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He worked for his father, [Joseph L. Bauman], Landscape Architect and Design for 20 years before starting his own business, Max Bauman & Associates Landscape Architect and Design. His life's work of landscape artistry and skills are evident throughout northern Indiana and southern Michigan, most notably the University of Notre Dame Library, the Notre Dame J.A.C.C., Concord Mall, Elkhart, Ind., Scottsdale Mall, South Bend, Southlake Mall, Merrillville, Ind., in addition to area businesses and homes.

Max Wallace Bauman, 67, of Village Drive, died Tuesday in his home of natural causes. Survivors include two daughters, Emilie J.

The winners come from the 16 Indiana Area Agencies on Aging. [Gene Zollman] lives in LaPorte and represented Area 2 REAL Services, South Bend. Margaret King was honored as the 2004 recipient of the F. Jay Nimtz Exemplary Public Service Award. The award, which is given by the city of South Bend and the South Bend Heritage Foundation, honors a citizen who is involved in public service and various volunteer activities. A number of people in the landscaping business wish to pay tribute to Max Wallace Bauman, who died on Nov. 16 in Mishawaka. He worked with his father, Joseph L. Bauman, a landscape architect, for 20 years before starting his own business, Max Bauman & Associates Landscape Architect and Design.

Although Mr. [Alan Schneider] displayed a catholicity of taste over the years -among his early efforts were stagings of such plays as Thornton Wilder's ''Skin of Our Teeth,'' Robert Anderson's ''All Summer Long'' and Clifford Odets's ''Country Girl'' - he would become best known for his more experimental work, and in one of the few passages of self-assessment in this volume he makes it clear where his affinities lay. ''I am the only American theater director who ever went from the avant-garde to the Old Guard without having passed through the Establishment,'' he writes. ''I have always favored the poetic over the prosaic, siding with instinct over reason, swayed by the power of symbols, images, metaphors, all of the substances lurking behind the closed eyelids of the mind. To me, these are more faithful signs of essential truths than all those glossy photographs that seek to mirror our external world. I've always preferred Chekhov to Ibsen, Tennessee Williams to Arthur Miller, and Dostoyevsky to Tolstoy; but [Samuel Beckett]'s metaphors reach deepest into my subconscious self.'' Having been signed up to direct the first American production of ''Waiting for Godot'' in 1955, Mr. Schneider spends a week looking for the elusive writer in Paris and finally succeeds in trying to get Mr. Beckett to answer his questions about the play. ''According to him,'' Mr. Schneider writes, ''Godot had 'no meaning' and 'no symbolism.' There was no 'general point of view involved,' but it was certainly 'not existentialist.' Nothing in it meant anything other than what it was on the surface. 'It's just about two people who are like that.' That was all he would say.''

Hannah Arendt is a frequent reference point in Zygmunt Bauman's writings. This article explains Arendt's influence on Bauman, and then identifies three important differences in their work. The first is that Arendt's account of totalitarianism departs from theWeberian theory of bureaucratic rationalization. The second is that Arendt believes sentiments of compassion are corrosive rather than productive of civilized public life. The third is that Arendt defines the moral conscience as a relationship with oneself rather than the other, and that this relationship is not a form of action. Arendt argued that the moral self is unpolitical because of this, but that in periods of social crisis the negative character of the moral conscience may become a precious source of political defiance. I conclude by suggesting that Arendt's conception of morality could be a starting point for the kind of 'ethics of self-limitation' which Bauman believes is necessary to mitigate the destructive consequences of liquid modernity.

