The transition from modernism to postmodernism brought about a reversal in the critical consideration of the cinematic subject. Whereas modernist theorists and artists complained about the centering ideological effects of mainstream cinema, calling for dysjunction of the subject through various cinematic strategies such as disruption of continuity editing or use of asynchronous sound/image combinations (e.g., Heath, Baudry, Godard)posrmodernists presume a subject dysjuncted, "schizofrenic" (Jameson) and "cyborgized" (Harraway) by postmmodern intertextual cinematic production, calling for a cinematic re-mapping of the cognitive terrain Jameson, Harvey).
Where modernists wrong in their "subversive" call for a split subject? Are postmodernists right in their depiction of the postmodern cinematic (but also mew media) subject positioning? Is non-coherence a desirable address strategy? Why?.
ISSEI International Society for the Study of European Ideas 9th Conference organized with the cooperation of the University of Navarro, Pamplona, Spain.
Nowadays the Ethos of Individualism is regarded as a Myth rather than an Ethos hailing from the 17th Century Scientific Revolution and the 18th Century European Enlightenment.
The Narrative of Modernity is, in a sense, the attempt to save the idea of Individualism from its esoteric background, without falling into moral Nihilism. The articulation of the Self in the context of coexistence with Others is the great challenge facing the European Mind, or simply, facing Europeans. Western civilisation has to meet the challenge of the legend of the disappearance of the Self. For this central issue it is imperative to rearticulate the unity of theory and practice on the one hand, and to break down the barriers within Humanistic Studies on the other.
University of Navarra, Pamplona, Spain.
2 - 7, August, 2004
University of Navarro
Center for European Studies
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