Postmodernism is a philosophical movement away from the viewpoint of modernism. More specifically it is a tendency in contemporary culture characterized by the problem of objective truth and inherent suspicion towards global cultural narrative or meta-narrative. It involves the belief that many, if not all, apparent realities are only social constructs, as they are subject to change inherent to time and place. It emphasizes the role of language, power relations, and motivations; in particular it attacks the use of sharp classifications such as male versus female, straight versus gay, white versus black, and imperial versus colonial. Rather, it holds realities to be plural and relative, and dependent on who the interested parties are and what their interests consist of. It attempts to problematise modernist overconfidence, by drawing into sharp contrast the difference between how confident speakers are of their positions versus how confident they need to be to serve their supposed purposes. Postmodernism has influenced many cultural fields, including religion, literary criticism, sociology, linguistics, architecture, anthropology, visual arts, and music.

Postmodernist thought is an intentional departure from modernist approaches that had previously been dominant. The term "postmodernism" comes from its critique of the "modernist" scientific mentality of objectivity and progress associated with the Enlightenment.

These movements, modernism and postmodernism, are understood as cultural projects or as a set of perspectives. "Postmodernism" is used in critical theory to refer to a point of departure for works of literature, drama, architecture, cinema, journalism, and design, as well as in marketing and business and in the interpretation of law, culture, and religion in the late 20th and early 21st centuries. Indeed, postmodernism, particularly as an academic movement, can be understood as a ''reaction'' to modernism in the Humanities. Whereas modernism was primarily concerned with principles such as identity, unity, authority, and certainty, postmodernism is often associated with difference, plurality, textuality, and skepticism.

Literary critic Fredric Jameson describes postmodernism as the "dominant cultural logic of late capitalism." "Late capitalism" refers to the phase of capitalism after World War II, as described by the Marxist theorist Ernest Mandel; the term refers to the same period sometimes described by "globalization", "multinational capitalism", or "consumer capitalism". Jameson's work studies the postmodern in contexts of aesthetics, politics, philosophy, and economics.

History and emergence

The term was first used around the 1870s in various areas. For example, John Watkins Chapman avowed "a Postmodern style of painting" to get beyond French Impressionism. Then, J. M. Thompson, in his 1914 article in ''The Hibbert Journal'' (a quarterly philosophical review), used it to describe changes in attitudes and beliefs in the critique of religion: "The raison d'etre of Post-Modernism is to escape from the double-mindedness of Modernism by being thorough in its criticism by extending it to religion as well as theology, to Catholic feeling as well as to Catholic tradition."

In 1917 Rudolf Pannwitz used the term to describe a philosophically oriented culture. His idea of ''post-''modernism came from Friedrich Nietzsche's analysis of modernity and its end results of decadence and nihilism. Overcoming the modern human would be the post-human. Contrary to Nietzsche, Pannwitz also includes nationalist and mythical elements.

The term was used later in 1926 by B. I. Bell in his "Postmodernism & other Essays". In 1921 and 1925 it had been used to describe new forms of art and music. In 1942 H. R. Hays used it for a new literary form, but as a general theory of an historical movement it was first used in 1939 by the historian Arnold J. Toynbee: "Our own Post-Modern Age has been inaugurated by the general war of 1914-1918."

In 1949 the term was used to describe a dissatisfaction with modern architecture, leading to the postmodern architecture movement. Postmodernism in architecture is marked by the re-emergence of surface ornament, reference to surrounding buildings in urban architecture, historical reference in decorative forms, and non-orthogonal angles. It may be a response to the modernist architectural movement known as the International Style.

The term was then applied to a whole host of movements, many in art, music, and literature, that reacted against a range of tendencies in the imperialist phase of capitalism called "modernism," and are typically marked by revival of historical elements and techniques. Walter Truett Anderson identifies Postmodernism as one of four typological world views. These four worldviews are the Postmodern-ironist, which sees truth as socially constructed; the scientific-rational, in which truth is found through methodical, disciplined inquiry; the social-traditional, in which truth is found in the heritage of American and Western civilization; and the neo-romantic, in which truth is found through attaining harmony with nature and/or spiritual exploration of the inner self.

Postmodernist ideas in philosophy and the analysis of culture and society expanded the importance of critical theory and has been the point of departure for works of literature, architecture, and design, as well as being visible in marketing/business and the interpretation of history, law and culture, starting in the late 20th century. These developments — re-evaluation of the entire Western value system (love, marriage, popular culture, shift from industrial to service economy) that took place since the 1950s and 1960s, with a peak in the Social Revolution of 1968 — are described with the term ''Postmodernity'', as opposed to ''Postmodernism'', a term referring to an opinion or movement. Whereas something being "Postmodernist" would make it part of the movement, its being "Postmodern" would place it in the period of time since the 1950s, making it a part of contemporary history.

Overview of ideas (see also Postmodern philosophy)

