What is modernism and postmodernism Video
What is Postmodernism? what is modernism and postmodernism
Just two sections from Chapter 1 reproduced here.
Vs Literature Essay Postmodernism Modernism
The case for its existence depends on the hypothesis of some radical break or coupure, generally traced back to the end of the s or the early s. As the word itself suggests, this break is most often related to notions of the waning or extinction of the hundred-year-old modern movement or to its ideological or aesthetic repudiation. Thus abstract expressionism in what is modernism and postmodernism, existentialism in philosophy, the final forms of representation in the novel, the films of the great auteursor the modernist what is modernism and postmodernism of poetry as institutionalised and canonised in the works of Wallace Stevens all are now seen as the final, extraordinary flowering of a high-modernist impulse which is spent and exhausted with them. It is in the realm of architecture, however, that modifications in aesthetic production are most dramatically visible, and that their theoretical problems have been most centrally raised and articulated; it was indeed from architectural debates that my own conception of postmodernism — as it will be outlined in the following pages — initially began to emerge.
High modernism is thus credited with the destruction of the fabric of the traditional city and its older neighbourhood culture by way of the radical disjunction of the new Utopian high-modernist building from its surrounding contextwhile the prophetic elitism and authoritarianism of the modern movement are remorselessly identified in the imperious gesture of the charismatic Master. However we may ultimately wish to evaluate this populist rhetoric, it has at least the merit of drawing our attention to one fundamental feature of all the postmodernisms enumerated above: single advantages parenting of, the effacement in them of the older essentially high-modernist frontier between high culture and so-called mass or commercial culture, and the emergence of new kinds of texts infused with the forms, categories, and contents of that very culture industry so passionately denounced by all the ideologues of the modern, from Leavis and the American New Criticism all the way to Adorno and the Frankfurt School.
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wnat Such theories have the obvious ideological what is modernism and postmodernism of demonstrating, to their own relief, that the new social formation in question no longer obeys the laws of classical capitalism, namely, the primacy of industrial production and the omnipresence this web page class struggle. The Marxist tradition has therefore resisted them with vehemence, with the signal except on of the economist Ernest What is modernism and postmodernism, whose book Late Capitalism sets out not merely to anatomise the historic originality of this new society which he sees as a third stage or moment in the evolution of capital but also to demonstrate that it is, if an thing, a purer stage of capitalism than any of the moments that preceded it. I will return to t is argument later; suffice it for the moment to anticipate a point that will be argued in Chapter 2, namely, that every position on postmodernism in culture — whether apologia or stigmatisation — is https://digitales.com.au/blog/wp-content/custom/why-building-administrations-have-a-developing-business/what-is-miranda-vs-arizona.php at one and the same time, and necessarilyan implicitly or explicitly political stance on the nature of multinational capitalism today.
A last preliminary word on method: what follows is not to be read as stylistic description, as the account of one cultural style or movement post,odernism others.
What is Postmodernism?
I have rather meant to offer a periodising hypothesis, and that at a moment in which the very conception of historical periodisation has come to seem most problematical indeed. In the present context, however, lengthier theoretical discussion of such very real issues can perhaps be replaced by a few substantive remarks.
One of the concerns frequently aroused by periodising hypotheses is that these tend to obliterate difference and to project an idea of the historical period as massive homogeneity bounded on either side by inexplicable chronological metamorphoses and punctuation marks. This is, however, precisely why it seems to me essential to grasp postmodernism not as a style but rather as a cultural dominant: a conception which allows for the presence and coexistence of a range of very different, yet subordinate, features.
Consider, for example, the powerful alternative position that postmodernism is itself little more than one more stage of modernism proper if not, indeed, of the even older romanticism ; it may indeed be conceded that all the features of postmodernism I am about to enumerate can be detected, full-blown, in this or that preceding modernism including such astonishing genealogical precursors as Gertrude Stein, Raymond Roussel, or Marcel Duchamp, who may be considered outright postmodernists, avant la lettre. As for the postmodern click here against all that, however, it must equally be stressed that its own offensive features — from obscurity and sexually explicit material to psychological squalor and overt expressions of social and political defiance, which transcend anything that might have been imagined at the most extreme moments of high modernism — no longer scandalise anyone and are not only received with the greatest complacency but have themselves become institutionalised and are at one with the official or public culture of Western society.
What has happened is that aesthetic production today has become integrated into commodity production generally: the frantic economic urgency of producing fresh waves of ever more novel-seeming goods from clothing to aeroplanesat ever greater rates of turnover, now assigns an increasingly essential structural function and position to aesthetic innovation and experimentation.
Such economic necessities then find recognition in what is modernism and postmodernism varied kinds of institutional support available for the newer art, from foundations and grants to museums and other forms of patronage. Of all the arts, architecture is the closest constitutively to the economic, with which, in the form of commissions and land values, what is modernism and postmodernism has a virtually unmediated relationship. It will therefore not be surprising to find the extraordinary flowering of the new postmodern architecture grounded in the patronage of multinational business, whose expansion and development is strictly contemporaneous with it.
Later I will suggest that these two modeernism phenomena have an even deeper dialectical interrelationship than the see more one-to-one financing of this or that individual project. Yet this is the point at which I must remind the reader of the obvious; namely, that this whole global, yet American, postmodern culture is the internal and superstructural expression of a whole new wave of American military and economic domination throughout the world: in this sense, as throughout posmodernism history, the underside of culture is blood, torture, death, and terror.
The first what is modernism and postmodernism to be made about the conception of periodisation in dominance, therefore, is that even if all the constitutive features of postmodernism were identical with and coterminous to those of an older modernism — a position I feel to be demonstrably erroneous but which only an even lengthier analysis of modernism proper could dispel the two phenomena would still remain utterly distinct in moxernism meaning antisocial function, owing to the very different positioning of postmodernism in the economic system of late capital and, beyond that, to adn transformation of the very sphere of culture in contemporary society.
This point will be further discussed at the conclusion of this book. I must now briefly address a different kind of objection to periodisation, a concern about its possible obliteration of heterogeneity, one most often expressed by the Left. What happens is that the more powerful the vision of some increasingly total system or logic — the Foucault of the prisons book is the obvious example — the more powerless mdernism reader comes to feel. Insofar as the theorist wins, therefore, by constructing an increasingly closed and terrifying machine, to that very degree he loses, since the critical capacity of his work is thereby paralysed, and the impulses of negation what is modernism and postmodernism revolt, not to speak of those of social transformation, are increasingly perceived as what is modernism and postmodernism and trivial in snd face of the model itself. I have felt, however, that it was only in the light of some conception of a dominant cultural logic or hegemonic norm that genuine posfmodernism could be measured and assessed.]
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