Postmodernism Postmodernism
Jean-Francois Lyotard:
Jean-Francois Lyotard:
The Postmodern would be that which in the The Postmodern would be that which in the modern invokes the unpresentable in
modern invokes the unpresentable in
presentation itself, that which refuses the presentation itself, that which refuses the consolation of correct forms, refuses the consolation of correct forms, refuses the consensus of taste permitting a common consensus of taste permitting a common experience of nostalgia for the impossible, experience of nostalgia for the impossible, and inquires into new presentations--not to and inquires into new presentations--not to take pleasure in them, but to better produce take pleasure in them, but to better produce the feeling that there is something
the feeling that there is something unpresentable.
unpresentable.
Postmodernism presents a set of complex Postmodernism presents a set of complex philosophical and theoretical issues.
philosophical and theoretical issues.
One way to begin thinking about postmodernism One way to begin thinking about postmodernism is by thinking about modernism, the movement is by thinking about modernism, the movement
from which postmodernism seems to grow or from which postmodernism seems to grow or
emerge.
emerge.
As you know, modernist literature tends to share As you know, modernist literature tends to share certain characteristics. From a literary
certain characteristics. From a literary
perspective, the main aspects of modernism perspective, the main aspects of modernism
include*:
include*:
** The following notes on modernism and modernity versus postmodernity are taken from Mary The following notes on modernism and modernity versus postmodernity are taken from Mary Klages’ Page at http://www.colorado.edu/English/courses/ENGL2012Klages/pomo.html
Klages’ Page at http://www.colorado.edu/English/courses/ENGL2012Klages/pomo.html
Modernism:
Modernism:
an emphasis on impressionism and subjectivity an emphasis on impressionism and subjectivity in writing; an emphasis on HOW perception
in writing; an emphasis on HOW perception
takes place, rather than on WHAT is perceived.
takes place, rather than on WHAT is perceived.
a movement away from the apparent objectivity a movement away from the apparent objectivity provided by omniscient third-person narrators, provided by omniscient third-person narrators,
fixed narrative points of view, and clear-cut fixed narrative points of view, and clear-cut
moral positions.
moral positions.
a blurring of distinctions between genres, so a blurring of distinctions between genres, so that poetry seems more documentary and that poetry seems more documentary and
prose seems more poetic.
prose seems more poetic.
Modernism, cont.:
Modernism, cont.:
an emphasis on fragmented forms, discontinuous an emphasis on fragmented forms, discontinuous
narratives, and random-seeming collages of different narratives, and random-seeming collages of different
materials.
materials.
a tendency toward reflexivity, or self-consciousness, a tendency toward reflexivity, or self-consciousness, about the production of the work of art, so that each about the production of the work of art, so that each
piece calls attention to its own status as a production, piece calls attention to its own status as a production, as something constructed and consumed in particular as something constructed and consumed in particular
ways.
ways.
a rejection of elaborate formal aesthetics in favor of a rejection of elaborate formal aesthetics in favor of minimalist designs and a rejection, in large part, of minimalist designs and a rejection, in large part, of
formal aesthetic theories, in favor of spontaneity and formal aesthetic theories, in favor of spontaneity and
discovery in creation.
discovery in creation.
A rejection of the distinction between "high" and "low" A rejection of the distinction between "high" and "low"
or popular culture, both in choice of materials used to or popular culture, both in choice of materials used to produce art and in methods of displaying, distributing, produce art and in methods of displaying, distributing,
and consuming art.
and consuming art.
Postmodernism, like modernism, follows most of Postmodernism, like modernism, follows most of these same ideas, rejecting boundaries between these same ideas, rejecting boundaries between
high and low forms of art, rejecting rigid genre high and low forms of art, rejecting rigid genre
distinctions, emphasizing pastiche, parody, distinctions, emphasizing pastiche, parody,
bricolage, irony, and playfulness.
bricolage, irony, and playfulness.
Postmodern art (and thought) favors reflexivity Postmodern art (and thought) favors reflexivity and self-consciousness, fragmentation and
and self-consciousness, fragmentation and
discontinuity (especially in narrative structures), discontinuity (especially in narrative structures),
ambiguity, simultaneity, and an emphasis on the ambiguity, simultaneity, and an emphasis on the destructured, decentered, dehumanized subject.
destructured, decentered, dehumanized subject.