; Martin Heidegger (1889–1976) : rejected the philosophical basis of the concepts of "subjectivity" and "objectivity" and asserted that similar grounding oppositions in logic ultimately refer to one another. Instead of resisting the admission of this paradox in the search for understanding, Heidegger requires that we embrace it through an active process of elucidation he called the "Hermeneutic Circle". He stressed the historicity and cultural construction of concepts while simultaneously advocating the necessity of an atemporal and immanent apprehension of them. In this vein, he asserted that it was the task of contemporary philosophy to recover the original question of (or "openness to") ''Dasein'' (translated as Being or Being-in-the-World) present in the Presocratic philosophers but normalized, neutered and standardized since Plato. This was to be done, in part, by tracing the record of ''Dasein's'' sublimation or forgetfulness through the history of philosophy which meant that we were to ask again what constituted the grounding conditions in ourselves and in the World for the affinity between beings and between the many usages of the term "being" in philosophy. To do this, however, a non-historical and, to a degree, self-referential engagement with whatever set of ideas, feelings or practices would permit (both the non-fixed concept and reality of) such a continuity was required - a continuity permitting the possible experience, possible existence indeed not only of beings but of all differences as they appeared and tended to develop. Such a conclusion led Heidegger to depart from the Phenomenology of his teacher Husserl and prompt instead an (ironically anachronistic) return to the yet-unasked questions of Ontology, a return that in general did not acknowledge an intrinsic distinction between phenomena and noumena or between things in themselves (''de re'') and things as they appear (see ''qualia''): Being-in-the-world, or rather, the openness to the process of ''Dasein's''/Being's becoming was to bridge the age-old gap between these two. In this latter premise, Heidegger shares an affinity with the late Romantic philosopher, Friedrich Nietzsche, another principal forerunner of Post-structuralist and Postmodernist thought. Influential to thinkers associated with Postmodernism are Heidegger's critique of the subject-object or sense-knowledge division implicit in Rationalism, Empiricism and Methodological Naturalism, his repudiation of the idea that facts exist outside or separately from the process of thinking and speaking them (however, Heidegger is not specifically a Nominalist), his related admission that the possibilities of philosophical and scientific discourse are wrapped up in the practices and expectations of a society and that concepts and fundamental constructs are the expression of a lived, historical exercise rather than simple derivations of external, apriori conditions independent from historical mind and changing experience (see Johann Gottlieb Fichte, Heinrich von Kleist, Weltanschauung and Social Constructionism), and his Instrumentalist and Negativist notion that Being (and, by extension, reality) is an action, method, tendency, possibility and question rather than a discreet, positive, identifiable state, answer or entity (see also Process Philosophy, Dynamism, Instrumentalism, Pragmatism and Vitalism). ; Thomas Samuel Kuhn (1922–1996) : located the rapid change of the basis of scientific knowledge to a provisional consensus among scientists; coined the term "paradigm shift" in ''The Structure of Scientific Revolutions'' and in general contributed to the debate over the presumed neutrality and objectivity of empirical methodology in the Natural Sciences from disciplinarian or cultural bias. ; Jacques Derrida (1930–2004) : re-examined the fundamentals of writing and its consequences on philosophy in general; sought to undermine the language of 'presence' or metaphysics in an analytical technique which, beginning as a point of departure from Heidegger's notion of ''Destruktion'', came to be known as Deconstruction. Derrida utilized, like Heidegger, references to Greek philosophical notions associated with the Skeptics and the Presocratics, such as Epoché and Aporia to articulate his notion of implicit circularity between premises and conclusions, origins and manifestations, but - in a manner analogous in certain respects to Gilles Deleuze - presented a radical re-reading of canonical philosophical figures such as Plato, Aristotle and Descartes as themselves being informed by such "destabilizing" notions. ; Michel Foucault (1926–1984) : introduced concepts such as 'discursive regime', or re-invoked those of older philosophers like 'episteme' and 'genealogy' in order to explain the relationship among meaning, power, and social behavior within social orders (see ''The Order of Things'', ''The Archaeology of Knowledge'', ''Discipline and Punish'' and ''The History of Sexuality''). In direct contradiction to what have been typified as Modernist perspectives on epistemology, Foucault asserted that rational judgment, social practice and what he called 'biopower' are not only inseparable but co-determinant. While Foucault himself was deeply involved in a number of progressive political causes and maintained close personal ties with members of the far-Left, he was also controversial with Leftist thinkers of his day, including those associated with various strains of Marxism, proponents of Left libertarianism (e.g. Noam Chomsky) and Humanism (e.g. Jürgen Habermas), for his rejection of what he deemed to be Enlightenment-derived concepts of freedom, liberation, self-determination and human nature. Instead, Foucault focused on the ways in which such constructs can foster cultural hegemony, violence and exclusion. In line with his rejection of such 'positive' tenets of Enlightenment-era Humanism, he was active, with Gilles Deleuze and Félix Guattari, in the Anti-Psychiatry Movement, considering much of institutionalized psychiatry and, in particular, Freud's concept of repression central to Psychoanalysis (which was still very influential in France during the 1960s and 70s), to be both harmful and misplaced. Foucault was known for his controversial aphorisms, such as "language is oppression", meaning that language functions in such a way as to render nonsensical, false or silent tendencies that might otherwise threaten or undermine the distributions of power backing a society's conventions - even when such distributions purport to celebrate liberation and expression or value minority groups and perspectives. His writings have had a major influence on the larger body of Postmodern academic literature. ; Jean-François Lyotard (1924–1998) : identified in ''The Postmodern Condition'' a crisis in the 'discourses of the Human Sciences' latent in Modernism but catapulted to the fore by the advent of the "computerized" or "telematic" era (see Information Revolution). This crisis, insofar as it pertains to academia, concerns both the motivations and justification procedures for making research claims: unstated givens or values that have validated the basic efforts of academic research since the late 18th Century might no longer be valid (particularly, in Social Science & Humanities research, though examples from Mathematics are given by Lyotard as well). As formal conjecture about real-world issues becomes inextricably linked to automated calculation, information storage and retrieval, such knowledge becomes increasingly "exteriorised" from its knowers in the form of information. Knowledge is materialized and made into a commodity exchanged between producers and consumers; it ceases to be either an idealistic end-in-itself or a tool capable of bringing about liberty or social benefit; it is stripped of its humanistic and spiritual associations, its connection with education, teaching and human development, being simply rendered as "data" - omnipresent, material, unending and without any contexts or pre-requisites. Furthermore, the 'diversity' of claims made by various disciplines begins to lack any unifying principle or intuition as objects of study become more and more specialized due to the emphasis on specificity, precision and uniformity of reference that competitive, database-oriented research implies. The value-premises upholding academic research have been maintained by what Lyotard considers to be quasi-mythological beliefs about human purpose, human reason and human progress - large, background constructs he calls "Metanarratives". These Metanarratives still remain in Western society but are now being undermined by rapid Informatization and the commercialization of the University and its functions. The ''shift of authority'' from the presence and intuition of knowers - from the good-faith of Reason to seek diverse knowledge integrated for human benefit or truth fidelity - to the automated database and the market had, in Lyotard's view, the power to unravel the very idea of 'justification' or 'legitimation' and, with it, the rationale for research altogether - esp. in disciplines pertaining to human life, society and meaning. We are now controlled not by binding extra-linguistic value paradigms defining notions of collective identity and ultimate purpose, but rather by our automatic responses to different species of "language games" (a concept Lyotard imports from JL Austin's theory of Speech Acts). In his vision of a solution to this "vertigo," Lyotard opposes the assumptions of universality, consensus, and generality that he identified within the thought of Humanistic, Neo-Kantian philosophers like Jürgen Habermas and proposes a continuation of experimentation and diversity to be assessed pragmatically in the context of language games rather than via appeal to a resurrected series of transcendentals and metaphysical unities. ; Richard Rorty (1931–2007) : argues in ''Philosophy and the Mirror of Nature'' that contemporary Analytic philosophy mistakenly imitates scientific methods. In addition, he denounces the traditional epistemological perspectives of Representationalism and Correspondence theory that rely upon the independence of knowers and observers from phenomena and the passivity of natural phenomena in relation to consciousness. As a proponent of anti-foundationalism and anti-essentialism within a Pragmatist framework, he echoes Postmodern strains of Conventionalism and Philosophical Relativism, but opposes much Postmodern thinking with his commitment to Social Liberalism. ; Jean Baudrillard (1929–2007), : in ''Simulacra and Simulation'', introduced the concept that reality or the principle of the "real" is short-circuited by the interchangeability of signs in an era whose communicative and semantic acts are dominated by electronic media and digital technologies. Baudrillard proposes the notion that, in such a state, where subjects are detached from the outcomes of events (political, literary, artistic, personal or otherwise), events no longer hold any particular sway on the subject nor have any identifiable context; they therefore have the effect of producing widespread indifference, detachment and passivity in industrialized populations. He claimed that a constant stream of appearances and references without any direct consequences to viewers or readers could eventually render the division between appearance and object indiscernible, resulting, ironically, in the "disappearance" of mankind in what is, in effect, a virtual or holographic state, composed only of appearances. ; Fredric Jameson (born 1934) : set forth one of the first expansive theoretical treatments of Postmodernism as a historical period, intellectual trend and social phenomenon in a series of lectures at the Whitney Museum, later expanded as ''Postmodernism, or The Cultural Logic of Late Capitalism'' (1991). Eclectic in his methodology, Jameson has continued a sustained examination of the role that Periodization continues to play as a grounding assumption of critical methodologies in Humanities disciplines. He has contributed extensive effort to explicating the importance of concepts of Utopianism and Utopia as driving forces in the cultural and intellectual movements of Modernity, and outlining the political and existential uncertainties that may result from the decline or suspension of this trend in the theorized state of Postmodernity. Like Susan Sontag, Jameson served to introduce a wide audience of American readers to key figures of the 20th Century Continental European intellectual Left, particularly those associated with the Frankfurt School, Structuralism and Post-Structuralism. Thus, his importance as a 'translator' of their ideas to the common vocabularies of a variety of disciplines in the Anglo-American academic complex is equally as important as his own critical engagement with them.

Contested definitions

The term "Postmodernism" is often used to refer to different, sometimes contradictory concepts. Conventional definitions include:

Compact Oxford English Dictionary: "a style and concept in the arts characterized by distrust of theories and ideologies and by the drawing of attention to conventions." Merriam-Webster: Either "of, relating to, or being an era after a modern one", or "of, relating to, or being any of various movements in reaction to modernism that are typically characterized by a return to traditional materials and forms (as in architecture) or by ironic self-reference and absurdity (as in literature)", or, finally "of, relating to, or being a theory that involves a radical reappraisal of modern assumptions about culture, identity, history, or language". American Heritage Dictionary: "Of or relating to art, architecture, or literature that reacts against earlier modernist principles, as by reintroducing traditional or classical elements of style or by carrying modernist styles or practices to extremes: 'It [a roadhouse] is so architecturally interesting ... with its postmodern wooden booths and sculptural clock.'"

While the term "Postmodern" and its derivatives are freely used, with some uses apparently contradicting others, those outside the academic milieu have described it as merely a buzzword that means nothing. Dick Hebdige, in his text ‘Hiding in the Light’, writes:

When it becomes possible for a people to describe as ‘postmodern’ the décor of a room, the design of a building, the diegesis of a film, the construction of a record, or a ‘scratch’ video, a television commercial, or an arts documentary, or the ‘intertextual’ relations between them, the layout of a page in a fashion magazine or critical journal, an anti-teleological tendency within epistemology, the attack on the ‘metaphysics of presence’, a general attenuation of feeling, the collective chagrin and morbid projections of a post-War generation of baby boomers confronting disillusioned middle-age, the ‘predicament’ of reflexivity, a group of rhetorical tropes, a proliferation of surfaces, a new phase in commodity fetishism, a fascination for images, codes and styles, a process of cultural, political or existential fragmentation and/or crisis, the ‘de-centring’ of the subject, an ‘incredulity towards metanarratives’, the replacement of unitary power axes by a plurality of power/discourse formations, the ‘implosion of meaning’, the collapse of cultural hierarchies, the dread engendered by the threat of nuclear self-destruction, the decline of the university, the functioning and effects of the new miniaturised technologies, broad societal and economic shifts into a ‘media’, ‘consumer’ or ‘multinational’ phase, a sense (depending on who you read) of ‘placelessness’ or the abandonment of placelessness (‘critical regionalism’) or (even) a generalised substitution of spatial for temporal coordinates - when it becomes possible to describe all these things as ‘Postmodern’ (or more simply using a current abbreviation as ‘post’ or ‘very post’) then it’s clear we are in the presence of a buzzword.

British historian Perry Anderson's history of the term and its understanding, 'The Origins of Postmodernity', explains these apparent contradictions, and demonstrates the importance of "Postmodernism" as a category and a phenomenon in the analysis of contemporary culture.

Influence on art and aesthetics

Architecture

The movement of Postmodernism began with architecture, as a response to the perceived blandness, hostility, and Utopianism of the Modern movement. Modern Architecture, as established and developed by people such as Walter Gropius, Le Corbusier, and Philip Johnson, was focused on the pursuit of a perceived ideal perfection, and attempted harmony of form and function, and dismissal of "frivolous ornament." Critics of modernism argued that the attributes of perfection and minimalism themselves were subjective, and pointed out anachronisms in modern thought and questioned the benefits of its philosophy. Definitive postmodern architecture such as the work of Michael Graves rejects the notion of a 'pure' form or 'perfect' architectonic detail, instead conspicuously drawing from all methods, materials, forms and colors available to architects. Postmodernist architecture was one of the first aesthetic movements to openly challenge Modernism as antiquated and "totalitarian", favoring personal preferences and variety over objective, ultimate truths or principles. It is this atmosphere of criticism, skepticism, and emphasis on difference over and against unity that distinguishes many postmodernisms.

Literature

Literary postmodernism was officially inaugurated in the United States with the first issue of ''boundary 2'', subtitled "Journal of Postmodern Literature and Culture", which appeared in 1972. David Antin, Charles Olson, John Cage, and the Black Mountain College school of poetry and the arts were integral figures in the intellectual and artistic exposition of postmodernism at the time. ''boundary 2'' remains an influential journal in postmodernist circles today.

Although Jorge Luis Borges and Samuel Beckett are sometimes seen as important influences, novelists who are commonly counted to postmodern literature include Vladimir Nabokov, William Gaddis, John Hawkes, William Burroughs, Giannina Braschi, Kurt Vonnegut, John Barth, Donald Barthelme, E.L. Doctorow, Jerzy Kosinski, Don DeLillo, Thomas Pynchon, Ishmael Reed, Kathy Acker, Ana Lydia Vega, and Paul Auster.

