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.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.
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
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
Translations

postmodernism

[ˈpəʊstˈmɒdənɪzəm] Nposmodernismo m
Collins Spanish Dictionary - Complete and Unabridged 8th Edition 2005 © William Collins Sons & Co. Ltd. 1971, 1988 © HarperCollins Publishers 1992, 1993, 1996, 1997, 2000, 2003, 2005
References in periodicals archive ?
Charles Henri Ford: Between Modernism and Postmodernism
Compared to works on similar topics, this book takes a step in a different largely uncharted direction focusing thoroughly on the juxtaposition between Afrocentricity, Modernism and Postmodernism. Readers will enjoy the thorough (including an extensive bibliography), informative applicable information offered in this book.
Comparison of the Concepts and Counseling Implications of Modernism and Postmodernism Modernism Postmodernism People are capable of discovering People construct truths, they do objective truths about reality.
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.
Within this new perspective his formulations are mainly characterized by the binary oppositions between modernism and postmodernism. According to this binary opposition, in postmodernism play, for example, replaced modern purpose.
The shaping of modernism and postmodernism. Tehran: NaghsheJahan, pp: 350-425.
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. One notable exception to that rule is the absence of Vladimir Nabokov, who was hardly on his "last gasp" when he wrote in postwar America (10).
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).
Perloff's argument for the " deep-level connections and affinities between modernism and postmodernism" is more manifest and stronger in her 2111-Century Modernism: The "New" Poetics where she "critiques the most commonly held assumptions about postmodern poetry, assumptions which she proves to be hazy, contradictory, and historically ill-informed," and "debunks" "the two most popular lines of think ing about postmodern poetry" (Lazer 182).
Being severed from the true Metaphysics of great religions both modernism and postmodernism could not overcome their respective paradoxes.