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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


[ˈpəʊstˈmɒdənɪzəm] Nposmodernismo m
References in periodicals archive ?
But for postmodernists this is no reason to lose your sense of humor.
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.
Thesis 7: for years now, postmodernists have assured anyone who would listen that 'the subject' is dead.
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.
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.
Yet the postmodernists brashly sought out anything new or different, as if to remove any odor of midcentury conventionality, even if that conventionality, as in Frankfurt School Marxism or in abstract expressionism, had been politically or aesthetically radical.
The work of Levinas is cited frequently and favorably by postmodernists, while that of Strauss has been appropriated by neo-conservative politicos.
In an effort to restabilize my grasp on Objective Reality, I must consider the possibility that the claim that postmodernists claim that all claims are equal is in fact false to fact.
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.