In this paper I am concerned with structure of the debate over modernism and postmodernism in geography. Over the last decade human geography has undergone rapid change as geographers have explored new ways of thinking. I use postmodernism to make sense of the past, present and emergent pattern of social being that exist simultaneously in the space and also changes in our society as a whole, in other words in the mode of productions.

The article includes two discourses: first discourse, discusses about modernity and two of its main foundations; rationalism and humanism, and then explanes their impacts on the formation of the modern world, society and human being. Second discourse, considers the postmodern critical approach to modernity and its principles. Postmodernism, totally rejects the modern reason and deconstructs 'all aspects of intellectual and rational legacy of the Enlightenment tradition and modernity. Finally, the author of the article concludes: negation of modern rationality as an instrument of total domination over contemporary and late modern society by postmodernism denies the dichotomous quality of modern reason and refuses the emancipatory feature of the cultural and communicative reason, and as a results, leads to conservatism and nihilism.

Postmodernism is a revolutionary movement and philosophically charming and intuitive activity which practically started in the middle of the twentieth century, but rooted in human history. It refers to those kinds of thoughts which penetrated in most of our intellectual life such as philosophy, literate, art, and creativity. Since its foundation Postmodernism brought much attention to scholarly argument. This is still more or less under studies, because no one yet comes to conclusion in giving exact definition of postmodernism. Nonetheless, a study such as dialectical and analytical approach made it possible that postmodernisms concept to be different inspiration and constantly changing dispute Postmodernism is a movement which started in the middle of twentieth century and still going on. Its origin is not known exactly, however most of the social and philosophical researchers and critics assumed that its development came after modernism. Jean-Francois Lyotard as first theoretician on postmodernism suggested it is a continually redefined movement. A alongside him Baudrillard, Foucault, Barth, to Derrida supported postmodern theory. Some critics think that postmodern art is a reaction against the reductionism and abstraction of modernism. They feel modern art desired to unearth universals or the fundamentals of art, on the other hand postmodernism look to unseat them, to embrace diversity and contradiction, Postmodern art usually rejects the distinction between low and high forms. It denies rigid genre boundaries and favors eclecticism, the mixing of ideas and forms. It is likely that postmodern art promotes parody, irony, and playfulness, commonly referred to as jouissance by certain of it theorists. In finding the roots of mixed movement such as postmodern theatre is not easy task however, most scholar agree in two origins and tradition: Aristotelian Textual Drama, and Artaudian Sacred Theatre of Nonverbal. Antonin Artaud with his genuine notion in finding magic in ritual drama was given as a theoretical creator of a postmodern theatre. He rejected the idiolects of Meyerhold, the schematic theatre of the expressionists and the epic theatre of Brecht, because he thought, that they were simply reactions against the prevailing text. In postmodern performance change is very important; from one performance to the next nothing would be the same, everything deconstructs. The play will not be repeated as taught by school of modernism like Lee Strasberg, Stanislawiski or Grotowsky. Each event of postmodern theatre in stage like OOB, Theatre is connotation to create a new things and information as audience wishes. There are normally no narrated stories, no psychological characters with readily recognizable personalities. In fact Artauds avant-garde thought created movement which after world war two turn out to be postmodern theatre. In his view concept of modern theatre twisted from pre-classic period, and its theatricality like religious, mystical and ritualistic tradition, instead Artaud created a Theatre of Cruelty a kind of performance that would be lie like purgative and cathartic. The focus of this paper is to find the root, meaning, rise, development, and philosophical heritage of the idea of postmodernism in theatre and how Artauds thinking of ritual and scared theatre of nonverbal shaped Postmodernism in theatre.

No special definite definition does exist for postmodernism however it has had an inordinate effect on art, architecture, music, film, literature, philosophy, sociology, communications, fashion, and technology. The main body of this work can be seen as an admiration and reverence for the values and ideals associated with postmodern philosophy as well as postmodern literature., I have argued that postmodern has mainly influenced philosophy and literature and they are recognized and praised for their multiplicity. Postmodernism might seem exclusive in its work, its emphasis on multiplicity and the decentered subject makes very uncomfortable reading for traditional theorists or philosophers. It rejects western values and beliefs as only small part of the human experience and it rejects such ideas, beliefs, culture and norms of the western. Integrity is fragmented apart into unharmonious narratives which lead to a shattering of identity and an overall breakdown of any idea of the self. Relativism and Self-reflexivity have replaced self-confidence due to the postmodern belief that all representation distorts reality. I have also referred that in a sense; postmodernism is a part of modernism we find the instantaneous coexistence of these two methods of expression and thinking, especially in visual arts and literature.

The purpose of this research is to study Postmodern elements in the Iranian movie “Close-up”(1990) by Abbas Kiarostami. The application of such strategies as intertextuality, the destruction of grand narratives, the death of the author, short circuit and some others have made the film a Postmodern production. The author would apply different theories by Kristeva, Lyotard, Lewis, Hutcheon and Lodge for this purpose. The movie is a kind of “movie-about-movie” and the story happens in a space between a film and a documentary. It raises some questions about the nature of “reality” and representation of reality. In other words, the movie is an example of the mingling of reality and imagination in a postmodern world. In this movie, the border between real life and cinema disapppears not only for the audience but also for the characters. One other important postmodern quality of the text is “the destruction of grand-narratives”. The movie lacks a coherent and well-defined plot and the audience faces a fragmented narrative.

Postmodern philosophers are usually accused of being indifferent to any political principle and that cannot advocate any particular political idea; therefore, their political position promotes undemocratic trends. Thus, they have been called as fellow travelers of non-democratic political forces. For critics, anti-foundationalism and relativism are responsible for creating such a situation. I reject both of these theories by arguing that, first, philosophical opposition of postmodernism to foundationalism does not lead to political agnosticism, and for this matter, postmodernism is not politically relativist. Secondly, postmodernism not only advocates democracy, but also gradually prepares situation suitable for establishing a new civic culture. We must seek the traces of these new civic cultures in modernity.    

What is postmodernism? Can we discuses about new feature of political identity in post modem condition? Is post modem thought challenging the modem paradigms of identity? How the carrier of post modem thought with identity dilemma in late modernity period? Can we imagine positive and constructive vein in post modem movement?Postmodernism is a trend that has two faces. In the face, postmodernism see as a negative and destructive phenomenon that disrupts current established identities; such as nationalism, collective identity or transnational one. But in a positive and affirmative view, postmodernism is a trend that creates a new framework of political identity. In this outlook assert that postmodernism a final analysis is a constructive scheme. In this article the author tries to describe characteristics of political identity of postmodernism from an affirmative outlook.

This article reviews the major teachings of policy formation in modernism paradigm by deconstruction method to reconstruct the discipline in the context of postmodernism. Based on this, the first section studies the key modernism teachings such as objectivism, rationality, development, unitarianism and their impact on the modernism policy formation theory. The second section introduces postmodern teachings and reforms the policy formation theories in postmodern paradigm. Thus, postmodern criticism of modernism bases of policy formation in denying objectivism, development and improvement, irrationality and pluralism is discussed. The article does not claim that contrary to postmodern thinkers' approach, there is postmodern policy formation discipline in a metanarrative frame. Hence, the paper explains and criticizes modem policy formation theories in the new context.