But--while postmodernism seems very much like But--while postmodernism seems very much like modernism in these ways, it differs from
modernism in these ways, it differs from modernism in its
modernism in its attitudeattitude toward a lot of these toward a lot of these trends.
trends.
Modernism, for example, tends to present a Modernism, for example, tends to present a fragmented view of human subjectivity and fragmented view of human subjectivity and history, but presents that fragmentation as history, but presents that fragmentation as
something tragic, something to be lamented and something tragic, something to be lamented and mourned as a loss. Many modernist works try to mourned as a loss. Many modernist works try to uphold the idea that works of art can provide the uphold the idea that works of art can provide the
unity, coherence, and meaning which has been unity, coherence, and meaning which has been lost in most of modern life; art will do what other lost in most of modern life; art will do what other
human institutions fail to do.
human institutions fail to do.
Postmodernism, by contrast, doesn't Postmodernism, by contrast, doesn't lament the idea of fragmentation,
lament the idea of fragmentation,
provisionality, or incoherence, but rather provisionality, or incoherence, but rather
celebrates that.
celebrates that.
Modernity vs.
Modernity vs.
Postmodernity Postmodernity
Following Frederic Jameson, there is Following Frederic Jameson, there is
another way to conceive the relationship another way to conceive the relationship
between modernism and postmodernism, between modernism and postmodernism,
and this is to recognize them as distinct and this is to recognize them as distinct
cultural formations.
cultural formations.
Modernity is fundamentally about order: Modernity is fundamentally about order:
about rationality and rationalization, about rationality and rationalization,
creating order out of chaos
creating order out of chaos
Modernity vs. Postmodernity Modernity vs. Postmodernity
(cont.) (cont.)
The ways that modern societies go about The ways that modern societies go about creating order have to do with the effort to creating order have to do with the effort to
achieve stability.
achieve stability.
Lyotard equates that stability with the idea of Lyotard equates that stability with the idea of
"totality," or a totalized system.
"totality," or a totalized system.
Totality, and stability, and order, Lyotard Totality, and stability, and order, Lyotard
argues, are maintained in modern societies argues, are maintained in modern societies through the means of "grand narratives" or through the means of "grand narratives" or
"master narratives," which are stories a culture
"master narratives," which are stories a culture tells itself about its practices and beliefs.
tells itself about its practices and beliefs.
Modernity vs. Postmodernity Modernity vs. Postmodernity
(cont.) (cont.)
Postmodernism then is the critique of grand Postmodernism then is the critique of grand narratives, the awareness that such narratives narratives, the awareness that such narratives
serve to mask the contradictions and serve to mask the contradictions and
instabilities that are inherent in any social instabilities that are inherent in any social
organization or practice. In other words, every organization or practice. In other words, every attempt to create "order" always demands the attempt to create "order" always demands the
creation of an equal amount of "disorder," but a creation of an equal amount of "disorder," but a
"grand narrative" masks the constructedness of
"grand narrative" masks the constructedness of these categories by explaining that "disorder"
these categories by explaining that "disorder"
really is chaotic and bad, and that "order" really really is chaotic and bad, and that "order" really
is rational and good.
is rational and good.
Modernity vs. Postmodernity Modernity vs. Postmodernity
(cont.) (cont.)
Postmodernism, in rejecting grand Postmodernism, in rejecting grand narratives, favors "mini-narratives,"
narratives, favors "mini-narratives,"
stories that explain small practices, local stories that explain small practices, local events, rather than large-scale universal events, rather than large-scale universal
or global concepts. Postmodern "mini- or global concepts. Postmodern "mini-
narratives" are always situational, narratives" are always situational,
provisional, contingent, and temporary, provisional, contingent, and temporary,
making no claim to universality, truth, making no claim to universality, truth,
reason, or stability.
reason, or stability.
Modernism vs. Postmodernism:
Modernism vs. Postmodernism:
A Breakdown*
A Breakdown*
Master Narratives and metanarratives of Master Narratives and metanarratives of history, culture and national identity as history, culture and national identity as
accepted before WWII (American-European accepted before WWII (American-European
myths of progress). Myths of cultural and myths of progress). Myths of cultural and
ethnic origin accepted as received.
ethnic origin accepted as received.