In 1971, the Arab-American scholar Ihab Hassan published ''The Dismemberment of Orpheus: Toward a Postmodern Literature,'' an early work of literary criticism from a postmodern perspective, in which the author traces the development of what he calls "literature of silence" through Marquis de Sade, Franz Kafka, Ernest Hemingway, Beckett, and many others, including developments such as the Theatre of the Absurd and the nouveau roman. In 'Postmodernist Fiction' (1987), Brian McHale details the shift from modernism to postmodernism, arguing that the former is characterized by an epistemological dominant, and that postmodern works have developed out of modernism and are primarily concerned with questions of ontology. In ''Constructing Postmodernism'' (1992), McHale's second book, he provides readings of postmodern fiction and of some of the contemporary writers who go under the label of cyberpunk. McHale's "What Was Postmodernism?" (2007), follows Raymond Federman's lead in now using the past tense when discussing postmodernism.

Music

Postmodern music is either music of the postmodern era, or music that follows aesthetic and philosophical trends of postmodernism. As the name suggests, the postmodernist movement formed partly in reaction to the ideals modernist. Because of this, Postmodern music is mostly defined in opposition to modernist music, and a work can either be modernist, or postmodern, but not both. Jonathan Kramer posits the idea (following Umberto Eco and Jean-François Lyotard) that postmodernism (including ''musical'' postmodernism) is less a surface style or historical period (i.e., condition) than an ''attitude''.

The postmodern impulse in classical music arose in the 1970s with the advent of musical minimalism. Composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Phillip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies. Some composers have been openly influenced by popular music and world ethnic musical traditions.

Postmodern Classical music as well is not a musical ''style'', but rather refers to music of the postmodern era. It bears the same relationship to postmodernist music that postmodernity bears to postmodernism. Postmodern music, on the other hand, shares characteristics with postmodernist art—that is, art that comes ''after'' and reacts ''against'' modernism (see Modernism in Music).

Though representing a general return to certain notions of music-making that are often considered to be classical or romantic, not all postmodern composers have eschewed the experimentalist or academic tenets of modernism. The works of Dutch composer Louis Andriessen, for example, exhibit experimentalist preoccupation that is decidedly anti-romantic. Eclecticism and freedom of expression, in reaction to the rigidity and aesthetic limitations of modernism, are the hallmarks of the postmodern influence in musical composition.

Theories and derivatives

Deconstruction

One of the most popular postmodernist tendencies within aesthetics is deconstruction. As it is currently used, "deconstruction" is a Derridean approach to textual analysis (typically literary critique, but variously applied). Deconstructions work entirely within the studied text to expose and undermine the frame of reference, assumptions, and ideological underpinnings of the text. Although deconstructions can be developed using different methods and techniques, the process typically involves demonstrating the multiple possible readings of a text and their resulting internal conflicts, and undermining binary oppositions (e.g. masculine/feminine, old/new). Deconstruction is fundamental to many different fields of postmodernist thought, including postcolonialism, as demonstrated through the writings of Gayatri Spivak.

Structuralism and post-structuralism

Structuralism was a broad philosophical movement that developed particularly in France in the 1950s, partly in response to French Existentialism, but is considered by many to be an exponent of High-Modernism, though its categorization as either a Modernist or Postmodernist trend is contested. Many Structuralists later moved away from the most strict interpretations and applications of "structure", and are thus called "Post-structuralists" in the United States (the term is uncommon in Europe). Though many Post-structuralists were referred to as Postmodern in their lifetimes, many explicitly rejected the term. Notwithstanding, Post-structuralism in much American academic literature in the Humanities is very strongly associated with the broader and more nebulous movement of Postmodernism. Thinkers most typically linked with Structuralism include anthropologist Claude Lévi-Strauss, linguist Ferdinand de Saussure, psychoanalyst Jacques Lacan, Marxist philosopher Louis Althusser and literary theorist Roland Barthes. Philosophers commonly referred to as Post-structuralists include Michel Foucault, Roland Barthes and Jean Baudrillard (who also began their careers with a Structuralist background), Jacques Derrida, Gilles Deleuze, Pierre Bourdieu, Jean-François Lyotard, Julia Kristeva, Hélène Cixous, Luce Irigaray and, sometimes, the American cultural theorists, critics and intellectuals they influenced (e.g. Judith Butler, Jonathan Crary, John Fiske, Rosalind Krauss).

Though by no means a unified movement with a set of shared axioms or methodologies, Post-structuralism emphasizes the ways in which different aspects of a cultural order, from its most banal material details to its most abstract theoretical exponents, determine one another (rather than espousing a series of strict, uni-directional, cause and effect relationships – see Reductionism – or resorting to Epiphenomenalism). Like Structuralism, it places particular focus on the determination of identities, values and economies in relation to one another, rather than assuming ''intrinsic'' properties or essences of signs or components as starting points. In this limited sense, there is a nascent Relativism and Constructionism within the French Structuralists that was consciously addressed by them but never examined to the point of dismantling their reductionist tendencies. Unlike Structuralists, however, the Post-structuralists questioned the division between relation and component and, correspondingly, did not attempt to reduce the subjects of their study to an ''essential'' set of relations that could be portrayed with abstract, functional schemes or mathematical symbols (as in Claude Lévi-Strauss's algebraic formulation of mythological transformation in "The Structural Study of Myth").

Post-Structuralists tended to reject such formulations of “essential relations” in primitive cultures, languages or descriptions of psychological phenomena as subtle forms of Aristotelianism, Rationalism or Idealism or as more reflective of a mechanistic bias inspired by bureaucratization and industrialization than of the inner-workings of primitive cultures, languages or the psyche. Generally, Post-structuralists emphasized the inter-determination and contingency of social and historical phenomena with each other and with the cultural values and biases of perspective. Such realities were not to be dissected, in the manner of some Structuralists, as a system of facts that could exist ''independently'' from values and paradigms (either those of the analysts or the subjects themselves), but to be understood as both causes and effects of each other. For this reason, most Post-structuralists held a more open-ended view of function within systems than did Structuralists and were sometimes accused of circularity and ambiguity. Post-structuralists countered that, when closely examined, all formalized claims describing phenomena, reality or truth, rely on some form or circular reasoning and self-referential logic that is often paradoxical in nature. Thus, it was important to uncover the hidden patterns of circularity, self-reference and paradox within a given set of statements rather that feign objectivity, as such an investigation might allow new perspectives to have influence and new practices to be sanctioned or adopted.

As would be expected, Post-structuralist writing tends to connect observations and references from many, widely varying disciplines into a synthetic view of knowledge and its relationship to experience, the body, society and economy - a synthesis in which it sees itself as participating. Stucturalists, while also somewhat inter-disciplinary, were more comfortable within departmental boundaries and often maintained the autonomy of their analytical methods over the objects they analyzed. Post-structuralists, unlike Structuralists, did not privilege a system of (abstract) "relations" over the specifics to which such relations were applied, but tended to see the notion of “the relation” or of systemization itself as part-and-parcel of any stated conclusion rather than a reflection of reality as an independent, self-contained state or object. If anything, if a part of objective reality, theorization and systemization to Post-structuralists was an exponent of larger, more nebulous patterns of control in social orders – patterns that could not be encapsulated in theory without simultaneously conditioning it. For this reason, certain Post-structural thinkers were also criticized by more Realist, Naturalist or Essentialist thinkers of anti-intellectualism or anti-Philosophy. In short, Post-structuralists, unlike Structuralists, tended to place a great deal of skepticism on the independence of theoretical premises from collective bias and the influence of power, and rejected the notion of a "pure" or "scientific" methodology in social analysis, semiotics or philosophical speculation. No theory, they said – especially when concerning human society or psychology – was capable of reducing phenomena to elemental systems or abstract patterns, nor could abstract systems be dismissed as secondary derivatives of a fundamental nature: systemization, phenomena and values were part of each other.

While many of the so-called Post-structuralists vehemently disagreed on the specifics of such fundamental categories as "the real", "society", "totality", "desire" and "history", many also shared, in contrast to their so-called Structuralist predecessors, the traits mentioned. Furthermore, a good number of them engaged in a re-assessment (positive or negative) of the philosophical traditions associated with Hegel, Marx, Nietzsche, and Freud. Because of its general skepticism of analytical objectivity and mutually exclusive oppositions in logic, its emphasis on the social production of knowledge and of knowledge paradigms, and its portrayal of the sometimes ambiguous inter-determination of material culture, values, physical practices and socio-economic life, Post-structuralism is often linked to Postmodernism.

Post-postmodernism

Recently the notion of the "death of postmodernism" has been increasingly widely debated: in 2007 Andrew Hoborek noted in his introduction to a special issue of the journal ''Twentieth Century Literature'' titled "After Postmodernism" that "declarations of postmodernism's demise have become a critical commonplace". A small group of critics has put forth a range of theories that aim to describe culture and/or society in the alleged aftermath of postmodernism, most notably Raoul Eshelman (performatism), Gilles Lipovetsky (hypermodernity), Nicolas Bourriaud (Altermodern), and Alan Kirby (digimodernism, formerly called pseudo-modernism). None of these new theories and labels has so far gained widespread acceptance.

Criticism

Formal, academic critiques of postmodernism can be found in works such as ''Beyond the Hoax'' and ''Fashionable Nonsense''.

The term ''postmodernism'', when used pejoratively, describes tendencies perceived as relativist, counter-enlightenment or antimodern, particularly in relation to critiques of rationalism, universalism or science. It is also sometimes used to describe tendencies in a society that are held to be antithetical to traditional systems of morality.