“Russia not amused at Red Army statue re-invented as Superman and friends Clenched teeth in Moscow over 1950s war memorial in Sofia given makeover by spray-painting street artist”“Sofia's communist war monument after a colourful makeover replacing troops with Superman, Robin, Santa, and Ronald McDonald. Photograph: Stoyan Nenov/Reuters”Both born in 1962, in the peak period of geopolitical tension dividing the West and the East (marked by the nuclear threats of the Cuban Missile Crisis, the building of the Berlin Wall and the Sino-Soviet split), two authors ‘from each side of the Wall’ would grow up to become highly influential contemporary writers of global impact and relevance. With literary careers developing from the first decade after the fall of the Berlin Wall, both Chuck Palahniuk (USA) and Victor Pelevin (Soviet Union; Russia) started resonating new and exciting possibilities of post-postmodernist developments. While considerable theoretical attention has already been given to both Palahniuk and Pelevin, my research intends to explore their works through a comparative lens, offering fresh insights into the shared literary frameworks that bind them. This comparative analysis seeks not only to highlight the commonalities in their depictions of contemporary life but also to understand how their respective geopolitical backgrounds guide their narratives. Living and working in countries that were equally shaped by and contributed to the narratives of the Cold War, as well as the economic and geopolitical climate of the time, they provide a valuable opportunity to compare the similarities in literary tendencies that result directly from the political, social, and cultural acceleration in the age of overwhelming information flow and predominantly trash culture. By analyzing and comparing their work within the context of global politics, neoliberal economic models, and the post-truth age, this dissertation aims to highlight their shared literary techniques and themes. It examines whether and how, in two pivotal oeuvres from the last years of the 20thcentury, signs of literary trends that would flourish in the first decades of the 21stcentury can already be discerned. I interpret these works as phenomena of a transitional period, significant for formulating a recognized movement that emerges from it, which I have termed hypertrashrealism.Note on the TextAs the language of this dissertation is English, most of the included quotations are provided also in English. However, as several of Victor Pelevin’s novels and two books by Ilya Kabakov have not been translated into English yet, I have either read them in my mother tongue, Serbian, or in German, while the submitted quotes come in the original language of these books, that is, the Russian language.Problem Statement and Justification of the Research ProjectPostmodernism, officially inaugurated as a literary movement in the USA only to be spread worldwide, has long been one of the prevailing frameworks across different fields of art and culture, as a direct response to the post-World-War-II reality. Following the revolutionary changes in narrative brought by modernism, it developed into a powerful and diverse artistic paradigm, with a new twist in its attempt to speak out for the voices of the transitional period.

This article is devoted to the analysis of metaphors of a person as a wanderer and the world as a place for wandering. The starting-point is the comparison of the two figures of a pilgrim: the one in traditional society (Abraham) and the other in modernity (a Puritan). At this background the main issue of the transformation of “wandering” in the postmodern times is tackled. The figures of “a tourist” and “a vagabond” described by Zygmunt Bauman are the subject of analysis.

This article provides a re-assessment of Bauman's interpretation of Weber. It refers to this end to Du Gay's critique, which came out in the late 1980s and called into question the accuracy of Bauman's interpretation of Weber as contained in Modernity and the Holocaust. Du Gay objects of Bauman that Weber's ideal type of modern bureaucratic organizations is not incompatible with ethical considerations, and Bauman has therefore misrepresented Weber. The article dwells on and evaluates this objection also in the light of this work, and other and more recent works by Bauman. Bauman has consistently praised Weber for his ability to understand the modern condition, and Bauman considers him as a sociologist of the modern age, but also as an academic outsider. Weber could therefore understand better than other scholars that ‘lighter’ (rather than ‘heavy’) modalities of the capitalist order are conceivable. ‘Lighter capitalism’ is however a trait of Bauman's conception of post modernity (which this article briefly considers), rather than of modernity. Weber has also grasped, according to Bauman, the inconclusiveness of the rationalization process and called attention to a future, which is different from that prefigured by the modernity project. Bauman is accordingly not entirely consistent in considering Weber a sociologist of modernity. It has also been argued here that the scope of Du Gay's critique of Bauman's interpretation of Weber should be extended, as there are for Weber several aspects of modern society that are not compatible with instrumental rationality. In particular, Weber has dwelt on value-rational aspects of modernity — such as the persistence of the values of solidarity and honour in the market, in the workers' unions, and in the bourgeoisie as a status group—which Bauman has neglected to consider.

