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Postmodernism is a term used to refer to a variety of artistic, cultural, and philosophical movements that claim to mark a break from modernism. They have in common the conviction that it is no longer possible to rely upon previous ways of depicting the world. Still, there is disagreement among experts about its more precise meaning even within narrow contexts.

The term began to acquire its current range of meanings in literary criticism and architectural theory during the 1950s–1960s. In opposition to modernism's alleged self-seriousness, postmodernism is characterized by its playful use of eclectic styles and performative irony, among other features. Critics claim it supplants moral, political, and aesthetic ideals with mere style and spectacle.

In the 1990s, "postmodernism" came to denote a general – and, in general, celebratory – response to cultural pluralism. Proponents align themselves with feminism, multiculturalism, and postcolonialism. Building upon poststructural theory, postmodern thought defined itself by the rejection of any single, foundational historical narrative. This called into question the legitimacy of the Enlightenment account of progress and rationality. Critics allege that its premises lead to a nihilistic form of relativism. In this sense, it has become a term of abuse in popular culture.

Definitions

"Postmodernism" is "a highly contested term", referring to "a particularly unstable concept", that "names many different kinds of cultural objects and phenomena in many different ways". It may be described simply as a general mood or Zeitgeist.

Although postmodernisms are generally united in their effort to transcend the perceived limits of modernism, "modernism" also means different things to different critics in various arts. Further, there are outliers on even this basic stance; for instance, literary critic William Spanos conceives postmodernism, not in period terms, but in terms of a certain kind of literary imagination so that pre-modern texts such as Euripides' Orestes or Cervantes' Don Quixote count as postmodern.

According to scholar Louis Menand, "Postmodernism is the Swiss Army knife of critical concepts. It's definitionally overloaded, and it can do almost any job you need done." From an opposing perspective, media theorist Dick Hebdige criticized the vagueness of the term, enumerating a long list of otherwise unrelated concepts that people have designated as postmodernism, from "the décor of a room" or "a 'scratch' video", to fear of nuclear armageddon and the "implosion of meaning", and stated that anything that could signify all of those things was "a buzzword".

All this notwithstanding, scholar Hans Bertens offers the following:

If there is a common denominator to all these postmodernisms, it is that of a crisis in representation: a deeply felt loss of faith in our ability to represent the real, in the widest sense. No matter whether they are aesthestic , epistemological, moral, or political in nature, the representations that we used to rely on can no longer be taken for granted.

In practical terms, postmodernisms share an attitude of skepticism towards grand explanations and established ways of doing things. In art, literature, and architecture, this attitude blurs boundaries between styles and genres, and encourages freely mixing elements, challenging traditional distinctions like high art versus popular art. In science, it emphasizes multiple ways of seeing things, and how our cultural and personal backgrounds shape how we see the world, making it impossible to be completely objective. In philosophy, education, history, politics, and many other fields, it encourages critical re-examination of established institutions and social norms, embracing diversity and breaking down disciplinary boundaries. Though these ideas weren't strictly new, postmodernism amplified them, using an often playful, at times deeply critical, attitude of pervasive skepticism to turn them into defining features.

Historical overview

Two broad cultural movements, modernism and postmodernism, emerged in response to profound changes in the Western world. The Industrial Revolution, urbanization, secularization, technological advances, two world wars, and globalization deeply disrupted the social order. Modernism emerged in the late 1800s, seeking to redefine fundamental truths and values through a radical rethinking of traditional ideas and forms across many fields. Postmodernism emerged in the mid-20th century with a skeptical perspective that questioned the notion of universal truths and reshaped modernist approaches by embracing the complexity and contradictions of modern life.

The term "postmodernism" first appeared in print in 1870, but it only began to enter circulation with its current range of meanings in the 1950s—60s.

Early appearances

The term "postmodern" was first used in 1870 by the artist John Watkins Chapman, who described "a Postmodern style of painting" as a departure from French Impressionism. Similarly, the first citation given by the Oxford English Dictionary is dated to 1916, describing Gus Mager as "one of the few 'post' modern painters whose style is convincing".

Episcopal priest and cultural commentator J. M. Thompson, in a 1914 article, uses the term to describe changes in attitudes and beliefs in the critique of religion, writing, "the raison d'être of Post-Modernism is to escape from the double-mindedness of modernism by being thorough in its criticism by extending it to religion as well as theology, to Catholic feeling as well as to Catholic tradition". In 1926, Bernard Iddings Bell, president of St. Stephen's College and also an Episcopal priest, published Postmodernism and Other Essays, which marks the first use of the term to describe an historical period following modernity. The essay criticizes lingering socio-cultural norms, attitudes, and practices of the Enlightenment. It is also critical of a purported cultural shift away from traditional Christian beliefs.

The term "postmodernity" was first used in an academic historical context as a general concept for a movement by Arnold J. Toynbee in a 1939 essay, which states that "Our own Post-Modern Age has been inaugurated by the general war of 1914–1918".

In 1942, the literary critic and author H. R. Hays describes postmodernism as a new literary form. Also in the arts, the term was first used in 1949 to describe a dissatisfaction with the modernist architectural movement known as the International Style.

Although these early uses anticipate some of the concerns of the debate in the second part of the 20th century, there is little direct continuity in the discussion. Just when the new discussion begins, however, is also a matter of dispute. Various authors place its beginnings in the 1950s, 1960s, 1970s, and 1980s.

Theoretical development

In the mid-1970s, the American sociologist Daniel Bell provided a general account of the postmodern as an effectively nihilistic response to modernism's alleged assault on the Protestant work ethic and its rejection of what he upheld as traditional values. The ideals of modernity, per his diagnosis, were degraded to the level of consumer choice. This research project, however, was not taken up in a significant way by others until the mid-1980s when the work of Jean Baudrillard and Fredric Jameson, building upon art and literary criticism, reintroduced the term to sociology.

Discussion about the postmodern in the second part of the 20th century was most articulate in areas with a large body of critical discourse around the modernist movement. Even here, however, there continued to be disagreement about such basic issues as whether postmodernism is a break with modernism, a renewal and intensification of modernism, or even, both at once, a rejection and a radicalization of its historical predecessor.

While discussions in the 1970s were dominated by literary criticism, these were supplanted by architectural theory in the 1980s. Some of these conversations made use of French poststructuralist thought, but only after these innovations and critical discourse in the arts did postmodernism emerge as a philosophical term in its own right.

In literary and architectural theory

According to Hans Bertens and Perry Anderson, the Black Mountain poets Charles Olson and Robert Creeley first introduced the term "postmodern" in its current sense during the 1950s. Their stance against modernist poetry – and Olson's Heideggerian orientation – were influential in the identification of postmodernism as a polemical position opposed to the rationalist values championed by the Enlightenment project.

During the 1960s, this affirmative use gave way to a pejorative use by the New Left, who used it to describe a waning commitment among youth to the political ideals socialism and communism. The literary critic Irving Howe, for instance, denounced postmodern literature for being content to merely reflect, rather than actively attempt to refashion, what he saw as the "increasingly shapeless" character of contemporary society.

In the 1970s, this changed again, largely under the influence of the literary critic Ihab Hassan's large-scale survey of works that he said could no longer be called modern. Taking the Black Mountain poets an exemplary instance of the new postmodern type, Hassan celebrates its Nietzschean playfulness and cheerfully anarchic spirit, which he sets off against the high seriousness of modernism.

(Yet, from another perspective, Friedrich Nietzsche's attack on Western philosophy and Martin Heidegger's critique of metaphysics posed deep theoretical problems not necessarily a cause for aesthetic celebration. Their further influence on the conversation about postmodernism, however, would be largely mediated by French poststructuralism.)

If literature was at the center of the discussion in the 1970s, architecture was at the center in the 1980s. The architectural theorist Charles Jencks, in particular, connected the artistic avant-garde to social change in a way that captured attention outside of academia. Jenckes, much influenced by the American architect Robert Venturi, celebrated a plurality of forms and encourages participation and active engagement with the local context of the built environment. He presented this as in opposition to the "authoritarian style" of International Modernism.

The influence of poststructuralism

In the 1970s, postmodern criticism increasingly came to incorporate poststructuralist theory, particularly the deconstructive approach to texts most strongly associated with Jacques Derrida, who attempted to demonstrate that the whole foundationalist approach to language and knowledge was untenable and misguided. It is during this period that postmodernism came to be particularly equated with a kind of anti-representational self-reflexivity.

