postmodernism


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genre of art and literature and especially architecture in reaction against principles and practices of established modernism

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What I suggest is that Liksom's stylistic reorientation should be considered in the context of yet another juncture in history, namely the one we are presently experiencing: the transformation of the dominant paradigm of postmodernism, whether it is waning, or, as I am inclined to believe, intensifying.
Postmodernism arose as a reaction to modernism's claim to universal truths and objectivity especially as it characterized Western thinking.
In both cases, we discover first that the numerous contradictory tendencies of postmodernism, illustrated by such great philosophers as Charles Jencks, Jean-Francois Lyotard, Frederic Jameson, Francis Fukuyama, and Ihab Hassan, are replaced by other competing and ambivalent directions, with all the positive and negative implications generated by a better living standard, technological and medical advances, computer techniques, and, last but not least, a new ecology of the mind, emerging as a new form of enlightenment.
The title of the book is drawn from the concept of modern public administration theory which emerged in 1980's with the outbreak of postmodernism.
One such response has been postmodernism and its incredulity towards metanarratives.
Enacting the move from modernist autonomy and subjectivity to the postmodernist emphasis on literary artifice, the short story becomes an apt tool for the reassessment of modernism, postmodernism and their interrelationship, as Modernism, Postmodernism, and the Short Story in English, edited by Jorge Sacido, demonstrates.
The first part contains two essays by Adrian Hunter and Jose Maria Diez aimed at redefining Modernism as against the hegemony of High Modernism, while the three essays by Tim Armstrong, Fred Botting, and Paul March-Russell collected in the second part enter full upon the debate between Modernism and Postmodernism from the angle of the short story and, more specifically, from that of the effacement and displacement of the subject in the subgenres of the ghost story and science fiction.
This is not the first time we learn about modernism's international character (for postmodernism, this case has been made most systematically in Bertens and Fokkema's 1997 International Postmodernism).
Although postmodernism has been suspicious of radical views it becomes sufficiently "radical" especially when it applied in the context of modern hopes and utopias which have always been the driving motives of the modern imagination.
There was no attempt to explain the origins of postmodernism or what it was about.
Before we can speak of the influence postmodernism is having on library and information areas, we have to at least make the attempt to understand what postmodernism is.
This first major overview of the postmodern aesthetic displays a delicious irony: the very movement that Postmodernism purported to revile, early 20th-century Modernism, ended up endowing it with forms and substance that would otherwise have been found lacking.
At the same time, alongside this concerted, professional abandonment of postmodernism's signature affective stance in recent North American literary enterprises, postmodernism has begun to drop out of academic discourse as well.