This article is concerned with the belonging and loyalty tried to be maintained by the migrant towards the place and society they consider as the true origin. The traditional migration literature has retrospectively argued that the migrant’s moving from the place of origin to the targeted place corresponds to a discontinuity and abandonment. On the other hand, as suggested in this research, the migrants maintain their lives in the target place through complying with the behaviors, attitudes and actions required by those spaces; they do not break their ties with the original place of origin and even engage in a backward movement. However, the return of these migrants often coincides with the continuation of urban and rural life in the form of a multi-site settlement. This is sometimes used to meet the need for personal loyalties and nostalgia, and sometimes for keeping the motivation of passing it down to next generation alive. In this way, rather than a definite turn, the returns often correspond to a migration movement in which the place and society of origin cannot be mentally forgotten and abandoned, and comes to be endeavored to be survived in the practice of multiple spaces. In this sense, individuals often refrain from making definite decisions on behalf of themselves and their families. This experience of the migrant corresponds to the socialization process described as “liquid modernity” by Bauman and observed as life perceptions “without a last stop” within the scope of this research. Accordingly, rural migration is the equivalent of a continuous process, not an ending one. This experience constitutes a close position to the value-oriented rationalism in Weber’s words; the decision making processes of an individual becomes possible by self-sacrifices made by the migrant between rationalism and irrationalism or beyond cost-benefit or linear and analytical rationalism foreseen by modernism. This research deals with the rural migrant’s experience of returning back, which doesn’t have a last stop and cannot be explained with a rational individual preference, through a realistic and methodological analysis of the story of rural migrant from Rize returning back Bu makale, göçmenin, asli-menşe olarak gördüğü mekânla ve cemaatle sürdürmeye çalıştığı aidiyet ve bağlılık ile ilgilidir. Klasik göç literatürü, göçmenlerin asli-menşe yerden hedef-menzil yere gidişlerinin bir kopuşa ve terk edişe denk geldiğini savunagelmiştir. Buna karşın bu araştırmada da öne sürüldüğü üzere göçmenler vaktiyle muhtelif sebeplerle gittikleri ve yerleştikleri hedef-menzil mekânlarda, o mekânların gerektirdiği hâl, tavır ve eylemle hayatlarını sürdürürlerken asli-menşe mekânla bağlarını koparmamakta hatta o mekânları hedef alan geri yönlü bir göç hareketliliğine de girişmektedirler. Ancak bu göçmen için geri dönmek çoğunlukla birden fazla mekânı kapsayan yerleşim biçiminde kent ve kır hayatının sürdürülmesine denk gelmektedir. Bu yer yer kişisel bağlılıklar ve nostalji ihtiyacını karşılamada yer yer de bu bağlılığı arkadan gelen nesle devir motivasyonunu canlı tutmada kullanılmaktadır. Böylelikle geriye dönüşler çoğu kez kesin bir dönüşten ziyade asli olarak görülen toprağın ve cemaatin zihnen unutulamadığı, terk edilemediği ve çoklu mekân pratiğinde yaşatılmaya çalışıldığı bir göç hareketliliğine denk gelmektedir. Bu minvalde bireyler çoğu kez kendileri ve aileleri adına kesin kararlar almaktan geri durmakta ve mekânlara aidiyet bakımından “son durak yok” tavrı takınmaktadırlar. Göçmenin bu tecrübesi, Bauman’ın “akışkan modernlik” tabirine benzemekte ve bu araştırma kapsamında “son durağı olmayan” hayat algıları olarak gözlemlenen sosyalizasyon sürecine denk gelmektedir. Buna göre kırsal göç sona eren değil devam eden bir sürecin karşılığı olmaktadır. Yine bu tecrübe, Weber’in tabiriyle değer yönelimli akılcılığa da yakın bir konum teşkil etmekte, bireyin karar verme süreçleri, modernliğin öngördüğü doğrusal ve analitik rasyonelliğin ya da fayda-maliyetin ötesinde akılcılık ve akıl dışılığın arasında göçmen tarafından fedakârlıkların gerçekleştirilmesi ile mümkün hâle gelmektedir. Bu çalışma, kırsal göçmenin son durağı olmayan ve rasyonel birey tercihiyle açıklanamayan bu geriye göç tecrübesini, Rizeli kırsal göçmenin geriye dönüş hikâyesinin realist bir metodolojik incelemesiyle ele almaktadır.

At what point does a thing become waste, and why? What happens to waste when it is discarded? How can an aesthetics of waste retrieve its modes of production and circulation, revealing submerged histories of the commodities, bodies, and spaces of a nation? These research questions unify my line of inquiry, which enables “The Lowly Remains” to scrutinize literary representations of waste in postwar America, a period paradoxically known both for its unprecedented mass production and streamlined technological concealment of garbage. Examining four distinct yet interrelated categories of waste—corporate, bodily, spatial, and social—this dissertation elucidates the material, economic and psychological systems of waste-aversion which assign and rescind the value of the waste object, emphasizing literary excavation as an effective means of accessing a fuller range of the material world and uncovering historiographical elisions in master narratives of the development of the United States over the last century. The dissertation examines the symbolic substitutions, cross-pollinations, and ideological relays between different categories of waste—how one economy of value will utilize the rhetoric and associations from another to form a multi-discursive culture of waste aversion. Through this dissertation, I aim to contribute to a growing body of interdisciplinary work on waste in recent years, the broadest goal of which is to grant serious academic attention and value to valuelessness. Most contemporary studies of literary waste speak of trash as ahistorical abstract category and do not detail the development of various disposable and synthetic materials responsible for its current volumes. To avoid this pitfall, I employ a diverse array of theoretical positions integrated with historical precision and attention to specific materials—each chapter scrutinizes a specific moment in twentieth-century American history, the role of waste in that moment, the formal techniques through which it is aestheticized, and what it discloses about shifting values in the cultural imaginary.