In the 1980s, some critics began to take an interest in the work of Michel Foucault. This introduced a political concern about social power-relations into discussions about postmodernism. This was also the beginning of the affiliation of postmodernism with feminism and multiculturalism. The art critic Craig Owens, in particular, not only made the connection to feminism explicit, but went so far as to claim feminism for postmodernism wholesale, a broad claim resisted by even many sympathetic feminists such as Nancy Fraser and Linda Nicholson.

Generalization

Although postmodern criticism and thought drew on philosophical ideas from early on, "postmodernism" was only introduced to the expressly philosophical lexicon by Jean-François Lyotard in his 1979 The Postmodern Condition: A Report on Knowledge. This work served as a catalyst for many of the subsequent intellectual debates around the term.

By the 1990s, postmodernism had become increasingly identified with critical and philosophical discourse directly about postmodernity or the postmodern idiom itself. No longer centered on any particular art or even the arts in general, it instead turned to address the more general problems posed to society in general by a new proliferation of cultures and forms. It is during this period that it also came to be associated with postcolonialism and identity politics.

Around this time, postmodernism also began to be conceived in popular culture as a general "philosophical disposition" associated with a loose sort of relativism. In this sense, the term also started to appear as a "casual term of abuse" in non-academic contexts. Others identified it as an aesthetic "lifestyle" of eclecticism and playful self-irony.

In the arts

Postmodernism encompasses a wide range of artistic movements and styles. In visual arts, pop art, conceptual art, feminist art, video art, minimalism, and neo-expressionism are among the approaches recognized as postmodern. The label extends to diverse musical genres and artists: John Cage, Madonna, and punk rock all meet postmodern definitions. Literature, film, architecture, theater, fashion, dance, and many other creative disciplines saw postmodern expression. As an example, Andy Warhol's pop art across multiple mediums challenged traditional distinctions between high and low culture, and blurred the lines between fine art and commercial design. His work, exemplified by the iconic Campbell's Soup Cans series during the 1960s, brought the postmodernist sensibility to mainstream attention.

Criticism of postmodernist movements in the arts include objections to departure from beauty, the reliance on language for the art to have meaning, a lack of coherence or comprehensibility, deviation from clear structure, and consistent use of dark and negative themes.

Architecture

Scholarship regarding postmodernism and architecture is closely linked with the writings of critic-turned-architect Charles Jencks, beginning with lectures in the early 1970s and his essay "The Rise of Post-Modern Architecture" from 1975. His magnum opus, however, is the book The Language of Post-Modern Architecture, first published in 1977, and since running to seven editions (in which he famously wrote: "Modern architecture died in St. Louis, Missouri, on 15 July 1972 at 3:32 p.m. (or thereabouts) when the infamous Pruitt–Igoe scheme, or rather several of its slab blocks, were given the final coup de grâce by dynamite.").

Jencks makes the point that postmodernism (like modernism) varies for each field of art, and that for architecture it is not just a reaction to modernism but what he terms double coding: "Double Coding: the combination of Modern techniques with something else (usually traditional building) in order for architecture to communicate with the public and a concerned minority, usually other architects."

In their book, "Revisiting Postmodernism", Terry Farrell and Adam Furman argue that postmodernism brought a more joyous and sensual experience to the culture, particularly in architecture. For instance, in response to the modernist slogan of Ludwig Mies van der Rohe that "less is more", the postmodernist Robert Venturi rejoined that "less is a bore".

Dance

The term "postmodern dance" is most strongly associated with the Judson Dance Theater, located in New York's Greenwich Village during the 1960s and 1970s. Perhaps its most important principle is taken from the composer John Cage's efforts to break down the distinction between art and life, developed in particular by the American dancer and choreographer Merce Cunningham, Cage's partner. The Judson dancers " dance of its theatrical conventions such as virtuoso technique, fanciful costumes, complex storylines, and the traditional stage drew on everyday movements (sitting, walking, kneeling, and other gestures) to create their pieces, often performing them in ordinary spaces." Anna Halprin's San Francisco Dancers' Workshop, established in the 1950s to explore beyond the technical constraints of modern dance, pioneered ideas later developed at Judson; Halprin, Simone Forti, and Yvonne Rainer are considered "giants of the field".

The Judson collective included trained dancers, visual artists, filmmakers, writers, and composers, exchanging approaches and critiquing traditional dance, with a focus "more on the intellectual process of creating dance than the end result". The end of the 1970s saw a distancing from this analytical postmodern dance, and a return to the expression of meaning. In the 1980s and 1990s, dance began to incorporate other typically postmodern features such as the mixing of genres, challenging high–low cultural distinctions, and incorporating a political dimension.

Fashion

One manifestation of postmodernism in fashion explored alternatives to conventional concepts of elegance. Rei Kawakubo’s Spring/Summer 1997 collection featured "dresses asymmetrically padded with goose down, creating bumps in unexpected areas of the body". Issey Miyake’s 1985 dreadlocks hat "offered an immediate, yet impermanent, 'multi-culti' fashion experience". Vivienne Westwood took "an extremely polyglot approach", from early work with copies of 1950s clothes, to exploration of historic modes and cultural influences: in 1981, her first runway show, "Pirate", merged British history, 18th- and 19th-century dress, and African textile design, with a rap and ethnic music soundtrack.

Fashion design through the 1950s focused on catering to the upper class, emphasizing elegance, epitomized by French haute couture. The 1960s saw a dramatic shift, first inspired by the pop art movement; "throwaway" dresses made of paper came to be high fashion. Cristóbal Balenciaga, called "the master of us all" by Christian Dior and "the only couturier in the truest sense of the word" by Coco Chanel, abruptly closed his Paris couture house in 1968, saying only, "High fashion is mortally wounded." Others adapted to the new role of designer as interpreter of popular attitudes. Fashion editor Diana Vreeland noted, "Yves Saint Laurent has a fifty–fifty deal with the street. Half of the time he is inspired by the street and half of the time the street gets its style from Yves Saint Laurent."

The postmodern fashion sensibility appeared also through the subcultures of the 1960s and 1970s. Hippies, punks and other countercultural groups constructed their own nonconformist identities through choices in music, drugs, slang, and appearance. As these styles gained mainstream popularity, they lost their deeper meaning: "the adoption of surface attributes offers the frisson of rebellion without a commitment to a subcultural lifestyle."

In 2021, the Balenciaga couture house reopened; the following year, i-D magazine noted, "Haute Couture isn’t just surviving — it’s thriving". The observation highlighted how haute couture caters to the "0.001 per cent", while captivating the public and serving as a marketing mechanism for more commercially viable mass-produced lines. Drawing from many sources, postmodernism eclecticism has been integrated into everyday fashion, as evidenced by designer jeans, business casual, and elevated sportswear.

Film

Postmodern film aims to subvert the mainstream conventions of narrative structure and characterization, and to test the audience's suspension of disbelief. Typically, such films also break down the cultural divide between high and low art and often upend typical portrayals of gender, race, class, genre, and time with the goal of creating something that does not abide by traditional narrative expression.

Certain key characteristics are used to separate the postmodern from modernist cinema and traditional narrative film. One is an extensive use of homage or pastiche, imitating the style or character of other artistic works. A second is meta-reference or self-reference, highlighting the relation of the image to other images in media and not to any kind of external reality. Viewers are reminded that the film itself is only a film, perhaps through the use of intertextuality, in which the film's characters reference other works of fiction. A third characteristic is stories that unfold out of chronological order, deconstructing or fragmenting time to emphasize the constructed nature of film. Another common element is a bridging of the gap between highbrow and lowbrow,. Contradictions of all sorts are crucial to postmodernism.

Ridley Scott's Blade Runner (1982) has been widely studied as a prime example of postmodernism. The setting is a future dystopia where "replicants", enhanced android workers nearly indistinguishable from humans, are hunted down when they escape from their jobs. The film blurs boundaries between genres and cultures, and fuses disparate styles and periods: futuristic visuals "mingle with drab 1940s clothes and offices, punk rock hairstyles, pop Egyptian styles and oriental culture." The blending of film noir and science-fiction into tech noir illustrates the deconstruction of both cinema and genre. The film can also be seen as an example of major studios using the "mystique and cachet of the term 'postmodern' as a sales pitch", resulting in Hollywood movies that "demonstrate all the postmodern characteristics". From another perspective, "critical responses to Blade Runner fall on either side of a modern/postmodern line" – critical analysis from "modernist" and "postmodernist" approaches produce entirely different interpretations.

