure of Feeling within the Contemporary Post-Postmodern Literary Debate Supervisor: Paper submitted in partial fulfillment Dr. Sarah Posman of the requirements for the degree of “Master in de Taal- en Letterkunde: Engels” by Karel Van Ooteghem August 2015 I have seen the future of fiction, and its name is Mark Z. Danielewski. —Larry McCaffery1 1 “Fiction’s Future: Words, Sentences, Quotes.” American Book Review 30.5 (2009): 9. Print. 2 Acknowledgements After four years of studying literature, I wanted my master’s dissertation to be about something that really interested me. Throughout my years as a student at Ghent University, I have developed a taste for the classic American postmodernists and more experimental literature such as Thomas Pynchon and John Barth – definitely not the easiest authors, and I am more than willing to admit that reading those works are often more an endeavour than recreation. When browsing the internet – as we all do, and which is a returning motif in this dissertation – I stumbled upon Mark Z. Danielewski’s work on the one hand and Vermeulen and Van den Akker’s ‘metamodernism’ on the other. After reading House of Leaves, I immediately realized that it might well be one of the books that will be deemed ‘classics’ or ‘turning points’ in about fifty years from now. Truth be said, I primarily recognized its literary qualities, but the work was not really one that I would put on my list of favourites. -
The Chess Players
The Chess Players A Project Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Liberal Studies by Gerry A. Wolfson-Grande May, 2013 Mentor: Dr. Philip F. Deaver Reader: Dr. Steve Phelan Rollins College Hamilton Holt School Master of Liberal Studies Program Winter Park, Florida NOTE TO THE READER: For my thesis project, I have written a novel-in-stories called The Chess Players. This companion piece, “A Game for All Reasons: Musings on the Interdisciplinary Nature of Chess,” is intended to supplement the creative narrative with my analyses assembled over the course of the MLS program. A GAME FOR ALL REASONS: Musings on the Interdisciplinary Nature of Chess By Gerry A. Wolfson-Grande May, 2013 TABLE OF CONTENTS Introduction ......................................................................................................................... 1 Enter the Queen................................................................................................................... 3 Art, Improvisation and Randomness................................................................................. 14 Fortune and Her Wheel: Chess in the Book of the Duchess and the Knight’s Tale ......... 26 Conclusion ........................................................................................................................ 40 Bibliography ..................................................................................................................... 42 Artwork ............................................................................................................................