Postmodernism, on the other hand, is noticeable on Mamet’s play.
The making of superior art is arduous, usually. But under Modernismthe appreciation, even more than the making, of it has becomemore taxing, the satisfaction and exhilaration to be gotten fromthe best new art more hard-won. Over the past hundred and thirtyyears and more the best new painting and sculpture (and the bestnew poetry) have in their time proven a challenge and a trialto the art lover -- a challenge and a trial as they hadn't usedto be. Yet the urge to relax is there, as it's always been. Itthreatens and keeps on threatening standards of quality. (It wasdifferent, apparently, before the mid-nineteenth century.) Thatthe urge to relax expresses itself in changing ways does but testifyto its persistence. The "postmodern" business is onemore expression of that urge. And it's a way, above all, to justifyoneself in preferring less demanding art without being calledreactionary or retarded (which is the greatest fear of the newfangledphilistines of advancedness).
Clement Greenberg: Modernism and Postmodernism - …
Now the post in postmodern can be taken in a temporal chronologicalsense. Anything that comes after something else is "post"that something else. But this isn't quite the way in which postmodernis used. It's supposed, rather, to mean or imply art that supersedes,replaces, succeeds the modern in terms of stylistic evolution,the way that the baroque succeeded mannerism and the rococo succeededthe baroque. The corollary is that the modern is over and donewith, just as mannerism was over and done with when supersededby the baroque. But the problem for those who claim this becomesto specify what they mean, not by post, but by modern. Anythingin its own time can be called modern. However, what we usuallymean by modern is something considered up-to-date, abreast ofthe times, and going beyond the past in more than a temporallyor chronologically literal sense.
Can postmodern be identified in an equally agreed upon wayin any of the other arts? I haven't yet seen or heard the termapplied in earnest to anything in recent literature. It's comeup in connection with music, but haphazardly and with no agreementabout what it means there. And from what I can tell it comes uphardly at all in talk about the dance or the movies. Away fromarchitecture, it's in the area of painting and sculpture thatI've mostly heard and seen postmodern used -- but only by criticsand journalists, not by artists themselves.
between Modernism and Postmodernism.
If the definition of Modernism or the modern that I now offerhas any validity, then the crucial word in "postmodernism"becomes "post." The real, the only real, question becomeswhat it is that's come after and superseded the modern; again,not in a temporal sense, but in a style-historical one. But it'sno use, as I said in the beginning, asking the critics and journalistswho talk "postmodern" (which includes my friend); theydisagree too much among themselves and resort too much to cloudygeneralizations. And anyhow there's nobody among them whose eyeI trust.
Modernism Vs. Postmodernism - Essay - …
But to return to postmodern. A friend and colleague had beento a symposium about postmodern last spring. I asked him how theterm had gotten defined at that symposium. As art, he answered,that was no longer self-critical. I felt a pang. I myself hadwritten twenty years ago that self-criticism was a distinguishingtrait of Modernist art. My friend's answer made me realize asI hadn't before how inadequate that was as a conveying definitionof Modernism or the modern. (That I hadn't the presence of mindto ask my friend just how self-critical art could be told fromart that wasn't self-critical was only incidental. We both understood,in any case, that it hadn't to do with the difference betweenabstract and figurative, just as we also understood that the modernwasn't confined to particular styles, modes, or directions ofart.)
Essay about Postmodernism in Literature - 5499 Words
Nevertheless, Heidegger and Nietzsche are both important sourcesfor postmodernism's critical de-structuring or displacement of thesignature concept of modern philosophy, the “subject,”which is generally understood as consciousness, or its identity,ground, or unity, and designated as the “I.” WhereNietzsche finds in this concept the original metaphysical errorproduced by morality and the communicative needs of the herd,Heidegger sees in it the end and exhaustion of the metaphysicaltradition, inaugurated by the Greeks, in which being is interpreted aspresence. Here, being is the underlying ground of the being ofbeings, the that is enacted in modern philosophy asthe subject of consciousness. But in Heideggerconceives the human being as , which is not simply apresent consciousness, but an event of ecstatic temporality that isopen to a past () that was never present(its being-there) and a future () thatis always yet to come (the possibility of death). The finitudeof therefore cannot be contained within the limits ofconsciousness, nor within the limits of the subject, whether it isconceived substantively or formally.