Graphic design

Early mention of postmodernism in graphic design appeared in the British magazine, Design, during the late 1960s. The discussion took a pragmatic if not entirely comfortable view of graphic design as engaging with the economic necessities of a changing world. Graphic design had the role of "active stylization of product surfaces (such as those of packaging and promotion)", engaging without moralizing with consumer desires. Close involvement with the industrial design process, and the potential need for strong visual identities from the "new giant corporations" and "internationalization", were examined. Editor Corin Hughes-Stanton concluded, "Post-Modernism' is an attitude that takes the form of a creative response to unfolding developments in the socio-economic sphere; it is a sign of active engagement rather than an academic retreat from its commercial and professional concerns."

In the 1970s, the American Cranbrook Academy of Art began to reject the modernism of the International Style and incorporate postmodern ideas through post-structuralist theory. By the 1980s, Cranbrook was considered to be at the forefront of design in the US. Mid-decade, the work of Roland Barthes and Hal Foster's The Anti-Aesthetic anthology took hold at the school. Co-director of design Katherine McCoy explained that, rather than applying specific theories to particular projects, Cranbrook was broadly drawing from the literature circulating within the art and architecture fields.

Writing in 2003 in No More Rules: Graphic Design and Postmodernism, Rick Poynor stated that, in the preceding 15 years, graphic designers had produced "some of the most challenging examples of postmodernism in the visual arts", yet this work had largely been overlooked by commentators in cultural studies. And, while some graphic designers, predominantly American, would claim the label, many associated with postmodernism "would reject the term vehemently". Regarding intellectual motivation, "graphic design as a profession has long had an aversion to theory and many of the key postmodernist texts are highly demanding, even for those who possess a basic sympathy for their arguments."

In a broad historical context, Graphic Design History: A Critical Guide (2008) situates postmodernism in a chronology of visual communication from prehistoric times to the digital age. "Retro, techno, punk, grunge, beach, parody, and pastiche were all conspicuous trends", each with its own "sites and venues, detractors and advocates." A shared attitude went beyond surface style to "raise profound questions about knowledge, history and power."

Literature

In 1971, the American literary theorist Ihab Hassan made "postmodernism" popular in literary studies with his influential book, The Dismemberment of Orpheus: Toward a Postmodern Literature. According to scholar David Herwitz, American writers such as John Barth (who had controversially declared that the novel was "exhausted" as a genre), Donald Barthelme, and Thomas Pynchon responded in various ways to the stylistic innovations of Finnegans Wake and the late work of Samuel Beckett. Postmodern literature often calls attention to issues regarding its own complicated connection to reality. The postmodern novel plays with language, twisted plots, multiple narrators, and unresolved endings, unsettling the conventional idea of the novel as faithfully reflecting the world.

In Postmodernist Fiction (1987), Brian McHale details the shift from modernism to postmodernism, arguing that postmodern works developed out of modernism, moving from concern with what is there ("ontological dominant") to concern with how we can know it's there ("epistemological dominant"). McHale's "What Was Postmodernism?" (2007) follows Raymond Federman's lead in now using the past tense when discussing postmodernism. Others argue that postmodernism in literature utilizes compositional and semantic practices such as inclusivity, intentional indiscrimination, nonselection, and "logical impossibility."

Music

Postmodern influence extends across all areas of music; its accessibility to a general audience requires an understanding of references, irony and pastiche that varies widely between artists and their works. In popular music, Madonna, David Bowie and Talking Heads have been singled out by critics and scholars as postmodern icons. The belief that art music – serious, classical music – holds higher cultural and technical value than folk and popular traditions, lost influence under postmodern analysis, as musical hybrids and crossovers attracted scholarly attention.

Across musical traditions, postmodernism can be identified through several core characteristics: genre mixing; irony, humor, and self-parody: "surface" exploration with less concern for formal structure than in modernist approaches; and a return to tonality. This represents a loss of authority of the Eurocentric perspective on music and the rise of world music as influenced by postmodern values. Composers took different routes: some returned to traditional modes over experimentation, others challenged the authority of dominant musical structures, others intermingled disparate sources.

The composer Jonathan Kramer has written that avant-garde musical compositions (which some would consider modernist rather than postmodernist) "defy more than seduce the listener, and they extend by potentially unsettling means the very idea of what music is." In the 1960s, composers such as Terry Riley, Henryk Górecki, Bradley Joseph, John Adams, Steve Reich, Philip Glass, Michael Nyman, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies, whilst others, most notably John Cage challenged the prevailing narratives of beauty and objectivity common to modernism.

In 2023, music critic Andy Cush described Talking Heads as "New York art-punks" whose "blend of nervy postmodernism and undeniable groove made them one of the defining rock bands of the late 1970s and ’80s." Media theorist Dick Hebdige, examining the "Road to Nowhere" music video in 1989, said the group "draw eclectically on a wide range of visual and aural sources to create a distinctive pastiche or hybrid 'house style' which they have used since their formation in the mid-1970s deliberately to stretch received (industrial) definitions of what rock/pop/video/Art/ performance/audience are", calling them "a properly postmodernist band." According to lead vocalist/guitarist/songwriter David Byrne, commenting in 2011, "Anything could be mixed and matched – or mashed up, as is said today – and anything was fair game for inspiration.”

Avant-garde academics labelled American singer Madonna a "personification of the postmodern" and created a sub-discipline of cultural studies known as Madonna studies. Her self-aware constructs of gender and identity, and classic film references in music videos for “Material Girl” (1984) and “Express Yourself" (1989), made her a favorite of cultural theorists, who saw her as "enacting postmodernist models of subjectivity." Madonna was seen to embody fragmentation, pastiche, retrospection, anti-foundationalism and de-differentiation; her "subversion of the subversion of the subversion of the male gaze" in the "Material Girl' video was analyzed. Outside academia, Anglican bishop Graham Cray said she is "perhaps the most visible example of what is called post-modernism"; novelist Martin Amis described her as "perhaps the most postmodern personage on the planet".

Sculpture

Sculptor Claes Oldenberg, at the forefront of the pop art movement, declared in 1961: "I am for an art that is political-erotical-mystical … I am for an art that embroils itself with everyday crap and still comes out on top." That year, he opened The Store in a dime store area of New York's Lower East Side, where he blurred the line between art and commerce by producing and selling brightly painted plaster replicas of hamburgers and cans of soda, dresses, underwear, and other everyday objects: "Museum in b concept equals store in mine". Oldenburg was one of the most recognizable sculptors identified with postmodernism, a group that included Jeff Koons, Eva Hesse, Louise Bourgeois, Anish Kapoor, Damien Hirst, Rachel Whiteread, and Richard Serra.

Theater

Postmodern theater emerged as a reaction against modernist theater. Most postmodern productions are centered on highlighting the fallibility of definite truth, instead encouraging the audience to reach their own individual understanding. Essentially, thus, postmodern theater raises questions rather than attempting to supply answers.

In philosophy

Poststructuralist precursors

In the 1970s, a disparate group of French theorists – often grouped together as "poststructuralists" – developed a critique of modern philosophy with roots discernible in Friedrich Nietzsche and Martin Heidegger's critique of metaphysics. Although few themselves relied upon the term, they became known to many as postmodern theorists. Poststructuralism is sometimes treated as distinct from or a subcategory of postmodernism and sometimes is treated as having been subsumed by postmodernism. While their ideas exerted a great influence on debates about the postmodern, the French poststucturalists themselves did not intervene or attempt to provide their own definitions of the postmodern.

Poststructuralists, like structuralists, start from the assumption that people's identities, values, and economic conditions determine each other as parts of a common whole, rather than having intrinsic properties that can be understood in isolation. While structuralism explores how meaning is produced by a set of essential relationships in an overarching quasi-linguistic system, poststructuralism accepts this premise, but rejects the assumption that such systems can ever be fixed or centered. Instead, poststructuralists stress the various ways that cultural structures are produced in history. They also emphasize how meaning is generated, rather than discovered, and they replace the traditional concept of "representation" (according to which meaning is determined by the objected signified) to focus instead upon the elastic potentialities of language to generate new meanings.

Politically, all of them began with Marxist sympathies, became disillusioned, and eventually opposed the French Communist Party and its application of theory. The chaos following the briefly successful communist revolution of May '68 in France was a particular point of rupture.

