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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.
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.


[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 ?
With the advent of Postmodernism, however, such allegations are rendered completely untrue.
The book charts literary postmodernism and parallel developments in new media and video art, noting that digital media creates more of an emotional connection than postmodernism.
the phenomenon of post-truth and its relationship with postmodernism,
While Michael Werner discusses many people leading up to postmodernism in "Threads of Humanist History" (Humanism 101, J/A 2018), he gives short shrift to postmodernism itself, calling it "an extreme form of subjectivism and cynicism." He neglects to mention: 1) the incredulity towards modernist narratives of personal and societal emancipation (Jean Francois Lyotard); 2) the cultural moment of multinational capitalism (Fredric Jameson); 3) the deconstruction of binary oppositions (Jacques Derrida); and 4) the real being replaced by signs of the real (Jean Baudrillard).
The architectural theorist Charles Jencks asserts that, as art movements go, postmodernism (or "the Post-Modern," in his rendering) has at fifty years in the making been considerably longer lived than modernist avant-garde movements such as vorticism, futurism, or surrealism.
Originating as a rebellious movement in philosophy and literature, Postmodernism proclaimed the death of modernism and promoted a new, nonlinear way of approaching architecture and design, spearheaded by Michael Graves, Robert Venturi, Ettore Sottsass, and Alessandro Mendini.
Brett strongly reminds the reader that modernism and postmodernism are by no means the same movement, but that their engagement in the same period (at least for certain years) provides a useful contrast by which both can be more accurately understood.
Second, I define and characterize the concept of postmodernism focusing more on how it can be used to defend hunhu/ubuntu as a competing narrative or language game against its adulteration by modernists.
That postmodernism is already dead is a truism accepted by everybody.
The book is a unique study on the subject of public administration as it explains the postmodernism of administrative setup in democratic, neo liberal, constructive and ideological societies.
If there were such a thing about the genealogy of scholars working in the field of postmodernism, people would generally mention such names as Jonathan Arac, Matei Calinescu, Hans Bertens, Leslie Fiedler, Douwe Fokkema, Ihab Habib Hassan, Linda Hutcheon, Fredric Jameson, Jean-Frangois Lyotard, and Brian McHale, among others.
The collection of essays called "Postmodernism behind the bon Curtain" and edited by Amrei Flechsig and Stefan Weiss, both prime movers and shakers in the active Russian musicological scene in Germany, must be evaluated against this backdrop.