See also

;Theory

Transmodernism

Critical race theory

Dystopia

Hypermodernity

Media studies

Recursionism

Science fiction

;Culture and politics

Decentralization

Defamiliarization

Remodernism

Syncretism

Sokal Affair

;Law

Critical legal studies

;Philosophy

Ontological pluralism

Physical ontology

Postmaterialism

;Politics

Post-realism

;Psychology

Postmodern psychology

;Religion

Postmodern Religion

;Opposed by

Altermodern

Remodernism

Remodernist film

Stuckism

References

Further reading

Powell, Jim (1998). "Postmodernism For Beginners" (ISBN 978-1-934389-09-6)

Alexie, Sherman (2000). "The Toughest Indian in the World" (ISBN 0-8021-3800-4)

Anderson, Walter Truett. ''The Truth about the Truth (New Consciousness Reader)''. New York: Tarcher. (1995) (ISBN 0-87477-801-8)

Anderson, Perry. ''The origins of postmodernity''. London: Verso, 1998.

Ashley, Richard and Walker, R. B. J. (1990) “Speaking the Language of Exile.” ''International Studies Quarterly'' v 34, no 3 259-68.

Bauman, Zygmunt (2000) ''Liquid Modernity''. Cambridge: Polity Press.

Beck, Ulrich (1986) ''Risk Society: Towards a New Modernity''.

Benhabib, Seyla (1995) 'Feminism and Postmodernism' in (ed. Nicholson) ''Feminism Contentions: A Philosophical Exchange''. New York: Routledge.

Berman, Marshall (1982) ''All That Is Solid Melts Into Air: The Experience of Modernity'' (ISBN 0-14-010962-5).

Bertens, Hans (1995) ''The Idea of the Postmodern: A History''. London: Routledge. (ISBN 0-145-06012-5).

Best, Steven Best and Douglas Kellner. ''Postmodern Theory '' (1991) excerpt and text search

Best, Steven Best and Douglas Kellner. ''The Postmodern Turn'' (1997) excerpt and text search

Bielskis, Andrius (2005) ''Towards a Postmodern Understanding of the Political: From Genealogy to Hermeneutics'' (Palgrave Macmillan, 2005).

Braschi, Giannina (1994), Empire of Dreams, introduction by Alicia Ostriker, Yale University Press, New Haven, London.

Brass, Tom, ''Peasants, Populism and Postmodernism'' (London: Cass, 2000).

Butler, Judith (1995) 'Contingent Foundations' in (ed. Nicholson) ''Feminist Contentions: A Philosophical Exchange''. New Yotk: Routledge.

Callinicos, Alex, ''Against Postmodernism: A Marxist Critique'' (Cambridge: Polity, 1999).

Drabble, M. ''The Oxford Companion to English Literature'', 6 ed., article "Postmodernism".

Farrell, John. "Paranoia and Postmodernism," the epilogue to ''Paranoia and Modernity: Cervantes to Rousseau'' (Cornell UP, 2006), 309-327.

Featherstone, M. (1991) Consumer culture and postmodernism, London; Newbury Park, Calif., Sage Publications.

Goulimari, Pelagia (ed.) (2007) Postmodernism. What Moment? Manchester: Manchester University Press (ISBN 978-0-7190-7308-3)

Giddens, Anthony (1991) Modernity and Self Identity, Cambridge: Polity Press.

Grebowicz, Margaret (ed.), ''Gender After Lyotard''. NY: Suny Press, 2007. (ISBN 978-0-7914-6956-9)

Greer, Robert C. ''Mapping Postmodernism''. IL: Intervarsity Press, 2003. (ISBN 0-8308-2733-1)

Groothuis, Douglas. ''Truth Decay''. Downers Grove, Illinois: InterVarsity Press, 2000.

Harvey, David (1989) ''The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change'' (ISBN 0-631-16294-1)

Hicks, Stephen R. C. (2004) ''Explaining Postmodernism: Skepticism and Socialism from Rousseau to Foucault'' (ISBN 1-59247-646-5)

Honderich, T., ''The Oxford Companion to Philosophy'', article "Postmodernism".

Hutcheon, Linda. ''The Politics of Postmodernism.'' (2002) online edition]

Jameson, Fredric (1991) ''Postmodernism, or, the Cultural Logic of Late Capitalism'' (ISBN 0-8223-1090-2)

Kirby, Alan (2009) ''Digimodernism''. New York: Continuum.

Lash, S. (1990) ''The sociology of postmodernism'' London, Routledge.

Lyotard, Jean-François (1984) ''The Postmodern Condition: A Report on Knowledge'' (ISBN 0-8166-1173-4)

--- (1988). ''The Postmodern Explained: Correspondence 1982-1985''. Ed. Julian Pefanis and Morgan Thomas. (ISBN 0-8166-2211-6)

--- (1993), "Scriptures: Diffracted Traces." In: ''Theory, Culture and Society'', Vol. 21(1), 2004.

--- (1995), "Anamnesis: Of the Visible." In: ''Theory, Culture and Society'', Vol. 21(1), 2004.

McHale,Brian, (1987) '''Postmodernist Fiction''. London: Routledge.

--- (1992), '''Constructing Postmodernism''. NY & London: Routledge.

--- (2008), "1966 Nervous Breakdown, or, When Did Postmodernism Begin?" Modern Language Quarterly 69, 3:391-413.

--- (2007), "What Was Postmodernism?" electronic book review,

MacIntyre, Alasdair, After Virtue: A Study in Moral Theory (University of Notre Dame Press, 1984, 2nd edn.).

Magliola, Robert, ''Derrida on the Mend'' (Lafayette: Purdue University Press, 1984; 1986; pbk. 2000, ISBN I-55753-205-2).

---, ''On Deconstructing Life-Worlds: Buddhism, Christianity, Culture'' (Atlanta: Scholars Press of American Academy of Religion, 1997; Oxford: Oxford University Press, 2000; ISBN 0-7885-0295-6, cloth, ISBN 0-7885-0296-4, pbk).

Manuel, Peter. "Music as Symbol, Music as Simulacrum: Pre-Modern, Modern, and Postmodern Aesthetics in Subcultural Musics," Popular Music 1/2, 1995, pp. 227–239.

Murphy, Nancey, ''Anglo-American Postmodernity: Philosophical Perspectives on Science, Religion, and Ethics'' (Westview Press, 1997).

Natoli, Joseph (1997) ''A Primer to Postmodernity'' (ISBN 1-57718-061-5)

Norris, Christopher (1990) ''What's Wrong with Postmodernism: Critical Theory and the Ends of Philosophy'' (ISBN 0-8018-4137-2)

Pangle, Thomas L., ''The Ennobling of Democracy: The Challenge of the Postmodern Age'', Baltimore, The Johns Hopkins University Press, 1991 ISBN 0-8018-4635-8

Park, Jin Y., ed., ''Buddhisms and Deconstructions'' (Lanham: Rowland & Littlefield, 2006, ISBN 978-0-7425-3418-6; ISBN 0-7425-3418-9.

Sim, Stuart. (1999). "The Routledge critical dictionary of postmodern thought" (ISBN 0415923530)

Sokal, Alan and Jean Bricmont (1998) ''Fashionable Nonsense: Postmodern Intellectuals' Abuse of Science'' (ISBN 0-312-20407-8)

Vattimo, Gianni (1989). ''The Transparent Society'' (ISBN 0-8018-4528-9)

Veith Jr., Gene Edward (1994) ''Postmodern Times: A Christian Guide to Contemporary Thought and Culture'' (ISBN 0-89107-768-5)

Windshuttle, Keith (1996) ''The Killing of History: How Literary Critics and Social Theorists are Murdering our Past.'' New York: The Free Press.

Woods, Tim, ''Beginning Postmodernism,'' Manchester: Manchester University Press, 1999,(Reprinted 2002)(ISBN 0-7190-5210-6 Hardback,ISBN 0-7190-5211-4 Paperback) .

External links

“Love and Hatred of ‘French Theory’ in America., ''Borderlands e journal''. Rolando Pérez. 4.1.2005.

WSWS philosophy archives – incl. critiques of postmodernist thought

Stanford Encyclopedia of Philosophy's entry on postmodernism

The Christian Cadre's Postmodernism Page

Discourses of Postmodernism. Multilingual Bibliography by Janusz Przychodzen (PDF file)

Modernity, postmodernism and the tradition of dissent, by Lloyd Spencer (1998)

Dueling Paradigms: Modernist v. Postmodernist Thought * Characterizing a Fogbank: What Is Postmodernism, and Why Do I Take Such a Dim View of it?

Postmodernism and truth by philosopher Daniel Dennett

Postmodernism is the new black: How the shape of modern retailing was both predicted and influenced by some unlikely seers (The Economist December 19, 2006)

Gaining clarity: after postmodernism, Eretz Acheret Magazine

Category:Theories of aesthetics Category:Modernism Category:Metanarratives Category:Philosophical movements

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Coordinates	28°36′36″N77°13′48″N
name	Twyla Tharp
birth date	July 01, 1941
birth place	Portland, Indiana, USA
occupation	Choreographer, dancer
years active	1960s-present
website	http://www.twylatharp.org/
dramadeskawards	Outstanding Choreography2003 ''Movin' Out''
emmyawards	Outstanding Choreography 1985 ''Baryshnikov by Tharp With American Ballet Theatre''
tonyawards	Best Choreography 2003 ''Movin' Out'' }}

Twyla Tharp (born July 1, 1941) is an American dancer and choreographer, who lives and works in New York City.

Biography

Early years

Tharp was born in 1941 on a farm in Portland, Indiana, and was named after Twila Thornburg, the "Pig Princess" of the 89th Annual Muncie Fair in Indiana.

Tharp's family—younger sister Twanette, twin brothers Stanley and Stanford, mother Lecile and father William—moved to Rialto, California, in 1951. Her parents opened a drive-in movie theater, where Tharp worked from the time she was 8 years old. The drive-in was on the corner of Acacia and Foothill, the major east–west artery in Rialto and the path of Route 66. She attended Pacific High School in San Bernardino and studied at the Vera Lynn School of Dance. Tharp, a "devoted bookworm," admits that this schedule left little time for a social life. Tharp attended Pomona College in California but later transferred to Barnard College in New York City, where she graduated with a degree in Art History in 1963. It was in New York that she studied with Martha Graham and Merce Cunningham. In 1963 Tharp joined the Paul Taylor Dance Company.