Jacques Derrida and deconstruction

Deconstruction is a practice in philosophy, literary criticism, and close reading developed by Jacques Derrida. It is based on the assumption, which it seeks to validate by textual analysis, that any text harbors inherent points of "undecidability" that undermine any stable meaning intended by the author. The process of writing inevitably, he aims to show, reveals suppressed elements, challenging the oppositions that are thought to sustain the text. Nevertheless, Derrida does not wish to do away with such concepts as "origin" or "truth". What he challenges is any claim to finality. Such metaphysical concepts are, as he puts it, "under erasure", and this, he says, makes deconstructive reading a kind of "double play".

From this perspective, Derrida argues that the practice of metaphysics in the Western tradition depends upon hierarchies and orders of subordination within various dualisms that it does not acknowledge. It prioritizes presence and purity over the contingent and complicated, dismissing them as aberrations irrelevant to philosophical analysis. In essence, according to Derrida, metaphysical thought prioritizes one side of an opposition while ignoring or marginalizing the alternative. He uses the term metaphysics of presence to describe the foundationalist approach to knowledge, taking himself to have demonstrated that we do not have unmediated access to reality. This project of deconstructing and challenging the assumptions of modern philosophy was influential for many postmodern thinkers.

Michel Foucault on power relations

French philosopher and social theorist Michel Foucault argued that power operates according to the logics of social institutions that have become unmoored from the intentions of any actual individuals. Individuals, according to Foucault, are both products and participants in these dynamics. Among other strategies, he employed a Nietzsche-inspired "genealogical method" to analyze power-relations across their historical permutations.

Both Foucault's political orientation and the consistency of his positions continue to be debated among critics and defenders alike. Nevertheless, Foucault's political works share two common elements: a historical perspective and a discursive methodology. He analyzed social phenomena in historical contexts and focused on how they have evolved over time. Additionally, he employed the study of written texts, usually academic texts, as the material for his inquiries. In this way, Foucault sought to understand how the historical formation of discourses has shaped contemporary political thinking and institutions.

Gilles Deleuze on productive difference

The work of Gilles Deleuze developed a concept of difference as a productive mechanism, rather than as a merely negative phenomenon. He advocated for a critique of reason that emphasizes sensibility and feeling over rational judgment. Following Nietzsche, Deleuze argued that philosophical critique is an encounter between thought and what forces it into action, and that this requires training, discipline, inventiveness, and even a certain "cruelty". He believed that thought cannot activate itself, but needs external forces to awaken and move it. Art, science, and philosophy can provide such activation through their transformative and experimental nature.

Jean Baudrillard on hyperreality

Although trained in sociology, Jean Baudrillard worked across many disciplines. Drawing upon some of the technical vocabulary of the psychoanalyst Jacques Lacan, Baudrillard argued that social production had shifted from creating real objects to instead producing signs and symbols. This system of symbolic exchange, detached from the real, constitutes hyperreality. In the words of one commentator, "the hyperreal is a system of simulation that simulates itself."

Postmodernity, Baudrillard said, is the condition in which the domain of reality has become so heavily mediated by signs as to become inaccessible in itself, leaving us entirely in the domain of the simulacra, images that bear no relation to anything outside of themselves. This hyperreality is presented as the terminal stage of simulation, where signs and images become entirely self-referential.

Baudrillard's vision of postmodernity has been described as "apocalyptic", and scholars disagree about whether his later works are intended as science fiction or truthful theoretical claims. Another interpretation is that Baudrillard deliberately adopts the role of agent provocateur.

A crisis of legitimacy

At the center of the intellectual debate about postmodernism is the question of what, if anything, grounds theory. What establishes that a statement is true or that an action is right? This foundational debate is most prominently on display in Habermas's rejoinder to Lyotard's anti-foundational, postmodern challenge to Habermas's own foundation version of modernism.

The Postmodern Condition

Jean-François Lyotard is credited with being the first to use the term "postmodern" in a philosophical context. This appeared in his 1979 The Postmodern Condition: A Report on Knowledge. In this influential work, Lyotard provided the following definition: "Simplifying to the extreme, I define postmodern as incredulity towards metanarratives".

By "metanarratives", Lyotard meant such overarching narrative frameworks as those provided by Christianity, G. W. F. Hegel, and Karl Marx that unite and determine our basic sense of our place and significance in the world. It was his early disillusionment with his early Marxism that would later be generalized into the universal claim about metanarratives. In a society with no unifying narrative, he argued, we are left with heterogeneous, group-specific narratives (or "language games", as adopted from Ludwig Wittgenstein) with no universal perspective from which to adjudicate among them.

According to Lyotard, this introduced a general crisis of legitimacy, a theme he adopts from the philosopher Jürgen Habermas, whose theory of communicative rationality Lyotard rejected. While he was particularly concerned in that report with the way that this insight undermined claims of scientific objectivity, Lyotard's argument undermines the entire principle of transcendent legitimization. Instead, proponents of a language game must make the case for their legitimacy with reference to such considerations as efficiency or practicality. Far from celebrating the apparently relativistic consequences of this argument, however, Lyotard focused much of his subsequent work on how links among games could be established, particularly with respect to ethics and politics.

The philosophical criticism of Jürgen Habermas

The philosopher Jürgen Habermas, a prominent critic of philosophical postmodernism, argued in his 1985 work The Philosophical Discourse of Modernity that postmodern thinkers were caught in a performative contradiction, more specifically, that their critiques of modernity rely on concepts and methods that are themselves products of modern reason.

Habermas criticized these thinkers for their rejection of the subject and their embrace of experimental, avant-garde strategies. He asserted that their critiques of modernism ultimately lead to a longing for the very subject they seek to dismantle. Habermas also took issue with postmodernists' leveling of the distinction between philosophy and literature. He argued that such rhetorical strategies undermine the importance of argument and communicative reason.

Habermas's critique of postmodernism set the stage for much of the subsequent debate by clarifying some of its key underlying issues. According to scholar Gary Aylesworth – against those who would dismiss postmodernist discourse as simple nonsense – the fact that Habermas was "able to read postmodernist texts closely and discursively testifies to their intelligibility". His engagement with their ideas has led some postmodern philosophers, following Lyotard, to similarly engage with Habermas's criticisms.

Frederic Jameson's Marxist rejoinder

The appearance of linguistic relativism also inspired an extensive rebuttal by the Marxist critic Fredric Jameson. Building upon the theoretical foundations laid out by the Marxist economist Ernst Mandel and observations in the early work of the sociologist Jean Baudrillard, Jameson developed his own conception of the postmodern as "the cultural logic of late capitalism" in the form of an enormous cultural expansion into an economy of spectacle and style, rather than the production of goods. According to Jameson, because the postmodernism is result of political and historical circumstances that make up the social world, it is not something that can be simply embraced or condemned. Instead, it must be analyzed and understood so that we may confront the world as it is.

Jameson categorizes a variety of features of the postmodern. One is the elision of the distinction between high culture and mass culture. Also, because of our loss of a unified "bourgeois ego", subjectivity is less focused, and we experience what he terms a "waning of the affect", an emotional disengagement from the social world. This loss of significance leads to what he calls "depthlessness", a difficulty in getting beneath the surfaces of cultural objects to find any deeper significance than is offered directly to the subject. Reduced to a set of styles, history looses its political force. This phenomenon finds expression, for instance, in the shift from "parody", in which styles are mixed in the interest of making a point, to "pastiche", in which styles are mixed together without attention to their original contexts.

Richard Rorty's neopragmatism

Richard Rorty was an American philosopher known for his linguistic form of neopragmatism. Initially attracted to analytic philosophy, Rorty later rejected its representationalism. His major influences, rather than the poststructuralists, include Charles Darwin, Hans Georg Gadamer, G. W. F. Hegel, and Martin Heidegger.

Rorty challenged the notion of a mind-independent, language-independent reality. He argued that language is a tool used to adapt to the environment and achieve desired ends. This naturalistic approach led him to abandon the traditional quest for a privileged mental power that allows direct access to things-in-themselves.

Instead, Rorty advocated for a focus on imaginative alternatives to present beliefs rather than the pursuit of independently grounded truths. He believed that creative, secular humanism, free from authoritarian assertions about truth and goodness, is the key to a better future. Rorty saw his neopragmatism as a continuation of the Enlightenment project, aiming to demystify human life and replace traditional power relations with those based on tolerance and freedom.

In other fields

Postmodernism is more fully understood by observing its effects in such diverse fields as law, education, urban planning, religious studies, politics and many others. Its influence varies widely across disciplines, reflecting the extent to which postmodern theories and ideas have been integrated into actual practices.

