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 ?
Charles Henri Ford: Between Modernism and Postmodernism
She emphasizes the isolating tendencies of the European advances in epistemologies such as modernism and postmodernism, and suggests that Africana Studies (Africology) might provide innovative ways to address the questions of knowledge.
Table 1 summarizes the conceptual differences between modernism and postmodernism and the counseling implications of those differences.
In this initial essay, Sacido provides such an accomplished overview of the different approaches to the notions of short story, as well as of the possible conceptualizations of modernism and postmodernism that his book becomes an essential source of reference for any scholar or common reader aiming to clarify questions such as the place of epistemology and ontology within the discourse on the modern and the postmodern, the rethinking of subjectivity from the late nineteenth century and over the subsequent decades, or the problem of representation according to modernist and postmodernist aesthetics, along with the confluence of this representational task with postcolonial debates and the necessity of providing an answer to otherness and marginalization.
In the context of contemporary literature and criticism, Sacido's edited volume proves to be an enlightening and timely contribution because, apart from addressing the always controversial issue of the relationship between modernism and postmodernism, it also approaches the current debate on the prevalence of the postmodern paradigm in the twenty-first century.
The debate between Modernism and Postmodernism has been one of the most revisited topics in late twentieth-century and early twenty-first century cultural and critical history ever since Jean-Francoise Lyotard's Le condition posmoderne (1979) managed to trigger off an enduring interest in the large-scale evolution of Western culture and the nature of knowledge over the past century.
According to his scheme modernism and postmodernism are completely opposed to one another, they are two rival theories.
Late Modernism is richly interdisciplinary, lucidly written, and fills a significant gap by synthesizing an enviable amount of Cold War American intellectual history and situating it in relation to both modernism and postmodernism.
In essays such as "Merely Interesting" and "Our Aesthetic Categories," Ngai extends David Harvey's claim that modernism and postmodernism are "diverging responses to a single process of modernization" by describing our ongoing modernity as one characterized by "aesthetic categories" that "cut across modernism and postmodernism" and which cannot, therefore, be usefully or accurately described as either modern or postmodern (951-53).
In this collection as well as in The Poetics of Indeterminacy: Rimbaud to Cage (1981), The Dance of the Intellect: Studies in the Poetry of the Pound Tradition (1985), The Futurist Moment: Avant-Garde, Avant-Guerre, and the Language of Rupture (1986), Radical Artifice: Writing Poetry in the Age of Media (1991) and 21st-Century Modernism: The " New" Poetics (2002), Perloff seems to say (and she does say in an interview) that "the distinction many of us made between modernism and postmodernism no longer seems as valid" (Luo 6) and that there are "deep-level connections and affinities between modernism and postmodernism" (Barry).
Being severed from the true Metaphysics of great religions both modernism and postmodernism could not overcome their respective paradoxes.
The volume 'searches out more continuities between modernism and postmodernism than meet the eye' and it does so in the various essays by an international group of writers.