postmodern

The result is an extensive dissection of postmodern literature-based films whose artistic merit is magnified when we move beyond the limitations of source 'faithfulness' as a means of measurement.

As the next generation of postmodern authors emerges, several questions arise: Have these new writers grown from an earlier literary cohort, or have they, at some point, entered a '"post-postmodern" period?

The answer is simple: The new postmodern world war has different actors such as sub-state actors and even cultural groups.

While Stoppard's early work (R&G and Inspector Hound, for instance) is postmodern, the remainder of his career essentially tracks backward from the way that McHale traces the literary chronological history of twentieth-century fiction, becoming "late modernist" through the mid-seventies (most notably in Travesties) and, finally, "modernist" in the 80s and 90s (in The Real Thing and Arcadia).

The novel takes place in a saturated postmodern environment with an abundance of damaged characters who are eccentric or simply seeking a new opportunity in life, such as Sandra, the ashtanga yoga and Tibetan kung-fu instructor who lives in Mexico illegally; Tony, the ex-drug addict who builds sound systems for the hotel aquariums with help from computers; Mario, the manager, who sees himself as a New Age guru; and Ginger, an American diver who is the member of an extreme-sport dub named Cruci/Fiction.

The subjects of postmodern ironic appreciation have little value, other than novelty.

Just as there have been zealous proponents and popularizers of postmodern thought in contemporary culture, so also have there been zealous opponents who have ridiculed the language and style of postmodernism.

Lubomir Dolezel argues cogently that at the level of discourse in either 'fictional' or 'historical' texts the postmodern argument is correct, but at the level of worlds in this respect there is a fundamental difference at issue.

Men, the partially unintentional architects and builders of the postmodern world, are apparently un-at-home in that world, of which they seem hardly worthy.

The Bible after Babel: Historical Criticism in a Postmodern Age.

You Should See Yourself: Jewish Identity in Postmodern American Culture.

The nonprofessional's difficulty in penetrating postmodern argot is no help.

The postmodern aesthetic begins with a challenge to realism.

The first presents theological methods "that either call themselves postmodern or have been described as such," while the second deals with doctrinal issues and thus approaches "postmodernity from the vantage point of theology" (xiv).

Merce Cunningham can be considered a bridge between modern and postmodern dance.