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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.


(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


(poʊstˈmɒd ərn)

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.
post•mod′ern•ism, n.
post•mod′ern•ist, adj., n.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Adj.1.postmodern - of or relating to postmodernism; "postmodernist architecture"


[ˈpəʊstˈmɒdən] ADJposmoderno
References in periodicals archive ?
Like Herbert, he sees and describes the years of communism as years of emptiness, but while Herbert never lost faith in a world that makes transcendent sense, Rozewicz seems to be postmodernly indifferent to any search for meaning.
Although some quantities of them characterize all relationships, a special proportion and reciprocal tension produce the particular, formal relation to the "stranger." (143-44) (14) 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." We are both traders and alienated wanderers; we represent humanity as the middlemen.
This is a complicated (and postmodernly paradoxical) move that is both an ironizing of nostalgia itself, of the very urge to look backward for authenticity, and, at the same moment, a sometimes shameless invoking of the visceral power that attends the fulfilment of that urge.