Dances and ballets

In 1965, she formed her own company, Twyla Tharp Dance. Her work often utilizes classical music, jazz and contemporary pop music. From 1971 to 1988, Twyla Tharp Dance performed original works around the world.

In 1973, Tharp choreographed ''Deuce Coupe'' to the music of The Beach Boys for the Joffrey Ballet. ''Deuce Coupe'' is considered to be the first crossover ballet. Later she choreographed ''Push Comes To Shove'' (1976), which featured Mikhail Baryshnikov and is now thought to be the best example of the crossover ballet.

In 1988, Twyla Tharp Dance merged with American Ballet Theatre, since which time ABT has held the world premieres of sixteen of Tharp's works. As of 2010, they have a total of twenty of her works in their repertory. Tharp has since choreographed dances for: Paris Opera Ballet, The Royal Ballet, New York City Ballet, Boston Ballet, Joffrey Ballet, Pacific Northwest Ballet, Miami City Ballet, American Ballet Theatre, Hubbard Street Dance and Martha Graham Dance Company. Tharp also created the dance roadshow ''Cutting Up,'' (1991) with Mikhail Baryshnikov, which went on to tour and appeared in 28 cities over two months.

In 1999, Twyla Tharp Dance regrouped and performed Tharp's choreography around the world with a company of dancers that eventually led to the creation of ''Movin' Out''.

Broadway

In 1980, Tharp's work first appeared on Broadway with Twyla Tharp Dance performing ''When We Were Very Young'', followed in 1981 by ''The Catherine Wheel'', her collaboration with David Byrne at the Winter Garden.

In 1985, her staging of ''Singin' in the Rain,'' played at the Gershwin for 367 performances and was followed by a national tour.

Tharp premiered her dance musical ''Movin' Out'', set to the music and lyrics of Billy Joel in Chicago in 2001. The show opened on Broadway in 2002. ''Movin' Out'' ran for 1,331 performances on Broadway. A national tour opened in January 2004.

Tharp opened a new show titled ''The Times They Are a-Changin''', to the music of Bob Dylan in 2005 at The Old Globe Theatre in San Diego. ''The Times they are A-Changin''' set the records or the highest grossing show and highest ticket sales as of the date of closing (March 2006). It was also the first time a show received a second extension before the first preview. After this record setting run in California, the New York show ran for 35 previews and 28 performances.

In 2009, Tharp worked with the songs of Frank Sinatra to mount ''Come Fly With Me'', which ran at the Alliance Theater in Atlanta and was the best selling four-week run as of the date of closing in 2009. Renamed ''Come Fly Away'' the show opened on Broadway in 2010 at the Marquis Theatre in New York and ran for 26 previews and 188 performances.

Film, television and print

Tharp collaborated with film directors Milos Forman on ''Hair'' (1978), ''Ragtime'' (1980) and ''Amadeus'' (1984); Taylor Hackford on ''White Nights'' (1985) and James Brooks on ''I'll Do Anything'' (1994).

Television credits include choreographing ''Sue's Leg'' (1976) for the inaugural episode of the PBS program ''Dance in America,''; co-producing and directing ''Making Television Dance'' (1977), which won the Chicago International Film Festival Award; and directing ''The Catherine Wheel'' (1983) for BBC Television. Tharp co-directed the award-winning television special "Baryshnikov by Tharp" in 1984.

Tharp has written three books: an early autobiography, ''Push Comes to Shove'' (1992; Bantam Books); ''The Creative Habit: Learn It and Use It for Life'' (2003, Simon & Schuster), translated into Spanish, Chinese, Russian, Korean, Thai and Japanese; “The Collaborative Habit” (2009, Simon & Schuster), also translated into Thai, Chinese and Korean.

Personal

Tharp has a son and a grandson.

Works chronology

WORK TITLE DATE

Tank Dive 4/29/65

Stage Show 6/7/65

Stride 8/9/65

Cede Blue Lake 12/1/65

Unprocessed 12/1/65

Re-Moves 10/29/66

Yancey Dance AKA Twelve Foot Change 10/29/66

One, Two, Three 2/2/67

Jam 2/23/67

Disperse 4/27/67

Three Page Sonata 7/6/67

Forevermore 8/27/67

Generation 2/9/68

One Way 2/9/68

Excess, Idle, Surplus 4/29/68

After Suite 2/3/69

Group Activities 1/13/69

Medley 7/19/69

Dancing In The Streets 11/11/69

PYMFFYPPMFYNM YPF 3/8/70

Fugue, The 8/1/70

Rose’s Cross Country 8/1/70

One Hundreds, The 8/1/70

History of Up and Down, I and II, The 1/22/71

Willie Smith Series, The 1/22/71

Eight Jelly Rolls 1/22/71

Mozart Sonata K.545 8/1/71

Torelli 5/28/71

Bix Pieces, The 11/2/71

Raggedy Dances, The 10/26/72

Deuce Coupe 2/8/73

The Bix Pieces Television Productions 1973

As Time Goes By 10/10/73

In the Beginnings 1/26/74

Twyla Tharp and Eight Jelly Rolls 5/12/74

All About Eggs 1974

Bach Duet 9/5/74

Deuce Coupe II 2/1/75

Sue’s Leg 2/21/75

Double Cross, The 2/21/75

Ocean’s Motion 6/22/75

Rags Suite Duet 1975

Push Comes To Shove 1/11/76

Sue’s Leg, Remembering the Thirties 3/24/76

Give and Take 3/25/76

Once More Frank 7/12/76

Country Dances 9/4/76

Happily Ever After 11/3/76

After All 11/15/76

Mud 5/12/77

Simon Medley 5/12/77

Making Television Dance, TV Show 10/4/77

Cacklin’ Hen 5/12/77

Hair - FILM 3/12/78

1903 2/15/79

Chapters and Verses 2/15/79

Baker’s Dozen 2/15/79

Three Fanfares 2/1/80

Brahms Paganini 3/24/80

When We Were Very Young 3/26/80

Dance Is A Man’s Sport Too – TV Show 1980

Assorted Quartets 7/29/80

Short Stories 9/29/80

Third Suite 8/26/80

Ragtime - FILM 1980

Uncle Edgar Dyed His Hair Red 5/1/81

Catherine Wheel, The 9/22/81

Confessions of a Cornermaker – TV Show 10/13/81

Nine Sinatra Songs 10/14/82

Bad Smells 10/15/82

Scrapbook Tape - Video 10/25/82

Catherine Wheel Video, The 3/1/83

Fait Accompli 11/9/83

Golden Section, The 11/9/83

Telemann 11/4/83

Little Ballet, The 4/1/84

Brahms Handel; Choreography by Twyla Tharp and Jerome Robbins 6/7/84

Sorrow Floats 7/7/84

Amadeus - Film 9/19/84

Baryshnikov by Tharp / Push Comes to Shove - Video 10/5/84

Bach Partita 12/9/83

Sinatra Suite 4/1/84

Singin’ in the Rain - Broadway 7/2/85

White Nights - Film 12/6/85

In The Upper Room 8/28/86

Ballare 8/30/86

Quartet 2/4/89

Bum’s Rush 2/8/89

Rules of the Game 2/17/89

Everlast 3/2/89

Brief Fling 2/28/90

Grand Pas: Rhythm of the Saints 10/1/91

Push Comes To Shove - Book

Men’s Piece 10/4/91

Octet 10/4/91

Sextet 1/30/92

Cutting Up: A Dance Roadshow 6/15/93

Demeter & Persephone 10/5/93

Pergolesi 5/14/93

Bare Bones 1993

I’ll Do Anything - Film 1994

Waterbaby Bagatelles 4/30/94

“New Works” Twyla Tharp in Washington: Red, White & Blues” 9/13/94

Noir 9/13/94

How Near Heaven 3/3/95

Americans We 5/1/95

Jump Start 5/1/95

I Remember Clifford 8/10/95

Mr. Worldly Wise 12/9/95

Elements, The 3/5/96

Sweet Fields 9/20/96

“66” 9/20/96

Heroes 9/20/96

Story Teller, The 10/29/97

Roy’s Joys 8/20/97

Moondog 2/21/98

Yemaya 6/21/98

Sam & Mary 2/21/98

Diabelli 9/7/98

Known By Heart 11/3/98

Hammerklavier I 7/4/99

Hammerklavier II 6/23/01

Beethoven Seventh 1/22/00

The Brahms/Haydn Variations aka: Variations on a Theme by Haydn 3/21/00

mozart clarinet quinet k.581 7/6/00

Surfer At The River Styx 7/6/00

Known By Heart Duet 6/23/01

Westerly Round 6/23/01

Movin’ Out - (Chicago) 6/25/02

Movin’ Out - (NYC) 10/24/02

Movin' Out - (US Tour) 1/27/04

Movin' Out - (London) 6/13/07

Movin' Out - (Troika Tour) 6/13/07

The Creative Habit - Book 9/29/03

Even The King 1/11/03

Catherine Wheel Suite 5/11/06

Armenia (duets 2005) 1/26/08

The Times They Are A-Changin' - CA. 2/9/06

The Times They Are A-Changin' - NYC. 10/27/06

NIGHTSPOT 3/28/08

Rabbit and Rogue 6/3/08

Brahms Opus 111 9/25/08

Afternoon Ball 9/25/08

Come Fly With Me 9/23/09

The Collaborative Habit - Book 11/24/09

Come Fly Away 3/25/10

Sinatra: Dance With Me - 12/11/10

Honors and awards

Twyla Tharp received two Emmy Awards, 19 honorary doctorates, the Vietnam Veterans of America President’s Award, the 2004 National Medal of the Arts, and numerous grants including the John D. and Catherine T. MacArthur Fellowship. She is a member of the American Academy of Arts and Sciences and an Honorary Member of the American Academy of Arts and Letters.

