postmodern

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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.

postmodern

(pəʊstˈmɒdən)
adj
(Art Terms) (in the arts, architecture, etc) characteristic of a style and school of thought that rejects the dogma and practices of any form of modernism; in architecture, contrasting with international modernism and featuring elements from several periods, esp the Classical, often with ironic use of decoration
postˈmoderˌnism n
postˈmodernist n, adj

post•mod•ern

(poʊstˈmɒd ərn)

adj.
1. (sometimes cap.) of or pertaining to any of various movements in architecture, the arts, and literature developing in the late 20th century in reaction to the precepts and austere forms of modernism and characterized by the use of historical and vernacular style elements and often fantasy, decoration, and complexity.
2. extremely modern; cutting-edge: postmodern kids who grew up on MTV.
[1945–50]
post•mod′ern•ism, n.
post•mod′ern•ist, adj., n.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Adj.1.postmodern - of or relating to postmodernism; "postmodernist architecture"
Translations

postmodern

[ˈpəʊstˈmɒdən] ADJposmoderno
References in periodicals archive ?
The humanities in the age of technical reproduction mediated by the intelligentsia wander postmodernly in Simmel's understanding of intellectual labour and "nearness and distance.
20) Here Banville has Max qua narrator reach in over his protagonist's shoulder to say, postmodernly, that there are no originals, only representations; but at the same time this is an objectifying gesture which, by insisting on the immemorial dichotomy of painter and subject, reinstates that of (masculine) agent and stilled, fixed (feminine) sign of beauty and sex.
The supposition that underlies the invitation at the outset of these cronicas is that a variously determined but nonetheless unified globalizing socioeconomic and cultural machine drives the need and the occasion to mix these images so postmodernly.