postmodernist


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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:
Adj.1.postmodernist - of or relating to postmodernism; "postmodernist architecture"
Translations
postmodernipostmodernisti
postmodernepostmoderniste

postmodernist

[ˈpəʊstˈmɒdənɪst] ADJ & Nposmodernista mf
References in periodicals archive ?
Instead, it looks at the functions of lists in postmodernist narratives, that is, the self-reflexive kind of fiction that reached its heyday in the second half of the twentieth century.
A specialist volume for postmodernist academic scholars of English literature, this book is about theory and psychoanalysis.
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:
I first came to know McHale's work by reading his 1987 book Postmodernist Fiction when I was conducting my Ph.
The present volume is an inspiring collection of essays which succeeds in engaging the reader in a thought-provoking discussion on issues which are presently at the core of literary and artistic debates, such as the definition and delimitations of the short story, as well as the ideas and problematics of modernist and postmodernist creation.
Enacting the move from modernist autonomy and subjectivity to the postmodernist emphasis on literary artifice, the short story becomes an apt tool for the reassessment of modernism, postmodernism and their interrelationship, as Modernism, Postmodernism, and the Short Story in English, edited by Jorge Sacido, demonstrates.
This paper will discuss Sayers and Lewis from a Christian postmodernist perspective, that is, the acceptance of both human constructions, such as multiple views on genres, and divine revelation, or what transcends the limitations of humanity.
America in literature and film; modernist perceptions, postmodernist representations.
Each of these failures are summarily addressed in three chapters that read Theresa Hak Kyung Cha's Dictee, Thomas Pynchon's Gravity's Rainbow, and Bessie Head's A Question of Power against their interpretation within postmodernist readings, which Kim finds steeped in an otherness postmodernism "limited by essentialist determinations based on the author's identity and narrow notions of the ideological valences of narrative form" She argues that such postmodernist readings do not account for the novels' "subtler and more complex understandings of ideology, culture, and identity" (2).
Poet Srikanth Reddy in a blurb calls the book "an extraordinary work of imaginative reconstruction" that "assembles a postmodernist Warren Commission Report from archival research, obituaries, interviews, and historical broadcasts surrounding the assassination" and that discovers "in the chaos of evidence, rumor, and falsehood, that no dialectical method can offer his speaker an escape from the prison house of paranoia.
Postmodernist Thesis 1: the metaphysical systems that are traditionally alleged to ground the cogency of world-explanations have been definitively exposed for their essentially ideologieal, power-sustaining, abuse-justifying contents, or, alternatively, for their philosophical irrelevanee or semantic vacuity.
But such an approach would seem at odds with the study of postmodernist literature in particular, given the resilience of Fredric Jameson's assertion that postmodernism entails "a waning of affect" (10) and a general critical consensus that postmodernist literature tends to be tonally--and therefore affectively--cold: if we are looking for the production of affect, postmodernist literature, which seems to lack material, bodies, and people, seems to be the most unlikely place to find it.