At the 1982 Barnard College commencement ceremonies, Tharp's alma mater awarded her its highest honor, the Barnard Medal of Distinction.

She received the Tony Award for Best Choreography and the Drama Desk Award for Outstanding Choreography for the 2002 musical ''Movin' Out''. She received a Drama Desk nomination for Outstanding Choreography for the musical ''Singin' in the Rain''.

She was named a Kennedy Center Honoree for 2008.

Tharp was inducted into the Academy of Achievement in 1993.

Awards by year

1965

Walter Gutman

1969

George Irwin

The Lepercq Foundation

1970

Foundation for the Contemporary Performing Arts, 1970

Guggenheim Foundation Fellowship, John S. Guggenheim Memorial Foundation

The Emma A. Sheafer Trust, 1970–1981, 1985

1971

John Simon Guggenheim Memorial Foundation, 1971, 1974

National Endowment for the Arts Choreographers Fellowship, 1971, 1973

New York State Council on the Arts Annual Support, 1971–1986

1972

Brandeis University, Creative Arts Citation

1973

National Endowment for the Arts Annual Support, 1973–1986

1974

Creative Artists Public Service Program

Edward John Nobel Foundation

New York Public Library Dance Collection

The Place Trust, London

The Andrew W. Mellon Foundation, 1974–1978, 1982, 1983, 1986

1975

Eight Jelly Rolls, 1st in Festival in Video and Modern Dance Video Certificate of Honor

Making Television Dance, Modern Dance Video Certificate of Merit

1976

Mademoiselle Magazine, Mademoiselle Magazine Award

Exxon Corporation, 1976, 1980, 1982–1984, 1986

1977

The Green Fund, 1977, 1980, 1981

National Endowment for the Arts Challenge Grant, 1977, 1985

The Shubert Foundation, 1977, 1978, 1980–1986

1978

Dance Film Association, 7th Annual Dance Video and Film Festival

Honorary Degree, California Institute of the Arts

Silver Satellite Award for Making Television Dance, American Women in Radio & Television

The Ford Foundation, 1978, 1980

The Ford Motor Company, 1978–1985

The Surdna Foundation, 1978, 1980, 1985

1979

Soho Arts Second Annual Awards, The Soho Weekly News

Honorary Degree, Bucknell University

The Scherman Foundation, 1979, 1980, 1982–1985

United Artists

The David Merrick Arts Foundation

Mobil Foundation, Inc., 1979, 1981–1986

1980

Honorary Degree, Bates College

Dance Educators of America Award for Making Television Dance

Screening and Red Ribbon Award for Making Television Dance

The Booth Ferris Foundation

Chase Manhattan Bank, 1980–1982

Con Ed, 1980–1985

Morgan Guarantee Trust, 1980–1981, 1983–1984, 1986

The Jerome Robbins Foundation, 1980, 1983

1981

Film Library Association American Film Festival

Honorary Degree, Bard College

Honorary Degree, Brown University

Dance Magazine Award, Dance Magazine

Dance Film Award for Making Television Dance, Chicago International Film Festival

Indiana Arts Award, Indiana Arts Commission

Citibank, 1981–1986

Doll Foundation, 1981–1986

Weil Foundation

Norman and Rosita Winston Foundation

Rockefeller Foundation

1982

Medal of Distinction, Barnard College

Chemical Bank, 1982–1986

National Corporate Fund for Dance, 1982–1985

Robert Sterling Clark Foundation

Ida and William Rosenthal Foundation, 1982, 1986

New York Telephone, 1982–1985

1983

Spirit of Achievement Award, Albert Einstein College of Medicine

Honorary Degree, Williams College

Indiana Arts Award, Indiana Arts Commission

The Thorne Foundation

Lila Wallace-Reader's Digest Fund, 1983–1984, 1986

C.L. Glazer Trust

The Klingenstein Fund

Warner Communications

1984

Mayor's Award of Honor for Arts and Culture, Edward I. Koch, New York City

Dance Masters of America 1984 Choreographer's Award

Arthur Andersen and Company, 1984–1986

Japan-U.S. Friendship Commission

Booth Ferris Foundation

Brooklyn Union and Gas

Merrill Lynch, 1984, 1986

New York Times Company Foundation, 1984–1986

1985

Emmy Awards for Baryshnikov by Tharp choreography and co-direction, Academy of Television Arts and Sciences

Directors Guild of America Award for Outstanding Directorial Achievement for Baryshnikov by Tharp

Indiana Arts Award, Indiana Arts Commission

APA Trucking

The Charles Engelhard Foundation

Corporate Property Investors

Hausman Belding Foundation

Gerald D. Hines Interests

GFI/Knoll International

NBC, 1985–1986

Samuel I. Newhouse Foundation, 1985, 1986

Zayre Corporation

1986

University Medal of Excellence, Columbia University

Bankers Trust

Cadillac Fairview

MCA

Manufacturers Hanover Trust Company

Ridgewood Energy Corporation

1987

Honorary Degree, Indiana University

Honorary Degree, Pomona College

Golden Plate Award, American Academy of Achievement

1988

Honorary Degree, Hamilton College

Honorary Degree, Skidmore College

1989

Honorary Degree, Marymount Manhattan College

Lions of the Performing Arts Award, New York Public Library

1990

Samuel M. Scripps Award, American Dance Festival

1991

Laurence Olivier Award for In the Upper Room, Laurence Olivier Foundation

Wexner Foundation Award, The Ohio State University Wexner Center for the Arts

1992

MacArthur Fellowship, John D. and Catherine T. MacArthur Foundation

Ruth Page Visiting Arts, Harvard University, 1992–1993

1993

Golden Plate Award, American Academy of Achievement

Woman of Achievement, Barnard College

Inducted, American Academy of Arts and Sciences

1996

Arts Award, Dickinson College

Honorary Degree, Ball State University

Distinguished Artist Award, International Society For The Performing Arts

1997

American Honorary Member, American Academy of Arts and Letters

1998

Trust for Mutual Understanding

1999

MOCA Award to Distinguished Women In The Arts, Museum Of Contemporary Art

2000

The Doris Duke Awards for New Work

2001

Women’s Project & Productions Exceptional Achievement Award

2002

New York Awards Lifetime Achievement

2003

Drama Desk Award Outstanding Choreography: ''Movin' Out''

Tony Award Best Choreography: ''Movin' Out''

Drama League Outstanding Achievement Award for Musical Theatre

TDF/Astaire Award Best Choreographer: ''Movin' Out''

Indiana Living Legend, Indiana Historical Society

Glamour Woman of the Year Award

Outstanding Contribution to the Arts Award North Carolina School of the Arts

2004

National Medal of Arts

Vietnam Veterans of America President’s Award for Excellence in the Arts

Independent Reviewers of New England Award Best Choreography: ''Movin' Out''. Broadway in Boston

Goddard Space Flight Center’s Center Director’s Colloquium Citation for Enlightening, Creative and Thought-Provoking Presentation

2005

Best Choreography: ''Movin' Out''. Touring Broadway Awards

Jane Addams Medal for Distinguished Service presented by Rockford College

2006

Princess Grace Award – Outstanding Artistry

Critics Circle Dance Award Outstanding Choreography: ''Movin' Out''. London

2007

Honorary Degree Duke University, Durham, North Carolina

Honorary Degree Princeton University, Princeton, NJ

Touring Broadway Award: Best Choreography for a touring show for ''Movin' Out''

2008

The Jerome Robbins Prize

The Kennedy Center Honors

2009

US News & World Report: listed on "America's Best Leaders"

2010

The IAL Diamond Award for Achievement in the Arts, presented by Columbia University's The Varsity Show

The Drama Desk Award for Outstanding Choreographer: ''Come Fly Away''

Lifetime Achievement Award, presented by The American Academy of Hospitality Sciences

Suzi Bass Award for Best Choreography: "Come Fly With Me"

See also

Brahms/Handel, collaborative ballet with Jerome Robbins

''The Catherine Wheel'', David Byrne's soundtrack of the 1981 dance piece.

References

External links

Twyla Tharp official site

Archival footage of Twyla Tharp's Nine Sinatra Songs in 1993 at Jacob's Pillow

Twyla Tharp performing The One Hundreds in 2001 at Jacob's Pillow

Category:1941 births Category:Living people Category:American choreographers Category:American writers Category:Barnard College alumni Category:Drama Desk Award winners Category:Emmy Award winners Category:Guggenheim Fellows Category:Harvard University people Category:MacArthur Fellows Category:Modern dancers Category:People from Jay County, Indiana Category:Tony Award winners Category:United States National Medal of Arts recipients Category:Choreographers of American Ballet Theatre

de:Twyla Tharp es:Twyla Tharp fr:Twyla Tharp it:Twyla Tharp pt:Twyla Tharp

Coordinates	28°36′36″N77°13′48″N
Name	The Bedroom Philosopher
Background	solo_singer
Birth name	Justin Heazlewood
Born	June 12, 1980Burnie, Tasmania, Australia
Instrument	Guitar, accordion
Occupation	Singer-songwriter, comedian, journalist, Radio DJ,
Genre	Musical comedy, folk, acoustic, psychedelic, pop
Years active	2002–present
Label	Shock, NanAndPop
Associated acts	The Bedroom Philosopher and his Awkwardstra
Website	}}

The Bedroom Philosopher is the performance persona of Australian comedian, author, actor and songwriter Justin Heazlewood. Most known for his musical comedy works, The Bedroom Philosopher has released several albums, performed at many arts festivals, been nominated for an ARIA Award and is a regular guest on several Australian radio shows.

