Differentiating Modernism & Postmodernism

Levin sees postmodernism as involving a radical change in considering due to the demise on the energy of modernism. He finds that toward the end with the modernist period, the modernist movement came to become observed as reductive and austere. Levin sees this improve to postmodernism as additional wrenching and traumatic than it appears to obtain been: "It wasn't merely the appearance of one more new movement, as within the past. It was a important change, which affected artists of all persuasions" (Levin 7). However, postmodernism, like modernism, reflects the age wherever it was born. Levin says that postmodernism is impure:

It knows about shortages. It knows about inflation and devaluation. It is aware of the increased cost of objects. And so it quotes, scavanges, ransacks, recycles the past (Levin 7).

Modernism can be described as being a cultural response, and Jameson extends this analysis to postmodernism as a reaction to modernism and to changes in society. Jameson says that his view of postmodernism is historical rather than structural, and that is in keeping with his view on the matter as cultural and thus as an organic element evolving from social interactions with and about art instead of from some structural definition of postmodernism:

I can not stress too greatly the radical distinction between a view for which the postmodern

 

The many positions that will logically be taken on it, whatever terms they're couched in, can usually be shown to particular visions of history wherever the evaluation with the social moment wherever we live today is the object of an basically political affirmation or repudiation (Jameson 55).

Because postmodernism is a cultural and historical issue, Jameson states that the problem of postmodernism, meaning how its fundamental characteristics are to be described and regardless of whether it even exists, is each an aesthetic and political issue:

 

These difficulties are of import to Ligon and are problems in his works, though meaning is not presented as a effortless and direct simple fact but is rather implied by the context and also the juxtaposition of numerous items inside the work.

The homogeneity of privileged, universal discourse in modernism gave way to a conception of social heterogeneity including a multicultural perspective that required constant vigilance in matters of gender, sexuality, class, and race (Stiles 3).

"Marcel Duchamp (1887 1968)." http://www.connect.net/

is one (optional) among many others available and 1 which seeks to grasp the cultural dominant from the logic of late capitalism: the a couple of approaches in effect generate two quite several methods of conceptualizing the phenomenon like a whole: on a one hand, moral judgments. . . and, over a other a actually dialectical attempt to think our offer of time in History (Jameson 46).

Marcel Duchamp was a French Dada artist whose little but controversial output exerted a strong influence on a development of 20th century avant garde art. His first works were during the then-current mode of Fauvism, but he then turned toward experimentation as well as the avant garde to create his most famous work, "Nude Descending a Staircase, No. 2" in 1912. This painting portrayed continuous movement via a chain of overlapping cubistic figures, suggesting a certain mechanistic vision on the globe and so combining technology as well as the orga

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