Anthropology

Postmodern theory in anthropology originated in the 1960s, alongside the literary postmodern movement. Reflexivity is central to postmodern anthropology, a continuous practice of critical self-awareness that attempts to address the subjectivity inherent in interpretation. Other key practices are an emphasis on including the perspectives of the people being studied; cultural relativism, which considers values and beliefs within their cultural context; skepticism towards the notion that science can produce objective and universally valid knowledge; and rejection of grand narratives or theories that attempt to explain other cultures.

Anthropologists working in a postmodern vein seek to dissect, interpret and write cultural critiques, analyzing of cultural texts and practices, rather than relying on empirical observation. The issue of subjectivity is a concern: as ethnographies are influenced by the perspective of the author, the question arises in the study of individual cultures as to whether the author's opinions should be considered scientific. Clifford Geertz, considered a founding member of postmodernist anthropology, holds that, "anthropological writings are themselves interpretations, and second and third order ones to boot. (By definition, only a 'native' makes first order ones: it's his culture.)" In the 21st century, some anthropologists use a form of standpoint theory, which prioritizes the perspectives of the subject over the perspective of the observer in cultural interpretation.

Archaeology

Significant postmodern influence is found in post-processual archaeology, a movement in archaeological theory that emphasizes the subjectivity of archaeological interpretations and the importance of understanding the social environment. Post-processualism questions the assumptions of processual archaeology to develop "a more humanist approach committed to understanding people and practices, social relationships and organizations, and ideology and power." According to Bruce G. Trigger, the discipline can be described as evolving through three periods. From 19th century, the culture-historical approach relied on examination of the objects and architecture of material culture. During the 1960s, the processual movement believed that rigorous use of the scientific method, for example, analyzing the spatial distribution of objects in a settlement, allowed for conclusions that went beyond the limits of the archaeological record. The New Archaeology, as it was also known, dominating the Anglophone world in the 1970s.

The post-processual movement originated in the United Kingdom during the late 1970s and early 1980s, pioneered by archaeologists such as Ian Hodder, Daniel Miller, Christopher Tilley, and Peter Ucko. They were responding to three central influences: Marxist-inspired social anthropology that developed in France in the 1960s, postmodernism, and the new cultural anthropology that emerged in the US. The movement came to consist of "very diverse strands of thought coalesced into a loose cluster of traditions," with a common emphasis on understanding human behavior and agency through archeological materials. The multiple lines of inquiry included "discussions of power and ideology, feminism, shifts to and from the notion that material culture can be read as a text, phenomenology, accounts of agency, landscape, the body, memory, materiality, the links between archaeology and heritage, indigenous rights, and ethics."

Although itself no longer a central topic of academic debate, post-processualism's practical influence remains significant. In the U.S., post-processualism is often as seen as accompanying the processual approach; in the UK, post-processual archaeology is often seen as dominant and in opposition to other theoretical movements. In Latin America and parts of Spain, post-processualism has been integrated with the already dominant Marxist sociopolitical theoretical debate. Elsewhere in the world, the post-processual perspective has often contributed to postcolonial, indigenous, and political movements in archaeology.

Feminism

Postmodern feminism mixes postmodern theory and French feminism that rejects a universal female subject. The goal is to destabilize the patriarchal norms entrenched in society that have led to gender inequality. Essentialism, philosophy, and universal truths are opposed, in favor of embracing the differences that exist amongst women to demonstrate that not all women are the same. Applying universal truths to all women in a society minimizes individual experience; ideas displayed as the norm in society stem from masculine notions of how women should be portrayed.

Postmodern feminism seeks to analyze notions that have led to gender inequality, and attempts to promote equality through critiquing logocentrism, supporting multiple discourses, deconstructing texts, and seeking to promote subjectivity. This approach is not readily accepted by all feminists—some believe postmodern thought undermines the attacks that feminist theory attempts to create, while other feminists are in favor of the union.

Law

In response to the perceived shortcomings of legal formalism and positivism, postmodern legal scholars developed several new approaches to address both formal and ethical issues in jurisprudence. In particular, they emphasize the inequalities introduced to the legal system by such matters as race, gender, and economic status.

Marketing

Postmodernism in marketing focuses on customized experiences where broad market generalizations are no longer applied. According to academic Stephen Brown, "Marketers know about consumers, consumers know about marketers, marketers know consumers know about marketers, and consumers know marketers know consumers know about marketers." Brown, writing in 1993, stated that the postmodern approach in many ways rejects attempts to impose order and work in silos. Instead marketers should work collectively with "artistic" attributes of intuition, creativity, spontaneity, speculation, emotion, and involvement.

A 2020 study in the Journal of Business Research investigated the reported transition from postmodernism to post-postmodernism, those "changing social conditions that lead the consumer to consume in a particular manner". Song lyrics were selected from Madonna (postmodern), Taylor Swift (post-postmodern), and Lady Gaga as a transitional example. Five postmodern characteristics consistently found in marketing literature were compared to their post-postmodern counterparts: anti-foundationalism to rewriting; dedifferentiation to redifferentiation; fragmentation to reengagement; reversal of production and consumption to rebalancing of production and consumption; and hyperreality to alternative reality. Postmodernism, it finds, "remains vibrant, re-inventive, and calls for its demise may be somewhat overblown." Swift's success "suggests a significant shift from deconstructive to reconstructive positions regarding the self and its surroundings", noting that her "post-postmodern engagement, enthusiasm and sincerity" appeared to be "somewhat superficial, sociopathic, and couched in fabulation."

Psychology

In 1992, under the headline, "A New Breed of Psychologists Says There’s No One Answer to the Question 'Who Am I?'", the Los Angeles Times reported on "a group of increasingly influential psychologists – postmodern psychologists seems to be the name that is sticking", who had come to the conclusion that "the American conception of an isolated, unified self" does not exist. People are composed of many different selves, constructed for different situations. In this way, postmodernism challenges the modernist view of psychology as the science of the individual, in favor of seeing humans as a cultural/communal product, dominated by language rather than by an inner self.

In 2001, Kenneth Gergen, a pioneer in postmodern psychological theory, identified "emphasis on the individual mind, an objectively knowable world, and language as carrier of truth" as the cornerstones of traditional modernist psychology. He noted criticism of these assumptions coming from "every quarter of the humanities and the sciences", and the emergence of a psychology in which "colonialist universalism is replaced by a global conversation among equals". He also considered the "strong critical reservation", including the realist argument that a socially constructed world cannot negate a clearly observable objective reality; the claim of incoherence, wherein postmodernism denies truth and objectivity while simultaneously making truth claims; and its moral relativism, which fails to take a principled ethical stand. Ultimately, he concluded that psychology's future is "hanging in the balance".

In 2021, psychologist Jan Smedslund discussed how psychology tried for decades to emulate the natural sciences and address unpredictable individual behavior. He described how the dominant methodology came to rely exclusively on statistical analysis of group level data and average findings, whereby it "lost contact with the psychological processes going on in individual persons." He advocated for abandoning the natural science approach that had "led into a clearly discernible blind alley."

In 2024, American psychology professor Edwin Gantt wrote that psychology remains in a state of continual struggle "to decide whether its true intellectual home is to be found among the humanities, especially philosophy and literature, or among the STEM disciplines." He finds psychology "a key site where the intellectual tug-of-war between modernism and postmodernism plays itself out in academia."

Urban planning

Modernism sought to design and plan cities that followed the logic of the new model of industrial mass production; reverting to large-scale solutions, aesthetic standardization, and prefabricated design solutions. This approach was found to have eroded urban living by its failure to recognize differences and aim towards homogeneous landscapes. Jane Jacobs's 1961 book The Death and Life of Great American Cities, was a sustained critique of urban planning as it had developed within modernism, and played a major role in turning public opinion against modernist planners, notably Robert Moses.

Postmodern urban planning involves theories that embrace and aim to create diversity, elevating uncertainty, flexibility, and change, and rejecting utopianism while embracing a utopian way of thinking and acting. The postmodernity of "resistance" seeks to deconstruct modernism, a critique of the origins without necessarily returning to them. As a result, planners are much less inclined to lay a firm or steady claim to there being one single "right way" of engaging in urban planning and are more open to different styles and ideas of "how to plan".

This postmodern reaction is often compared with the modernist Chicago School, the then dominant movement founded at the University of Chicago in the 1920s. Sociologist Ernest Burgess's prominent concentric circle model depicted urban areas as a series of concentric functional zones that sorted population groups. It proposed a central business core, circled by transitional immigrant and working class areas, then by more affluent outer commuter rings. In contrast, for example, the postmodernist Los Angeles School, primarily associated with the University of California at LA, viewed Los Angeles as a prototypical postmodern city, a "multi-nucleated megacity encompassing hundreds of municipalities", sprawling and centerless. The LA School analysis emphasized the global-local connection, pervasive social fragmentation, and a "reterritorialization of the urban process in which hinterland organizes the center (in direct contradiction to the Chicago model)".