Recording career

2002-2005 ''Living on the Edge of My Bed''

The Bedroom Philosopher began in 2002, when Heazlewood became a regular guest on Triple J's ''The Morning Show''. He also filmed two pilot episodes of ''The Bedroom Philosopher Show'' for ABC Fly TV, a now defunct digital youth television station. He also secured his first major musical gig, playing support for Bodyjar and The Bumblebeez at Triple J's Unearthed concert later that year.

The Bedroom Philosopher has performed in past years at the Big Day Out, Falls Festival, Melbourne Fringe Festival, Adelaide Fringe Festival, National Folk Festival, Perth International Arts Festival and Melbourne International Comedy Festival. His first three Melbourne Comedy Festival Shows included ''Living on the Edge of My Bed'' (2003), ''In Bed with My Doona'' (2004), and ''Pyjamarama'' (2005). In 2006 he teamed up with Josh Earl to form The Renegades of Folk, performing a Melbourne Comedy Festival show of the same name.

The Bedroom Philosopher's first album, ''Living on the Edge of My Bed' featured tracks which had earlier been played on ''The Morning Show'', and was released in 2003. This un-mastered collection was only sold at live shows.

2005-2008 "I'm So Post Modern"

In 2005 the Bedroom Philosopher released his first retail and studio album, ''In Bed with My Doona'', produced by his uncle Ken Heazlewood. This release was taken to strongly by Triple J's audience, with the first single "I'm So Post Modern" becoming a high-rotation hit, reaching number 72 in the Hottest 100. The Bedroom Philosopher was the only unsigned artist to make the list in 2005. His self-produced film clip of "I'm So Post Modern" (by Dan Ilic) also featured on the Hottest 100 DVD.

2007 saw the introduction of 'The Awkwardstra', composed of Andy Hazel on bass and Hugh Rabinovici on drums. Late 2008 saw the addition of Jamie Power on percussion and Gordon Blake on sitar. This coincided with the release of second single "Wow Wow's Song (La La La)" which quickly became a Youtube hit garnering 20 000 plays in its first 5 days of being posted, and featured popular comedy trio Tripod featuring as backing vocalists. This was released as a precursor to his second album 'Brown and Orange'.

2008-2009 ''Brown and Orange''

After performing at Perth International Arts Festival The Bedroom Philosopher completed his second album ''Brown and Orange'' with producers Chris Scallan and Martin "Moose" Lubran, released in February 2009. The first single from this was "The Happiest Boy", released in October 2007. The video clip of "The Happiest Boy" was made by David Blumenstein at Nakedfella Productions.

The album was promoted with a national tour.

2009-2010 ''Songs from the 86 Tram''

April 2009 saw The Bedroom Philosopher debuting his show ''Songs from the 86 Tram'' in the Melbourne Comedy Festival. He won the Director's Choice award for outstanding show and reprised it in the 2009 Melbourne Fringe Festival. Songs from this show comprise his third album ''Songs from the 86 Tram'', recorded in August and September 2009. The show was nominated for three 2009 Green Room Awards winning for best cabaret production. The show was revised for a sold-out run at the 2010 Melbourne International Comedy Festival.

Heazlewood appeared as "Re-enactment John" in the ABCTV series John Safran's Race Relations in late 2009.

''Songs from the 86 Tram'' album was presaged by the single Northcote (So Hungover), released to radio in February 2010. The single peaked at number 12 in the Australian Independent Singles charts and received high rotation on Triple J. The album was released 16 April 2010.

An accompanying Australian national tour to promote the album ran from 12 August until 5 September 2010.

On 28 September 2010 the album was nominated for an ARIA Award for Best Comedy Release.

Northcote (So Hungover) Film Clip

The music video for song 'Northcote (So Hungover)' was created by director Craig Melville and produced by David Curry. Video Clip Here

On 23 September 2010 the clip won the Australian Director Guild award in the music video category. On November 20, 2010 it won a silver Australian Cinematographers Society music video award, Best Independent Production Award at the St Kilda Film Festival and Best Music Video Award at the 15 Minutes of Fame Festival in Florida. The filmclip was also voted in Rage's Top 50 film clips of 2010, and the song in the Triple J Hottest 100 in 2011.

Discography

Singles

"Folkstar/I'm So Post Modern" (2006) Maxi-single

"The Happiest Boy" (2007) iTunes single

"Wow Wow's Song (La La La)" (2008) iTunes single

"Party In My Head" (2009) Radio single

"Northcote (So Hungover)" (2010) iTunes single

Albums

''Living on the Edge of My Bed'' (2003)

''In Bed with My Doona'' (2005)

''Brown and Orange'' (2009)

''Songs from the 86 Tram'' (2010)

Writing

Under his real name, Justin Heazlewood frequently writes for a number of Australian publications.

Since 2002, Heazlewood has written a fortnightly column for Canberra streetpress BMA called "Struth Be Told". More recently, Heazlewood has written regular contributions for national Australian magazines ''Frankie Magazine'', ''JMag'' and ''The Big Issue''. His works have also appeared in Australian publications ''Sleepers Magazine'', ''Rattapallax'', ''Going Down Swinging'', ''The Sex Mook'' and ''The Death Mook''.

From 1999 to 2005, Heazlewood was a regular contributor and editorial committee member for Voiceworks.

From 2005 to 2006, Heazlewood was a full-time writer for the Network Ten sketch comedy program ''The Ronnie Johns Half Hour''.

As The Bedroom Philosopher, Heazlewood has written a monthly Ezine ''LapTopping'' since 2002.

In 2009 Heazlewood created the sketch radio show 'Lime Champions' on Melbourne community radio Triple R. He co-hosts it with Melbourne comedians Damien Lawlor, Josh Earl and Eva Johansen.

Heazlewood is also a regular contributer to Scrivener's Fancy.|url=http://thescrivenersfancy.com/visiting-scrivener/2011/03/23/me-versus-front-row-guy.aspx

World records

Longest continuous performance of Daryl Braithwaite's "The Horses" while riding on a horse carousel on Melbourne Cup day in Canberra - (30 minutes). Longest continuous performance of John Farnham's "You're The Voice" in Melbourne - (9 hours). Longest demonstration of 'BoonRapping' (reading David Boon's autobiography in a hip hop style) in Hobart - (12.5 minutes).

Artist with the most performances at the venue 'Stage Door: The Cafe' in Burnie, Tasmania.

Chart statistics

"I'm So Post Modern" voted number 72 in Triple J Hottest 100, 2005. (lyrics)

"Northcote (So Hungover)" charted at number 12 on the Australian Independent Singles chart 3 March.

"Northcote (So Hungover)" charted at number 91 on the Triple J Hottest 100, 2010.

References

External links

The Bedroom Philosopher official site

The Bedroom Philosopher's MySpace page.

Wikiquote has a collection of quotations related to: Justin Heazlewood q:Justin Heazlewood

Category:1980 births Heazlewood, Justin Category:Living people Category:Australian comedians Category:Australian songwriters

Coordinates	28°36′36″N77°13′48″N
honorific-prefix	The Rt Revd
name	Prof Tom Wright
honorific-suffix	PhD DD LHD MA(Oxon)
diocese	Diocese of Durham
enthroned	2003
ended	31 August 2010
predecessor	Rt Revd Michael Turnbull
ordination	1975
consecration	2003
other post	Bishop of Durham (2003-2010)Canon Theologian of Westminster Abbey (2000–2003)Dean of Lichfield (1994–1999)Research Professor, St Andrews (2010—)
birth name	Nicholas Thomas Wright
birth date	December 01, 1948
birth place	Morpeth, Northumberland
nationality	British
religion	Anglican
residence	Auckland Castle, County Durham
spouse	Maggie
children	4 children
alma mater	Exeter College, Oxford }}

Nicholas Thomas "Tom" Wright (born 1 December 1948) is a leading New Testament scholar and former Bishop of Durham in the Church of England. His academic work has usually been published under the name N. T. Wright but works such as ''What St Paul Really Said'' and ''Simply Christian'', which are aimed at a more popular readership, are published under the less formal name of Tom Wright.

Among modern New Testament scholars, Wright is an important representative of more conservative Christian views, compared to more liberal Christians, such as his friend Marcus Borg. In particular, he is associated with Open Evangelicalism, the New Perspective on Paul, and the historical Jesus. He has promoted more traditional views about Jesus' bodily resurrection, and about homosexuality.

Early life and credentials

Wright was born in Morpeth, Northumberland. Raised in the context of middle Anglicanism, he felt called to go into Christian ministry before the age of 7 or 8.

In addition to his Doctor of Divinity from Oxford University, he also has been awarded several honorary doctoral degrees, including from Durham University in July 2007, the John Leland Center for Theological Studies in April 2008, University of St Andrews in 2009. and Heythrop College, University of London in 2010.

Career

Educated at Sedbergh School, then in Yorkshire, Wright specialised in Classics.

From 1968 to 1971, he studied ''literae humaniores'' (or "classics", i.e. classical literature, philosophy and history) at Exeter College, Oxford, receiving his BA with First Class Honours in 1971. During that time he was president of the undergraduate Oxford Inter-Collegiate Christian Union. In 1973 he received a BA in theology with first class honours from Exeter.

From 1971 to 1975 he studied for the Anglican ministry at Wycliffe Hall, Oxford, receiving his (Oxford) MA at the end of this period.

In 1975 he became a junior research fellow at Merton College, Oxford and later also junior chaplain. From 1978 to 1981 he was a fellow and chaplain at Downing College, Cambridge. In 1981 he received his DPhil from Merton College, Oxford, his thesis topic being "The Messiah and the People of God: A Study in Pauline Theology with Particular Reference to the Argument of the Epistle to the Romans".

After this, he served as assistant professor of New Testament studies at McGill University, Montreal (1981–1986), then as chaplain, fellow and tutor at Worcester College and lecturer in New Testament in the University of Oxford (1986–1993).

He moved from Oxford to be Dean of Lichfield Cathedral (1994–1999) and then returned briefly to Oxford as Visiting Fellow of Merton College, before taking up his appointment as Canon Theologian of Westminster Abbey in 2000.

