"Perhaps the clearest and most certain thing that can be said about postmodernism is that it is a very unclear and very much contested concept. Celebrated by some as a new wave of emancipation from the stifling constraints of modern ideologies that have grown stagnantly conservative and elitist, postmodernism is conversely con- demned for confining us in its own prison-house of conservatism for encouraging an attitude of slackening by its scepticism regarding the notions of progress and originality, by its advocacy of appropriation and recycling, and by its ideology of the end of ideology. But the controversy over postmodernism goes well beyond the question of its value. Its very meaning, scope, and character are so vague, ambiguous, and deeply contested that it has been challenged as a pernicious, illegitimate non concept. Advocates reply that the concept's very vagueness usefully challenges the view that concepts must be clear to be meaningful, fruitful, and important.
How exactly we determine the legitimacy of a concept is a fascinating question in itself. Is conceptual legitimacy a matter of logical coherence, reference to the real, entrenched usage, practical utility? In any case, the concept of postmodernism seems, for the moment, to be adequately vindicated by the profusion of scholarly work that is dedicated to its clarification and elaboration in the various arts and other forms of cultural production since the latter part of the twentieth century."
Avrupa Devletlerinin Osmanlı imparatorluğu topraklarını paylaşmak için yüzyıllardır yürüttükleri Doğu Sorunu’nun (Şark Meselesi, Question d’Orient) çözüme ulaşmasını Atatürk anı defterine şöyle kaydetmişti: “Doğu sorunu halledilmiştir. Doğudaki azınlıkları korumak gibi ahmakça bir vesile ile Doğudaki çoğunlukları esaret altına almaktan ibaret olan ‘Doğu Sorunu.’
Cihan uygarlığına sorarım, bu mu uygarlık? Vahşiyane hareketlerde bulunanların, uygarlık, kişilik adına söz söylemeye yetkileri olabilir mi? Azınlıkları servet ve zenginlik içindeydi; kardeş gibi geçiniyorlardı. Bunları cani yapan kimdir?
Tarih, ingiltere hükümetinin böyle gülünç bir girişime umut bağlamasını hayretle yazacaktır. Maskara bir kavmi Türkiye’yi istila ettirerek cihangir yapmak! Siyasi ve askeri bir aymazlık örneği!
Sayfa 361Kitabı okuyor
On my second arrest I refused to sign anything or to answer any questions. But I betrayed this principle once. One time an investigator gave me a question in written form (the interrogation protocol): "What role do you play in the national movement of Crimean Tatars?" "Oh, that question I'll be glad to answer," I said. "Write: 'A normal role. One of a Crimean Tatar who wants to return home to her native land, Crimea!'" Of course, the
investigator did not write down such an answer.
"'What do you think's wrong with Felix?' Mr. Baker had demanded.
He hadn't been expecting the question, so he had to think before he answered. 'I don't think anything's wrong with him, sir', he'd said, carefully. 'I just think he's not-' Happy, he nearly said. But what was happiness but an extravagance, an impossible state to maintain, partly because it was so difficult to articulate?"
Sayfa 90
“Yes, I think Oliver is onto something,” Frederick said. “Permit me to pose another question: What is more important, that Caesar is assassinated or that he is assassinated by his intimate friends?”
It wasn’t the sort of question that needed an answer, so no one replied.
Scene 6Kitabı okuyor
Frederick held up a hand to stop us. “Good. Yes,” he said. “All of those things. We will, of course, touch on each of these plays—Troilus and Cressida and other problem plays included—but naturally we will begin with Julius Caesar. A question: Why is Caesar not a history play?”
James was first to answer, with characteristic academic eagerness. “The history plays are confined to English history.”
“Indeed,” Frederick said, and resumed his pacing. I sniffed, stirred my tea, and sat back in my chair to listen. “Most of the tragedies include some element of history, but what we choose to call ‘history’ plays, as James has said, are truly English history plays and are all named after English monarchs. Why else? What makes Caesar first and foremost a tragedy?”
Scene 6Kitabı okuyor
Survivors don't have time to ask, "Why me?" For survivors, the only relevant question is "What now?"
Sayfa 11Kitabı okuyor
Rin reached out and grasped Nezha’s wrist.
Nezha nodded curtly in response to her unspoken question.
Together?
Together.
Türkçe / English Review
Kitabın diğer incelemelerini incelerken çoğu okurun eserden "Çocuk kitabı" diye bahsettiğini gördüm ve 
Çizgili Pijamalı Çocuk ile benzer bir karışıklılığa girdiğini fark ettim. Maalesef günümüzde eserlerin baş kahramanları çocuk olunca hemen çocuk kitabı etiketi yapıştırılıyor içeriği göz önünde bulundurulmadan. Çizgili Pijamalı Çocuk 'da olduğu gibi travmatik
I have searched everywhere to find an answer to my question, 'Is there enlightenment?' , but have never questioned the search itself. Because I have assumed that goal, enlightenment, exists, I have had to search, and it is the search itself which has been choking me and keeping me out of my natural state. There is no such thing as spiritual or psychological enlightenment because there is no such thing as spirit or psyche at all. I have been a damn fool all my life, searching for something which does not exist. My search is at an end."
Jacks the master of avoiding questions
“You can ask me whatever you want, Little Fox.”
“Splendid!” Her mouth turned up into a sweet smile. “Tell me about the apples.”
“Next question.”
Evangeline and JacksKitabı okudu
'Won't you tell me what I really am', Franz pleads with Felice, and goes on to answer his own question: 'A difficult case. Am I a circus rider on 2 horses? Alas, I am no rider, but lie prostrate on the ground.'
Sayfa 55Kitabı okudu
Quora
Postmodernism is an intellectual dead end; it’s central premise seems to be derived from a saying of Nietzsche’s, “There are no facts; only interpretations”, which is thought to mean that each one of us views “reality” through our individual perspective. This is true to a degree, but as with so many aphorisms, there are limits to its validity;
'' Question for you, Neil. Do I look dead to you?" He pointed up at his face, waited for Neil to answer, and didn't seem surprised when Neil didn't. "Here."
Andrew beckoned Neil closer as if he wanted to show Neil something on his phone's small screen. He flipped the phone open one-handed and pressed down hard on a single button. There was silence, then the distant hum of Andrew's phone dialing out. Between them Neil's phone started to sing. The words were different than Andrew's ringtone, but the voice was the same. Neil knew it was from the same miserable song. The lyrics hurt just as much as Andrew's had. Neil stared down at the phone and let it ring.
"Your phone is ringing," Andrew said. "You should answer it."
Neil picked it up with numb fingers and opened it. He spared only a second to look at Andrew's name on the screen before he answered and put it to his ear.
"Your parents are dead, you are not fine, and nothing is going to be okay," Andrew said. "This is not news to you. But from now until May you are still Neil Josten and I am still the man who said he would keep you alive.
"I don't care if you use this phone tomorrow. I don't care if you never use it again. But you are going to keep it on you because one day you might need it." Andrew put a finger to the underside of Neil's chin and forced Neil's head up until they were looking at each other. "On that day you're not going to run. You're going to think about what I promised you and you're going to make the call. Tell me you understand."
