To raise the question of the nature of narrative is to invite reflection on the very nature of culture and, possibly, even on the nature of humanity itself. So natural is the impulse to narrate, so inevitable is the form of narrative for any report of the way things really happened, that narrativity could appear problematical only in a culture in which it was absent-absent or, as in some domains of contemporary Western intellectual and artistic culture, programmatically refused. As a panglobal fact of culture, narrative and narration are less problems than simply data. As the late (and already profoundly missed) Roland Barthes remarked, narrative "is simply there like life itself. . international, transhistorical, transcultural."' Far from being a problem, then, narrative might well be considered a solution to a problem of general human concern, namely, the problem of how to translate knowing into telling,2 the problem of fashioning human experience into a form assimilable to structures of meaning that are generally human rather than culture-specific. We may not be able fully to comprehend specific thought patterns of another culture, but we have relatively less difficulty understanding a story coming from another culture, however exotic that

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The Value of Narrativity in the Representation of Reality

A poetics of postmodernism: History, theory, fiction

20th anniversary edition of "The End of History and the Last Man", a landmark of political philosophy by Francis Fukuyama, author of "The Origins of Political Order". With the fall of Berlin Wall in 1989 the threat of the Cold War which had dominated the second half of the twentieth century vanished. And with it the West looked to the future with optimism but renewed uncertainty. "The End of History and the Last Man" was the first book to offer a picture of what the new century would look like. Boldly outlining the challenges and problems to face modern liberal democracies, Frances Fukuyama examined what had just happened and then speculated what was going to come next. Tackling religious fundamentalism, politics, scientific progress, ethical codes and war, "The End of History and the Last Man" remains a compelling work to this day, provoking argument and debate among its readers. "Awesome ...a landmark ...profoundly realistic and important ...supremely timely and cogent ...the first book to fully fathom the depth and range of the changes now sweeping through the world." (George Gilder, "The Washington"). Post Francis Fukuyama was born in Chicago in 1952. His work includes "America at the Crossroads: Democracy, Power, and the Neoconservative Legacy" and "After the Neo Cons: Where the Right went Wrong". He now lives in Washington D.C. with his wife and children, where he also works as a part time photographer.

http://library.um.ac.id/free-contents/downloadpdf.php/buku/the-end-of-history-and-the-last-man-kemenangan-kapitalisme-dn-demokrasi-liberal-oleh-francis-fukuyama-penerjemah-m-h-amrullah-10836.pdf

The end of history and the last man : kemenangan kapitalisme dn demokrasi liberal / oleh Francis Fukuyama, penerjemah M.H. Amrullah

Common Places: Mythologies of Everyday Life in Russia

(2003). Eternal Treblinka: Our Treatment of Animals and the Holocaust. Quarterly Journal of Speech: Vol. 89, No. 1, pp. 83-84.

Eternal Treblinka: Our Treatment of Animals and the Holocaust

This article examines Philippe Claudel’s 2007 novel Brodeck (French title: Le Rapport de Brodeck) that allegorizes the Holocaust by parodying tropes and narrative structures characteristic to fairy...

Philippe Claudel’s Brodeck as a parody of the fable or the Holocaust universalized

If complicity usually designates participation in wrongdoing, Debarati Sanyal’s rich, vibrant and provocative book about French literary and cinematic echoes of Holocaust memory from the postwar pe...

Memory and Complicity. Migrations of Holocaust Remembrance

By comparing the award-winning Franco-Russian film Babousya (2003) by Lidia Bobrova (b. 1952) and several novels by Andrei Makine (b. 1957), a Russian-born French-language writer, this article demonstrates that both artists posit the impoverishment and disempowerment of old people as symptomatic of Russia's transformation into a capitalist society. While opposing the self-effacing and ever-suffering elderly to the newly-rich business class of post-perestroika Russia, Makine and Bobrova express their unabashed nostalgia for Communism or perhaps even for the pre-Petrine past. Opposed to the city, which is often synonymous with the West, the rural Arcadia they advocate is marked by communalism, solidarity, generosity, loyalty to tradition and respect for the elderly, whereby Makine and Bobrova perpetuate Slavophiles' belief in the virtue of the common folk and in Russia's inherent distinctiveness from, not to say superiority to, the West.

Grandmothers and Uncles: The Role and Status of Old People in Lidia Bobrova's Babousya and Andreï Makine's Novels

A central point of historical reference in the writing of contemporary Russian-born French author, Andre Makine, namely the Second World War, which redrew the map of Europe and redressed the balance of power in world politics, both to the advantage of the Soviet Union, allows this highly successful novelist to remind his western readers of Russia's former military might and to re-posit the Soviet regime generally seen as a perpetrator of crimes against both other nations and the Russian people as victim. The soldier's wounded body emerges as concrete proof of the Soviet Union's sacrifice in the struggle against fascism and as metaphor for the empire's disintegration as a consequence of Russia's opening to western capital and values. Read first from a Foucauldian and then from a Lacanian perspective, the samovar (a soldier who has lost all his limbs) and other, less drastic, forms of wounding will be interpreted as surfaces painfully inscribed and even ruined by language, culture and history, and a...

Helena Duffy

Papers

Philippe Claudel’s Brodeck as a parody of the fable or the Holocaust universalized

Memory and Complicity. Migrations of Holocaust Remembrance

Grandmothers and Uncles: The Role and Status of Old People in Lidia Bobrova's Babousya and Andreï Makine's Novels

The veteran's wounded body before the mirror: the dialectic of wholeness and disintegration in Andre Makine's prose

World War II in Andreï Makine's Historiographic Metafiction: 'no One Is Forgotten, Nothing Is Forgotten'