II. Primary Texts
*Beaudrillard, Jean. Simulations. Trans. Paul Foss, et al. New York: Semiotext(e), 1983.
---. Simulacra and simulation. Trans. Sheila Faria Glaser. University of Michigan Press, 1994.
(國家圖書館BD236 B325 1994)
---. Fatal Strategies. Trans. Philip Beitchman, et al. New York: Semiotext(e), 1983.
---. In the Shadow of the Silent Majorities. Trans. Paul Foss, et al. New York: Semiotext(e), 1983.
---. 《誘惑論序說》(Oublier Foucault )。塚原史譯。東京都：國文社, 1984。（台大法研圖 544 3422）。
尚．布希亞(Jean Baudrillard)。《物體系》(Le systeme des objets)。林志明譯。臺北市：時報文化, 1997[民86]。
---. 《擬仿物與擬象》(Simulacres et simulation)。洪凌譯。台北市： 時報文化, 1998[民87]。
---, et al.《藝術與哲學》(Art and Philosophy)。路況譯。臺北市：遠流, 1996[民85]。
Jameson, Fredric. "Postmodernism, or The Cultural Logic of Late Capitalism." New Left Review. 146 (1984): 53-92.
*---. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991.
---詹明信。《後現代主義或晚期資本主義的文化邏輯》。吳美真譯。臺北市：時報文化, 1998。
*Lyotard, Francois. The Postmodern Condition: A Report on Knowledge. Trans. Geoff Bennington, et al. Minneapolis: U of Minnesota P, 1984.
史都華 (Stuart, Sim)。《后現代性与公正游戲：利奧塔訪談書信錄》。 談瀛洲譯。 上海市： 上海人民 出版社，1997。（臺灣大學法圖 146.79 5044 ）
*Jencks, Charles. What is Postmodernism? New York: St. Martin''s Press, and London: Academy Editions, 1986.
"''What is Post-Modernism?'', a question that has been asked with increasing frequency since the early 1970s, now achieves a partial answer as it continues to evolve. Charles Jencks, the main definer of Post-Modern architecture, considers the concept as it relates also to the arts and literature and offers a spirited defence of the movement against the growing Modernist reaction. Using typical Post-Modern devices of exposition, including irony, allegory and parody, he shows the evolution of this tradition to the point where it is persecuted in the ''Protestant Inquisition'' andbecomes triumphant and academic in the ''Counter-Reformation''. But this ''little tract'' also challenges a major misconception. For too long Post-Modernism has been confused with any art form that comes after the waning of Modernism, whether it is Minimalism in art, High-Tech in architecture or Deconstruction in philosophy. Jencks argue that these movement are really Late-Modern, and that the concept of Post-Modernism should be applied only to those artists and architects who have a more complex relation to tradition and communication; who both continue and transcend Modernism -- a process he defines as double coding. Drawing on examples from art, architecture and literature, with evolutionary charts and over thirty colour photographs, this book clarifies a tradition that is thriving but still misunderstood." from the back cover
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