In 2003, he became the Bishop of Durham.

On 4 August 2006 he was appointed to the Court of Ecclesiastical Causes Reserved for a period of five years.

On 27 April 2010 it was announced that he would retire from the See of Durham on 31 August 2010 to take up a new appointment as Research Professor of New Testament and Early Christianity at the University of St Andrews in Scotland, which will enable him to concentrate on his academic and broadcasting work.

Views

New Testament doctrine

N. T. Wright's views on New Testament doctrine are expressed in his commentaries on the New Testament epistles. In ''Surprised by Hope: Rethinking Heaven, the Resurrection, and the Mission of the Church'', Wright suggests a non-dogmatic case for Christian mortalism and the union of soteriology and ecclesiology that he perceives is often neglected in Protestantism, and he questions some popular theological ideas, such as the dispensationalist doctrine of the rapture.

Scholarly work

Wright is considered an important representative of the open evangelical perspective and is associated with the Third Quest for the Historical Jesus and the New Perspective on Paul, a complex movement with many unique positions (originating from the works of James Dunn and E.P. Sanders). He argues that the current understanding of Jesus must be connected with what is known to be true about him from the historical perspective of first-century Judaism and Christianity.

Wright's work has been praised by many scholars of varying views, including Professor James D.G. Dunn, Gordon Fee, Richard B. Hays and Rowan Williams, the Archbishop of Canterbury. Critics of his work are also found across the broad range of theological camps. Although Wright describes himself as a Reformed Calvinist,^[source?] some Reformed theologians such as John Piper have sought to question Wright's theology, particularly over whether or not he denies the Protestant doctrine of justification by faith alone. Although Piper considers Wright's presentation confusing, he does not dismiss Wright's view as false. Wright has since addressed the issue in his book ''Justification: God's Plan and Paul's Vision'' (Society for Promoting Christian Knowledge, 2009). He has sought to clarify this further in an interview with InterVarsity Press. Others have questioned whether Wright denies penal substitution, but Wright has stated that he denies only its caricature but affirms this doctrine, especially within the overall framework of the'' Christus Victor'' model of atonement. Despite criticism of some of his work by Reformed theologians, other Reformed leaders have embraced his contribution in other areas, such as Tim Keller who praised Wright's work on the resurrection.

Secular utopianism

In 2008, Wright criticized "…secular utopianism," accusing it of advocating "the right to kill unborn children and surplus old people..." Times columnist David Aaronovitch challenged Wright specifically to substantiate his claim that any secular group does indeed advocate the killing of elderly people, leading to an ongoing exchange in which Wright held to his main point.

Historical Jesus

Regarding the Historical Jesus, Wright stands broadly in the tradition of Albert Schweitzer (thoroughgoing eschatology), against what he sees as the thoroughgoing skepticism of William Wrede (famous for his thesis on the Messianic Secret in the Gospel of Mark as an apologetic and ahistorical device) and the Jesus Seminar, Wrede's modern-day counterparts. He tends to agree with and laud such scholars as E.P. Sanders and the lesser-known Ben F. Meyer (whom Wright calls "the unsung hero" of New Testament studies), although he thinks Sanders and others go too far in their use of form criticism. He also thinks it is a mistake to say that Jesus expected the imminence of the end of history, as Schweitzer thought, but rather thinks that Jesus spoke of the Kingdom of God as something both present and future. He has also defended a literal belief in the Second Coming and the resurrection of the dead as central to Christianity.

Jesus Seminar

Wright has also received heavy criticism in some decidedly more liberal circles, e.g. by Robert J. Miller. In contrast, the Jesus Seminar's Marcus Borg, with whom Wright shares mutual admiration and respect, has co-authored with Wright the book ''The Meaning of Jesus: Two Visions''.

Homosexuality in the Anglican Communion

Wright was the senior member from the Church of England of the Lambeth Commission set up to deal with controversies that emerged following Episcopal Church in the United States of America's ordination of a practising homosexual as bishop. In 2009 the Episcopal Church authorized consecration to the clergy of individuals in committed same-sex relationships. Wright described the action as a "clear break with the rest of the Anglican Communion" in a ''Times opinion piece.

Wright attracted media attention in December 2005 when he announced to the press, on the day that the first civil partnership ceremonies took place in England, that he would likely take disciplinary action against any clergy registering as civil partners or any clergy blessing such partnerships. However, in a letter to clergy in Durham diocese at this time he said: "I shall be very sorry if members of the clergy, by holding services of blessing or near equivalent, force me to make disciplinary enquiries".

He has argued that "Justice never means 'treating everybody the same way', but 'treating people appropriately'". In August 2009, he issued a statement saying:

Selected works

''The Climax of the Covenant: Christ and the Law in Pauline Theology''. Fortress Press, 1991.

''Following Jesus: Biblical Reflections on Discipleship''. Wm. B. Eerdmans, 1997 / SPCK (Society for Promoting Christian Knowledge), 1994

''What Saint Paul Really Said: Was Paul of Tarsus the Real Founder of Christianity?'' Wm. B. Eerdmans, 1997.

''The Challenge of Jesus: Rediscovering Who Jesus Was and Is''. Hardcover ed. InterVarsity Pr., 1999 / SPCK, 2000

''The Resurrection of Jesus: John Dominic Crossan and N.T. Wright in Dialogue''. Ed. Robert B. Stewart. Paperback ed. Augsburg Fortress, Pub., 2005 / SPCK 2006 (co-authored with John D. Crossan)

''Paul: Fresh Perspective''. Fortress Press, 2005 co-edition SPCK, 2005

''The Last Word: Beyond the Bible Wars to a New Understanding of the Authority of Scripture''. Harper SanFrancisco, 2005.

''Simply Christian: Why Christianity Makes Sense''. Hardcover ed. SPCK, 2006 co-edition HarperCollins Pub., 2006.

''Judas and the Gospel of Jesus: Have We Missed the Truth about Christianity?'' SPCK 2006 / Baker Books, 2006.

''Evil and the Justice of God''. SPCK, 2006 / Intervarsity Press, 2006.

"The Reasons for Christ's Crucifixion," ''Stricken by God? Nonviolent Identification and the Victory of Christ'' (ed. by Brad Jersak and Michael Hardin), 2007.

''Surprised by Hope: Rethinking Heaven, the Resurrection, and the Mission of the Church''. SPCK, HarperOne, 2008.

''Jesus, the Final Days: What Really Happened''. SPCK, 2008 / Westminster John Knox, 2009. (co-authored with Craig A. Evans) Ed. Troy A. Miller

''Justification: God's Plan and Paul's Vision''. SPCK, 2009

''Virtue Reborn''. SPCK, 2010. Published as ''After You Believe: Why Christian Character Matters'' through HarperOne in North America, 2010

Christian Origins and the Question of God series

Six volumes expected:

''The New Testament and the People of God: Christian Origins and the Question of God, Volume 1''. Augsburg Fortress, 1992.

''Jesus and the Victory of God: Christian Origins and the Question of God, Volume 2''. Augsburg Fortress, 1996.

''The Resurrection of the Son of God: Christian Origins and the Question of God, Volume 3''. Augsburg Fortress, 2003.

''Paul and the Faithfulness of God''. - A full-dress study of Paul, currently in progress.

''The Gospels and the Story of God''. - The four gospel writers as theologians in their own right.

''The Early Christians and the Purpose of God''. -The practical, hermeneutical and theological implications of all of the above.

For Everyone series

''Matthew for Everyone, Part 1: Chapters 1-15''. 2nd ed. Vol. 1. SPCK and Westminster John Knox Press, 2004.

''Matthew for Everyone, Part 2: Chapters 16-28''. 2nd ed. Vol. 2. SPCK and Westminster John Knox Press, 2004.

''Mark for Everyone''. 2nd ed. SPCK and Westminster John Knox Press, 2004.

''Luke for Everyone''. 2nd ed. SPCK and Westminster John Knox Press, 2004.

''John for Everyone, Part 1: Chapters 1-10''. Paperback ed. SPCK and Westminster John Knox Press, 2004.

''John for Everyone, Part 2: Chapters 11-21''. 2nd ed. SPCK and Westminster John Knox Press, 2004.

''Paul for Everyone: Romans, Part 1: Chapters 1-8''. 2nd ed. SPCK, 2004.

''Paul for Everyone: Romans, Part 2: Chapters 9-16''. 2nd ed. SPCK, 2004.

''Paul for Everyone: 1 Corinthians''. 2nd ed. SPCK, 2004.

''Paul for Everyone: 2 Corinthians''. 2nd ed. SPCK, 2004.

''Paul for Everyone: Galatians and Thessalonians''. 2nd ed. SPCK, 2004.

''Paul for Everyone: the Pastoral Letters''. 2nd ed. SPCK, 2004.

''Paul for Everyone, the Prison Letters: Ephesians, Philipians, Colossians and Philemon''. 2nd ed. SPCK and Westminster John Knox Press, 2004.

''Hebrews for Everyone''. 2nd ed. SPCK, 2004.

''Acts for Everyone, Part 1: Chapters 1-12''. SPCK, 2008

''Acts for Everyone, Part 2: Chapters 13-28''. SPCK, 2008

See also

Critical realism

References

External links

N. T. Wright Page contains a large amount of material by N. T. Wright

Category:1948 births Category:Living people Category:People from Morpeth, Northumberland Category:Alumni of Exeter College, Oxford Category:Anglican writers Category:Biblical scholars Category:Bishops of Durham Category:20th-century Anglican clergy Category:21st-century Anglican bishops Category:Christian apologists Category:English Anglican priests Category:English Christian theologians Category:Evangelical Anglicans Category:Christian writers Category:Old Sedberghians Category:Deans of Lichfield Category:Anglican theologians Category:Academics of the University of St Andrews

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