postmodernism

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post·mod·ern

 (pōst-mŏd′ərn)
adj.
1. Of or relating to art, architecture, or literature that reacts against earlier modernist principles, as by reintroducing traditional or classical elements of style or by carrying modernist styles or practices to extremes: "It [a roadhouse]is so architecturally interesting ... with its postmodern wooden booths and sculptural clock" (Ruth Reichl).
2. Of or relating to an intellectual stance often marked by eclecticism and irony and tending to reject the universal validity of such principles as hierarchy, binary opposition, categorization, and stable identity.

post·mod′ern·ism n.
post·mod′ern·ist adj. & n.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.postmodernism - genre of art and literature and especially architecture in reaction against principles and practices of established modernism
genre - a class of art (or artistic endeavor) having a characteristic form or technique
Translations

postmodernism

[ˈpəʊstˈmɒdənɪzəm] Nposmodernismo m
References in periodicals archive ?
Citing Brian McHale's Postmodernist Fiction, which concentrates on the postmodernists interest in transgressing ontological boundaries, and noting Stoppards almost trademark interest in metatheatrical devices, Jernigan argues:
Where modernist poets recoiled from the tradition of the narrative long-poem, postmodernists recoil from the modernist recoil" ("The Weak" 162).
The first chapter, "The Ideological Fantasy of Otherness Postmodernism," begins to define the contours of "otherness postmodern erotism," arguing that its ideological fantasy is that postmodernists can "see through" ideologies that essentialists accept, a fantasy that Kim understands as masking the continued reliance on essentialist identity-based assumptions.
I've never really bought into the postmodernists, partly because I can hardly ever understand what they're saying.
Postmodernists, by contrast, tend to embrace the marginal, the "Other" and the genuinely or putatively oppressed, while condemning the "cultural hegemony" of men and institutions that Kirk admired.
That is a neat trick, since by so doing we can deal with Nietzsche and Heidegger without any links to Nazism and "decontextulaize" Foucault and the French postmodernists from Stalinism and Maoism.
We, the postmodernists, can give this man, this artwork, the meaning we wish in an exercise of bricolage, with no metanarrative governing us or the film.
Postmodernity transforms established ways of thinking, although no single set of postmodernist views exists; rather, postmodernists have different views, and many of them would deny the label.
The work of Levinas is cited frequently and favorably by postmodernists, while that of Strauss has been appropriated by neo-conservative politicos.
The foil against which Denys Turner addresses his realist theory is that found in the late nineteenth century writings of Nietzsche and developed in the twentieth century by Heidegger and the later postmodernists in philosophy and religion.
In his 1990 article on postmodernism Stearns made the point that much of what the postmodernists had been advocating fitted in well with the ideas and working practices of social historians.
Hicks's discussion of the epistemology and political philosophy of these paradigms of modernism helps us to identify what postmodernists see themselves as negating and transcending.