A review of postmodern urbanism literature, published in 2018 in the Journal of Architectural and Planning Research, examined coverage of style, epoch, and method, noting a general lack of cohesive definition, and the use of questionable interpretation to form conceptual statements. The review concluded that as a theoretical construct, postmodern urbanism "is relevant to planning and design theory insofar as it rejects modernist 'rational' planning." However, given that urban planning and design are grounded in practice, postmodern theoretical ideas offer "little insight that professionals can use."

Theology

The postmodern theological movement interprets Christian theology in light of postmodern theory and various forms of post-Heideggerian thought, using approaches such as poststructuralism, phenomenology, and deconstruction to question fixed interpretations, explore the role of lived experience, and uncover hidden textual assumptions and contradictions. The movement emerged in the 1980s and 1990s when a handful of philosophers who took philosopher Martin Heidegger as a common point of departure began publishing books engaging with Christian theology.

Theologian Kevin J. Vanhoozer combines and expands on other scholarly classifications to present seven types of postmodern theology: postliberal, postmetaphysical, deconstructive, reconstructive, feminist, Anglo-American postmodernity, and radical orthodoxy. He notes that the typology should be considered "provisional and fallible not entirely arbitrary", having met two main criteria: each is an approach taken by more than one theologian, and each "believes itself to be responding to, rejecting, or passing through modernity, not inhabiting it."

Ongoing influence

Since the late 1990s, there has been a growing sentiment in popular culture and in academia that postmodernism "has gone out of fashion". Others argue that postmodernism is dead in the context of current cultural production.

The connection between postmodernism, posthumanism, and cyborgism has led to a challenge to postmodernism, for which the terms Post-postmodernism and postpoststructuralism were first coined in 2003.

In "White Noise/White Heat, or Why the Postmodern Turn in Rock Music Led to Nothing but Road" (2004), literary critic and professor of English and comparative literature Larry McCaffery reexamined his rock music essay, "White Noise", published in the journal American Book Review in 1990. He noted "the almost casual assurance" of its definition of postmodernism, and the "easy assumption throughout that it is possible to draw analogies about the 'innovative features' of fundamentally different media, such as music and fiction." From his 2004 perspective, he says, "If I were writing such an essay today I would omit 'postmodernism' entirely because I no longer believe that I (or anyone else for that matter) can articulate with any degree of coherence or specificity what 'postmodernism' is, or was, what it's supposed to mean, or, indeed, whether it ever existed at all."

In 2011, Postmodernism: Style and Subversion 1970–1990, at the Victoria and Albert Museum in London, was billed as "the first in-depth survey of art, design and architecture of the 1970s and 1980s". The first of three "broadly chronological" sections focused mainly on architecture, "the discipline in which the ideas of postmodernism first emerged", as well as certain designers. The second section featured 1980s design, art, music, fashion, performance, and club culture. The final section examined "the hyper-inflated commodity culture of the 1980s", focusing on money as "a source of endless fascination for artists, designers and authors". A review in the journal Design Issues noted the "daunting prospect" of critiquing an exhibition "on what might be considered the most slippery, indefinable 'movement'", and wondered what the curators must have felt: "One reviewer thought it 'a risky curatorial undertaking,' and even the curators themselves admit it could be seen as 'a fool's errand.'"

Writing in 2022, Steven Connor argues that, despite continuing reports of its death or imminent demise, postmodernism has instead undergone a kind of disappearance into our culture by way of assimilation. He notes there is little that can now be called postmodern style because "the clashing or commingling of styles has become entirely routine at all levels of culture." The energizing antagonism between high and low culture has been "pestled into a tepid porridge." And the general postmodern condition is now "universal, irreversible and metastable, embodied above all in the massive increase in digitally mediated information technologies." According to Connor, postmodernism in the 2020s is a sensibility that has been integrated into everyday life, having been subject to a considerable degree of shifting, perhaps temporarily, from irony, pluralism and ambivalence to urgency, indignation and reductive absolutism.

A small group of critics has put forth a range of theories that aim to describe culture or society in the alleged aftermath of postmodernism, most notably Raoul Eshelman (performatism), Gilles Lipovetsky (hypermodernity), Nicolas Bourriaud (altermodern), and Alan Kirby (digimodernism, formerly called pseudo-modernism). None of these new theories or labels have so far gained very widespread acceptance.

See also

Theory

• Anti-foundationalism – Epistemology without sure premises
• Transmodernism – Philosophical and cultural movement

Culture and politics

• Defamiliarization – Artistic technique of presenting common things in an unfamiliar or strange way

Religion

• Postmodern religion – Religion influenced by postmodernism

History

• Second modernity – Industrial society transformed into a more reflexive network society or information society

Opposed by

• Altermodern – term for art that reacts against standardisation and commercialismPages displaying wikidata descriptions as a fallback
• Metamodernism – Movement that emerged from and reacts to postmodernism
• Remodernism – Present-day modernist philosophical movement

References

Notes

1. A sampling from other scholars: It is "diffuse, fragmentary, multi-dimensional". Critics have described it as "an exasperating term" and claim that its indefinability is "a truism". Put otherwise, postmodernism is "several things at once". It has no single definition, and the term does not name any single unified phenomenon, but rather many diverse phenomena: "postmodernisms rather than one postmodernism".
2. The incorporation of deconstruction into postmodernism, while common in the U.S., was resisted in the U.K. Furthermore, the more general category of poststructuralism itself was a largely American category, foreign to the disparate French thinkers upon whom it was imposed.
3. English translation, 1984.
4. For instance, contrast Poster 1989, p. 4 with Sim 2011b, pp. ix–x.
5. Poster 1989, (p. 4) offers as linguistic examples écriture (Derrida), discourse/practice (Foucault), code (Baudrillard), and phrases and le différend (Lyotard). On signification more generally, Best & Kellner 1991, (p. 21) present dissemination (Derrida), desire (Deleuze and Guattari), intensities (Lyotard), semiurgy (Baudrillard), and power (Foucault).
6. Le métarécit, sometimes also grand récit, "grand narrative"
7. This volume is an extension of his 1980 speech "Modernity—An Unfinished Project", published the next year as "Modernity versus Postmodernity". Even though Lyotard is not treated directly, Habermas describes the work as an explicit response to Lyotard's challenges to the theory of communicative rationality.

