摘要：Marxist discourse is subject to incredulity and negative impact under the deconstructionist dissolution of＂totality＂ and negation of historical ＂recta-narrative＂. But the ideological tension of Marxism has constituted the theoretical basis of deconstructionist and postmodernist criticism of Capitalism and its culture. Furthermore, it is the radical hope of postmodernism. Within the scope of＂postmodern politics＂, Marxism still boasts critical competence and theoretical reconstruction capabilities under Capitalist global narrative. ＂Deconstructive Marxism＂ contains complex ideological contradictions, on which we should conduct in-depth criticism.

摘要：Everyone experiences disambiguous feelings of location, of where the concrete world exists. Artists of every dicipline attempt to recreate this connection to real or ＂imagined communities＂ for their public. How do they do this？ How do they bring about a deep and controled feeling in others for a particular location or imagined place？ By analyzing recollection and setting through objects, iconography, signifiers, and theoretical construct, attended by visual examples, a system of determinate mapping evolves

摘要：This paper focuses on Stephen King＇s （1947-） long-form narratives and attempts at perceiving the elements accounting for his endless success. As the author chooses this title for her paper, she clearly keep in mind John Barth＇s （1930-） essay. The choice of ＂punning＂ Barth＇s title is made so as to situate ourselves in the wake of postmodernist studies to try and analyze King＇s deconstruction and reconstruction of common ideas, myths, and the Gothic genre, applying them to the contemporary era. The choice of this angle of study is accounted by the fact that the aim is to prove that King has not literarily exhausted himself in spite of his 37 years of writing and is in a constant quest for a renewal of the Gothic genre. The notion of remolding is one of the red threads allowing to weave the intricate cloth of postmodernism. The author will here humbly try to unveil the essential elements perceived in King＇s narratives which allow to qualify him as ＂a postmodern writer＂.

摘要：The term ＂ontology＂ is used to describe the nature of reality and demarcates the parameters of existence. An understanding and description of ontology is crucial for academic pursuit as it unveils applicable realities, yet it is often disregarded. The general neglect of ontology provided three motivations for this paper： Firstly, the discussion of the ontological underpinnings in research papers is often neglected while the methodology and methods receive extensive review. Secondly, tertiary students in an academic research-writing course face tremendous difficulty to describe the philosophical ideas that support their interpretation of reality and existence. Thirdly, the philosophical underpinnings of contemporary ontological thought are further complicated by the epistemological challenges posed by the tension between modernism and postmodernism. This paper suggests the use of literature （novels） as a relativity accessible platform to initiate the development of ontological thought. Through a close reading of a sample of Dutch novels published during the last decade of the 20th century, three themes were developed to illuminate the nature of postmodem reality and establish a literary-based ontology. The following three themes were developed： reality as fragments of fiction, reality as dream of paradoxes, and reality as plethora of stories. By using literature as source, ontological thought can be developed to illuminate the extent of the realities acknowledged in research projects.

摘要：Throughout Jazz （2004）, Morrison revises language and stakes a generic revolution within her linguistic one. Problematising language, she interrogates its role by disrupting all metaphoric operation and normative operations of traditional Westem narratology, challenging ontological distinction, and undermining a novelistic claim of/for reality. Morrison creates the novel as a parody of itself. As a metafictional object, she （re）visions the fiction with multiple agendas--a means to interrogate the reality of its constitution and to implicate the political consequences inherent in that constitutional process of construction. By creating a series of antagonisms, oppositions, contradictions, equivalences, and intertextualities, Morrison transforms （and transmutes） novelistic ＂hostility＂ into a generic ＂trauma＂ simultaneously rendering it as realistic experience, historic event, personal story, collective memory, narrative device, and psychological phenomena. Exposing trauma by virtue of its linguistic symptoms, Morrison draws attention to the underlying mechanisms, structures, and apparatuses of Western linguistic codes that determine, produce, and maintain the ultimate （un）knowability of the past. This paper will examine all these and how the elliptical tendency of language surfaces the psychological disfigurement of the characters within the form of linguistic codes revealing the metaphorical tendency in Jazz to manifest its own reflective construction （and self-conscious deconstruction）.