Suspicion and rejection of Master Narratives Suspicion and rejection of Master Narratives for history and culture; local narratives, ironic for history and culture; local narratives, ironic deconstruction of master narratives: counter- deconstruction of master narratives: counter-
myths of origin.
myths of origin.
* * The following breakdown can be found at Georgetown’s Po-Mo page, located at: The following breakdown can be found at Georgetown’s Po-Mo page, located at:
http://www9.georgetown.edu/faculty/irvinem/theory/pomo.html http://www9.georgetown.edu/faculty/irvinem/theory/pomo.html
Modernism vs. Postmodernism:
Modernism vs. Postmodernism:
A Breakdown (Cont.) A Breakdown (Cont.)
Faith in "Grand Theory" (totalizing Faith in "Grand Theory" (totalizing explanations in history, science and explanations in history, science and
culture) to represent all knowledge and culture) to represent all knowledge and
explain everything.
explain everything.
Rejection of totalizing theories; pursuit of Rejection of totalizing theories; pursuit of localizing and contingent theories.
localizing and contingent theories.
Modernism vs. Postmodernism:
Modernism vs. Postmodernism:
A Breakdown (Cont.) A Breakdown (Cont.)
Faith in, and myths of, social and cultural Faith in, and myths of, social and cultural unity, hierarchies of social-class and
unity, hierarchies of social-class and
ethnic/national values, seemingly clear ethnic/national values, seemingly clear
bases for unity.
bases for unity.
Social and cultural pluralism, disunity, Social and cultural pluralism, disunity, unclear bases for social/national/ ethnic unclear bases for social/national/ ethnic
unity.
unity.
Modernism vs. Postmodernism:
Modernism vs. Postmodernism:
A Breakdown (Cont.) A Breakdown (Cont.)
Master narrative of progress through Master narrative of progress through science and technology.
science and technology.
Skepticism of idea of progress, anti- Skepticism of idea of progress, anti-
technology reactions, neo-Luddism; new technology reactions, neo-Luddism; new
age religions.
age religions.
Modernism vs. Postmodernism:
Modernism vs. Postmodernism:
A Breakdown (Cont.) A Breakdown (Cont.)
Sense of unified, centered Sense of unified, centered
self; "individualism," unified identity.
self; "individualism," unified identity.
Sense of fragmentation and decentered Sense of fragmentation and decentered self; multiple, conflicting identities.
self; multiple, conflicting identities.
Hierarchy, order, centralized control. Hierarchy, order, centralized control.
Subverted order, loss of centralized Subverted order, loss of centralized control, fragmentation.
control, fragmentation.
Modernism vs. Postmodernism:
Modernism vs. Postmodernism:
A Breakdown (Cont.) A Breakdown (Cont.)
Faith in "Depth" (meaning, value, Faith in "Depth" (meaning, value,
content, the signified) over "Surface"
content, the signified) over "Surface"
(appearances, the superficial, the (appearances, the superficial, the
signifier).
signifier).
Attention to play of surfaces, images, Attention to play of surfaces, images, signifiers without concern for "Depth".
signifiers without concern for "Depth".
Relational and horizontal differences, Relational and horizontal differences,
differentiations.
differentiations.
Modernism vs. Postmodernism:
Modernism vs. Postmodernism:
A Breakdown (Cont.) A Breakdown (Cont.)
Crisis in representation and status of the Crisis in representation and status of the image after photography and mass
image after photography and mass media.
media.
Culture adapting to simulation, visual Culture adapting to simulation, visual media becoming undifferentiated
media becoming undifferentiated
equivalent forms, simulation and real- equivalent forms, simulation and real-
time media substituting for the real.
time media substituting for the real.
Modernism vs. Postmodernism:
Modernism vs. Postmodernism:
A Breakdown (Cont.) A Breakdown (Cont.)
Faith in the "real" beyond media, language, Faith in the "real" beyond media, language, symbols, and representations; authenticity of symbols, and representations; authenticity of
"originals."
"originals."
Hyper-reality, image saturation, simulacra Hyper-reality, image saturation, simulacra seem more powerful than the "real"; images seem more powerful than the "real"; images
and texts with no prior "original". "As seen on and texts with no prior "original". "As seen on TV" and "as seen on MTV" are more powerful TV" and "as seen on MTV" are more powerful
than unmediated experience. Dichotomy of than unmediated experience. Dichotomy of
high and low culture (official vs. popular high and low culture (official vs. popular
culture).
culture).