Citations

1. Jones, Nick (2 January 2018). "New Digs, Old Digs: Vauxhall Cross, Whitehall, and the London of Craig's Bond". Journal of Popular Film and Television. 46 (1): 25. doi:10.1080/01956051.2018.1423206. ISSN 0195-6051.
2. Baker, Phil. "SIS/MI6 Building". Building Centre. Retrieved 2 January 2024.{{cite web}}: CS1 maint: url-status (link)
3. ^ Buchanan 2018.
4. Bertens 1995, p. 11.
5. ^ Connor 2013, p. 567.
6. Spencer 2011, p. 217.
7. Herwitz 2008, Historical and Conceptual Overview.
8. ^ Bertens 1995, p. 3.
9. Aylesworth 2015, Introduction.
10. Brooker 2003, p. 204.
11. Vanhoozer 2003, p. 3.
12. Connor 2004, p. 17.
13. ^ Bertens 1995, pp. 4–5.
14. Bertens 1995, p. 46.
15. Menand, Louis (15 February 2009). "Saved from Drowning". The New Yorker. Retrieved 5 November 2024. This is partly because, like many terms that begin with "post," it is fundamentally ambidextrous. Postmodernism can mean, "We're all modernists now. Modernism has won." Or it can mean, "No one can be a modernist anymore. Modernism is over."{{cite magazine}}: CS1 maint: url-status (link)
16. Hebdige, Dick (2006). "Postmodernism and "the other side"". In Storey, John (ed.). Cultural Theory and Popular Culture: A reader. London: Pearson Education.
17. Bertens 1995, p. 10.
18. Brown, Stephen (2006). "Recycling Postmodern Marketing". The Marketing Review. 6 (3): 214 – via SSRN. in certain respects the most straightforward of grasping the postmodern is to eschew the idea that it is an 'it'. ... Postmodernism, rather, is better regarded as an attitude, a feeling, a mood, a sensibility, an orientation, a way of looking at the world – a way of looking askance at the world.
19. Jin, Huimin (September 2023). "Postmodernism in the 21st Century Pros and Cons". Journal of East-West Thought. 13 (3): 19 – via ScholarWorks. hen we talk about what postmodernism is, we are not talking about any individual theorist titled postmodern, but those common characteristics he or she shares with a community of similarly titled theorists. In this sense, postmodernism is not peculiar to any individual theorist but refers to a trend of thought, a climate, and an atmosphere to which none is immune,.
20. Hart, James D.; Martin, Wendy; Hinrichs, Danielle, eds. (2020). "postmodernism". The Concise Oxford Companion to American Literature (2 ed.). Oxford University Press. doi:10.1093/acref/9780191872112.001.0001. ISBN 978-0-19-187211-2.
21. Heise, Ursula K. (2004), Connor, Steven (ed.), "Science, technology, and postmodernism", The Cambridge Companion to Postmodernism, Cambridge Companions to Literature, Cambridge: Cambridge University Press, pp. 136–167, doi:10.1017/ccol0521640520.008, ISBN 978-0-521-64052-7, retrieved 13 November 2024, These critiques do not form a homogeneous body of argument. They differ substantially and sometimes contradict one another .. Nevertheless, certain basic lines of reasoning recur frequently enough ... that they can convey the conceptual backbone of many postmodernist critiques of science.
22. Gantt 2024 "Rather than a clearly defined system of thought, fixed body of ideas, or unified movement and set of agreed-upon critical methods and techniques, however, postmodernism is perhaps 'best understood as a state of mind, a critical, self-referential posture, and style, a different way of seeking and working.' Indeed, a persistent rejection of scientific methodologies, moral understandings, universal truth, and reductive rationalistic explanation is a hallmark of the postmodern response to ... scientistic aspirations of Enlightenment modernism."
23. Ermarth, Elizabeth Deeds (2016), "Postmodernism", Routledge Encyclopedia of Philosophy (1 ed.), London: Routledge, doi:10.4324/9780415249126-n044-1, ISBN 978-0-415-25069-6, retrieved 7 October 2024, Although diverse and eclectic, postmodernism can be recognized by two key assumptions: first, the assumption that there is no common denominator – in 'nature' or 'truth' or 'God' or 'time' – that guarantees either the One-ness of the world or the possibility of neutral, objective thought; second, the assumption that all human systems operate like language as self-reflexive rather than referential systems, in other words systems of differential function that are powerful but finite, and that construct and maintain meaning and value.
24. Klages, Mary (6 December 2001). "Postmodernism". University of Idaho. Retrieved 15 October 2024. Postmodernism, like modernism boundaries between high and low forms of art, rejecting rigid genre distinctions, emphasizing pastiche, parody, bricolage, irony, and playfulness. Postmodern art (and thought) favors reflexivity and self-consciousness, fragmentation and discontinuity (especially in narrative structures), ambiguity, simultaneity, and an emphasis on the destructured, decentered, dehumanized subject. But--while postmodernism seems very much like modernism in these ways, it differs from modernism in its attitude toward a lot of these trends. ... Modernism, for example, tends to present a fragmented view of human subjectivity and history ... as something tragic, something to be lamented and mourned as a loss. ... Postmodernism, in contrast, doesn't lament the idea of fragmentation, provisionality, or incoherence, but rather celebrates that. The world is meaningless? Let's not pretend that art can make meaning then, let's just play with nonsense.
25. McGrath, Alister E. (1996). A passion for truth: the intellectual coherence of evangelicalism (1. publ ed.). Leicester: Apollos. p. 184. ISBN 978-0-85111-447-7. Postmodernism is generally taken to be something of a cultural sensibility without absolutes, fixed certainties or foundations, which takes delight in pluralism and divergence, and which aims to think through the radical 'situatedness' of all human thought
26. Best & Kellner 1991: "Aesthetic modernity emerged in the new avant-garde modernist movements and bohemian subcultures, which rebelled against the alienating aspects of industrialization and rationalization, while seeking to transform culture and to find creative self-realization in art. Modernity entered everyday life through the dissemination of modern art, the products of consumer society, new technologies, and new modes of transportation and communication. The dynamics by which modernity produced a new industrial and colonial world can be described as ‘modernization’ - a term denoting those processes of individualization, secularization, industrialization, cultural differentiation, commodification, urbanization, bureaucratization, and rationalization which together have constituted the modern world.", p. 2
27. Scott, John, ed. (2014). A Dictionary of Sociology. Oxford Reference (4. ed.). Oxford: Oxford University Press. ISBN 978-0-19-968358-1. Postmodernity, in whatever guise it appears, thus implies the disintegration of modernist symbolic orders. It denies the existence of all 'universals', including the philosophy of the transcendental self, on the grounds that the discourse and referential categories of modernity (the subject, community, the state, use-value, social class, and so forth) are no longer appropriate to the description of disorganized capitalism.
28. Gambino, Megan (22 September 2011). "Ask an Expert: What is the Difference Between Modern and Postmodern Art?". Smithsonian Magazine. Retrieved 19 November 2024. "I have heard all kinds of theories," says Ho. "I think the truth is that modernity didn't happen at a particular date. It was this gradual transformation that happened over a couple hundred of years." Of course, the two times that, for practical reasons, dates need to be set are when teaching art history courses and organizing museums. In Ho's experience, modern art typically starts around the 1860s, while the postmodern period takes root at the end of the 1950s.
29. Herman, David J. (1991). "Modernism versus Postmodernism: Towards an Analytic Distinction". Poetics Today. 12 (1): 55–86. doi:10.2307/1772982. ISSN 0333-5372. JSTOR 1772982. Thus one and the same set of evaluative criteria allows commentators to specify in two contradictory ways the relation that modernism bears to postmodernism. On the basis of these criteria modernism can be seen, under different conditions of observation, either as (1) the genuinely emancipatory cultural movement to which postmodernism is but a parasitical and reactionary successor, or as (2) a germ of liberation whose outworn husk it took the radical energies of postmodernism to strip away at last.
30. Gaither, Gloria (2006). "John Steinbeck: The Postmodern Mind in the Modern Age". Steinbeck Review. 1 (1): 53–68. doi:10.1353/str.2007.0006. ISSN 1938-6214. In real life experience Modern individualism, autonomy and personal freedom had too often produced isolation, loneliness, estrangement, and the disintegration of community. The science that was to free humanity from vulnerability to nature and solve medical, societal, and governmental problems was beginning to be questioned as a savior, as pollution, toxin-generated illness, and stress-induced diseases began to emerge as threats. At present the disillusionment with the Modern promise has blossomed into a recognizable era with some identifiable (though not easily definable) sensibilities commonly known as postmodern.
31. ^ Welsch & Sandbothe 1997, p. 76.
32. Hassan 1987, pp. 12ff.
33. Brooker 2003, p. 202.
34. Bertens 1995, p. 4.
35. Hassan 1987, pp. 12ff..
36. "postmodern (adjective & noun)". Oxford English Dictionary. 2006. Retrieved 9 February 2024.
37. Thompson 1914, p. 733.
38. Merriam Webster's Collegiate Dictionary. 2004.
39. Madsen 1995.
40. Bell 1926.
41. Birzer 2015.
42. Russello 2007.
43. Toynbee 1961, p. 43.
44. "postmodernism (n.)". OED. 2006. Retrieved 8 February 2024.
45. ^ Bertens 1995, p. 19.
46. ^ Brooker 2003, p. 203.
47. Bertens 1995, p. 30.
48. ^ Connor 2004, p. 5.
49. Bertens 1995, p. 201.
50. ^ Connor 2004, p. 12.
51. ^ Aylesworth 2015, Introduction & §2.
52. Anderson, Perry (1998). The Origins of Postmodernity. Verso. pp. 6–12.
53. Bertens 1995, p. 21.
54. Bertens 1995, p. 24.
55. Best & Kellner 1991, pp. 22–23.
56. Bertens 1995, p. 55.
57. Bertens 1995, pp. 59–60.
58. Best & Kellner 1991, p. 21.
59. Bertens 1995, p. 70.
60. Bertens 1995, p. 15.
61. Poster 1989, p. 6.
62. Bertens 1995, pp. 7, 79.
63. Bertens 1995, pp. 8, 70.
64. Bertens 1995, p. 92.
65. Bertens 1995, pp. 190–96.
66. Connor 2004, p. 4.
67. Jenkins, Sarah (25 January 2015). "Postmodern Art". The Art Story. Retrieved 23 October 2024. The reaction took on multiple artistic forms for the next four decades, including Conceptual art, Minimalism, Video art, Performance art, Institutional Critique, and Identity Art. These movements are diverse and disparate but connected by certain characteristics: ironical and playful treatment of a fragmented subject, the breakdown of high and low culture hierarchies, undermining of concepts of authenticity and originality, and an emphasis on image and spectacle.
68. "Postmodernism". Tate Museum. Retrieved 23 October 2024. As an art movement postmodernism to some extent defies definition – as there is no one postmodern style or theory on which it is hinged. It embraces many different approaches to art making, and may be said to begin with pop art in the 1960s and to embrace much of what followed including conceptual art, neo-expressionism, feminist art, and the Young British Artists of the 1990s.
69. "About Contemporary Art". J Paul Getty Museum. Retrieved 23 October 2024. Contemporary artists working within the postmodern movement reject the concept of mainstream art and embrace the notion of "artistic pluralism," the acceptance of a variety of artistic intentions and styles. Whether influenced by or grounded in performance art, pop art, Minimalism, conceptual art, or video, contemporary artists pull from an infinite variety of materials, sources, and styles to create art. For this reason, it is difficult to briefly summarize and accurately reflect the complexity of concepts and materials used by contemporary artists.
70. Karg, Alexandra (27 August 2024). "What is Postmodern Art? The Genre Defined in 8 Iconic Works". The Collector. Retrieved 23 October 2024. It must be emphasized ... that postmodern art cannot be limited to a single style or theory. Many art forms are considered postmodern art. These include Pop Art, Conceptual Art, Neo-Expressionism, Feminist Art, and the art of the Young British Artists in the 1990s.
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72. Metcalf, Stephen (6 December 2018). "Andy Warhol, Cold and Mute, Is the Perfect Artist for Our Times". The Atlantic. ISSN 2151-9463. Retrieved 1 April 2024. He's now widely regarded as the most important artist of the second half of the 20th century.
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82. Jencks, Charles (1974). The Language of Post-Modern Architecture. London: Academy Editions.
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84. Schudel, Matt (28 September 2018). "Remembering Robert Venturi, the US architect who said: 'Less is a bore'". Independent. Archived from the original on 16 October 2022. Retrieved 24 December 2023.
85. ^ Banes 2008.
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87. Custodio, Isabel (24 January 2019). "The Voices of Judson Dance Theater". MoMA Magazine. Retrieved 19 October 2024.
88. Halprin, Anna; Kaplan, Rachel, eds. (1995). Moving toward life: five decades of transformational dance. Hanover, N.H: Wesleyan University Press. p. 254. ISBN 978-0-8195-6286-9.
89. Kramer, Michael J. (30 June 2019). "The Mind Is a Muscle: Postmodern Dance and Intellectual History". Society for U.S. Intellectual History. Retrieved 7 December 2024.
90. Banes, Sally (9 November 2009). "Judson Dance Theater". Grove Music Online. doi:10.1093/gmo/9781561592630.article.a2083961. Retrieved 7 December 2024.
91. Conyers, Claude (23 February 2011). "Postmodern dance". Grove Music Online. doi:10.1093/gmo/9781561592630.article.a2092662. Retrieved 7 December 2024.
92. Banes, Sally (2011). Terpsichore in Sneakers: Post-Modern Dance. Wesleyan University Press. pp. xxiv. ISBN 978-0-8195-6160-2. "... by the end of the 1970s, the clarity and simplicity of analytic postmodern dance had served its purpose and threatened to become an exercise in formalism. Dance had become so shorn of meaning (other than reflexive) that for a younger generation of choreographers and spectators it was beginning to be regarded as almost meaningless. The response was to look for ways to reinstall meaning in dance."
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109. Poynor 2003, p. 18.
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113. Poynor 2003, p. 10.
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118. Linda Schermer Raphael. Narrative Skepticism: Moral Agency and Representations of Consciousness in Fiction. Fairleigh Dickinson University Press. p. 7.
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134. Bernstein 1992, p. 11.
135. Best & Kellner 1991, p. 31.
136. Best & Kellner 1991, p. 18.
137. Brooker 2003, p. 205.
138. ^ Best & Kellner 1991, p. 20.
139. Poster 1989, p. 4.
140. Best & Kellner 1991, p. 17.
141. Reynolds, 6=§2. Deconstructive Strategy.
142. Brooker 2003, p. 66.
143. Reynolds, 6=§2.a Metaphysics of Presence/Logocentrism.
144. ^ Kelly, lead section.
145. Aylesworth 2015, §4. Productive Difference.
146. ^ Aylesworth 2015, §6. Hyperreality.
147. Connor 2004, pp. 568–69.
148. Constable 2004, pp. 43–47.
149. Bertens 1995, p. 109.
150. Kellner 2020, §6. Concluding Assessment.
151. Constable 2004, p. 47.
152. Poster 1989, pp. 12–16.
153. Lyotard 1984, p. xxiv.
154. Herwitz 2008, Theories of the Postmodern.
155. Gratton 2018, §1.
156. Aylesworth 2015, §2 The Postmodern Condition.
157. Bertens 1995, p. 111.
158. Lyotard 1984, pp. 65–66.
159. Bertens 1995, pp. 119–21.
160. Lyotard 1984, pp. xxiii–xxv.
161. Gratton 2018, §§3.2–3.4.
162. Habermas 1990, p. xix.
163. ^ Aylesworth 2015, §9.
164. Bertens 1995, p. 108.
165. Connor 2004, p. 3.
166. Connor 2004, pp. 3–4.
167. Roberts 2000, p. 120.
168. Roberts 2000, p. 121.
169. Roberts 2000, p. 124.
170. Roberts 2000, p. 126.
171. Roberts 2000, p. 128.
172. Roberts 2000, p. 133.
173. ^ Grippe, lead section.
174. Linn 1996, p. xiv.
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181. Geertz, C. (1973). The Interpretations of Cultures. New York: Basic Books, Inc. (pp.15)
182. Johnson 2010, p. 105.
183. Preucel 2018, p. 12.
184. Trigger 2007.
185. Trigger 2007, p. 44–50.
186. Johnson 2010, p. 101.
187. Hodder 2018.
188. Preucel 2018.
189. Hodder 2018, p. 8.
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198. S. Kvale ed., Psychology and Postmodernism (1992) p. 40
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203. Goodchild 1990, pp. 119–137.
204. Simonsen 1990, p. 57.
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217. Vanhoozer 2003, pp. 22–25.
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219. Vanhoozer 2003, p. 20.
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• Simonsen, Kirsten (1990). "Planning on 'Postmodern' Conditions". Acta Sociologica. 33 (1): 51–62. doi:10.1177/000169939003300104. JSTOR 4200779. S2CID 144268594.
• Spencer, Lloyd (2011). "Postmodernism, Modernity and the Tradition of Dissent". In Sim, Stuart (ed.). The Routledge Companion to Postmodernism (3 ed.). pp. 215–26.
• Thompson, J. M. (1914). "Post-Modernism". The Hibbert Journal. XII (4): 733.
• Toynbee, Arnold J. (1961) . A study of History. Vol. 5. Oxford University Press. p. 43 – via Google Books.
• Trigger, Bruce G. (2007). A History of Archaeological Thought (Second ed.). New York: Cambridge University Press. ISBN 978-0-521-60049-1.
• Vanhoozer, Kevin J. (2003). "Theology and the Condition of Postmodernity: A Report on Knowledge (of God)". In Vanhoozer, Kevin J. (ed.). The Cambridge Companion to Postmodern Theology. Cambridge University Press. pp. 22–25.
• Welsch, Wolfgang; Sandbothe, Mike (1997). "Postmodernity as a Philosophical Concept". International Postmodernism. Comparative History of Literatures in European Languages. Vol. XI. p. 76. doi:10.1075/chlel.xi.07wel (inactive 7 December 2024). ISBN 978-90-272-3443-8 – via Google Books.{{cite book}}: CS1 maint: DOI inactive as of December 2024 (link)

External links

• Resources in your library
• Resources in other libraries

• Discourses of Postmodernism. Multilingual bibliography by Janusz Przychodzen (PDF file)
• Modernity, postmodernism and the tradition of dissent, by Lloyd Spencer (1998)
• Stanford Encyclopedia of Philosophy's entry on postmodernism

• Postmodernism
• 1880s neologisms
• Criticism of rationalism
• Metanarratives
• Modernism
• Science fiction themes
• Philosophical schools and traditions
• Theories of aesthetics
• Art movements
• Cultural trends