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Journal articles on the topic 'Modernism and Postmodernism'

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Published: 4 June 2021

Last updated: 17 February 2022

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1

Ismail, Yusuf. "Postmodernisme dan Perkembangan Pemikiran Islam Kontemporer." Jurnal Online Studi Al-Qur an 15, no. 2 (July 31, 2019): 235–48. http://dx.doi.org/10.21009/jsq.015.2.06.

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Modernism and postmodernism were born from mainland Europe and America. This philosophical thought penetrated religious issues. Postmodernism was born as an attempt to understand social conditions and phenomena, the term postmodernism appeared for the first time in literature in 1939. In the context of religion, Postmodernism in its aim so that religious understanding does not fall into the system of totalitarian interpretation in a religious context and the context of social systems, economics, culture, and politics. The topic of Postmodernism in this paper is presented based on its actuality and to stimulate our thinking which is generally still oriented to modern or even traditional concepts. By studying this relatively new concept we will be confronted with the basic question of which philosophical thinking results have correlation values and relevance to the development and demands of contemporary society, not which ones are theoretically correct. The statement confirms the relativity of reason. The realm of absolute truth is not in humans, absolute truth is from and belongs to God. Keywords: Postmodernism, Contemporary Islam, Moderism Abstrak Modernisme dan postmodernisme lahir dari daratan Eropa dan Amerika Pemikiran filosofis ini merambah ke persoalan keagamaan. Postmodernime lahir sebagai usaha memahami kondisi dan fenomena sosial, istilah postmodernisme muncul untuk pertama kalinya dalam sastra pada tahun 1939. Dalam konteks keagamaan, Postmodernisme dalam bertujuannya agar faham keagamaan tidak jatuh pada sistem tafsir totaliter tunggal dalam konteks keagamaan dan dalam konteks sistem sosial, ekonomi, budaya dan politik. Topik Postmodernisme dalam tulisan ini disajikan berdasarkan pada aktualitasnya dan guna merangsang pemikiran kita yang pada umumnya masih berorientasi pada konsep-konsep modern atau bahkan tradisional. Dengan mempelajari konsep yang relatif baru ini kita akan dihadapkan pada pertanyaan dasar tentang hasil pemkiran filsafat yang manakah yang mempunyai nilai korelasi dan relevansi dengan perkembangan dan tuntutan masyarakat kontemporer, bukan yang manakah yang benar secara teoritis an sich. Pernyataan tersebut menegaskan relativitas kebenaran nalar. Wilayah kebenaran mutlak bukan ada pada manusia, Kebenaran mutlak adalah dari dan milik Tuhan. Kata kunci: Postmodernisme, Modernisme, Pemikiran Islam

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2

Kudiņš, Jānis. "Latvian Music History in the Context of 20th-century Modernism and Postmodernism. Some Specific Issues of Local Historiography." Musicological Annual 54, no. 2 (November 15, 2018): 97–139. http://dx.doi.org/10.4312/mz.54.2.97-139.

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Do the terms “modernism” and “postmodernism” objectively characterize the trends in the music history of the 20th century or are they merely theoretical abstractions? How can they be applied to the music history of specific countries, for example, when analysing a local historical experience? The article will consider these questions primarily to focus on the representation of the modernist and postmodernist aesthetics in the stylistic developments of the 20th-century Latvian music history.

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3

Shams, S. M. Riad. "Modernism to Postmodernism." International Journal of Customer Relationship Marketing and Management 4, no. 3 (July 2013): 44–56. http://dx.doi.org/10.4018/jcrmm.2013070103.

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Underlying the 4Ps marketing principle, and with the transdisciplinary input, Relationship Marketing (RM) has evolved as a fundamental concept to respond to the postmodern marketing management issues. A literature review has been conducted to recognize the rationality of the evolvement of RM and how RM responds to the postmodern marketing management issues to meet and exceed contemporary market needs. The findings reveal that RM utilizes the transdisciplinary mode-2 knowledge production (value proposition) approach, based on the value perception of the postmodern market to cope up with the contemporary and latent market trends, which should be substantiated by market competitiveness, cost effectiveness and social (including all associated stakeholders) acceptability. Such a transdisciplinary mode-2 value proposition of RM and its contribution to the postmodern marketing management appears as coherent across markets and industries.

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4

Corish, Denis. "Postmodernism as Modernism." Harvard Review of Philosophy 2, no. 1 (1992): 17–19. http://dx.doi.org/10.5840/harvardreview1992214.

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5

Frie, Roger. "Modernism or Postmodernism?" Contemporary Psychoanalysis 38, no. 4 (October 2002): 635–73. http://dx.doi.org/10.1080/00107530.2002.10747190.

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6

Roberts, David. "Marxism, Modernism, Postmodernism." Thesis Eleven 12, no. 1 (May 1985): 53–63. http://dx.doi.org/10.1177/072551368501200104.

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7

Sidhe, Wren. "Mourning, modernism, postmodernism." Mortality 16, no. 4 (November 2011): 395–96. http://dx.doi.org/10.1080/13576275.2011.613273.

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8

White, J. J., and Richard Sheppard. "Modernism: Dada: Postmodernism." Modern Language Review 97, no. 4 (October 2002): 1028. http://dx.doi.org/10.2307/3738713.

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9

Zurbrugg, icholas. "Baudrillard, modernism, and postmodernism." Economy and Society 22, no. 4 (November 1993): 482–500. http://dx.doi.org/10.1080/03085149300000030.

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10

Landau, Iddo. "Modernism, Postmodernism and Politics." International Journal of Applied Philosophy 10, no. 1 (1995): 39–45. http://dx.doi.org/10.5840/ijap199510111.

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11

Berg, Lawrence D. "Between modernism and postmodernism." Progress in Human Geography 17, no. 4 (December 1993): 490–507. http://dx.doi.org/10.1177/030913259301700403.

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12

Gasiorek, A. "4 * Modernism and Postmodernism." Year's Work in Critical and Cultural Theory 14, no. 1 (July 5, 2006): 64–88. http://dx.doi.org/10.1093/ywcct/mbl004.

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13

Gasiorek, A., and P. Boxall. "4 * Modernism and Postmodernism." Year's Work in Critical and Cultural Theory 15, no. 1 (May 27, 2007): 51–78. http://dx.doi.org/10.1093/ywcct/mbm004.

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14

Gasiorek, A., and P. Boxall. "3 * Modernism and Postmodernism." Year's Work in Critical and Cultural Theory 16, no. 1 (June 18, 2008): 50–90. http://dx.doi.org/10.1093/ywcct/mbn002.

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15

Clark, T. J. "Modernism, Postmodernism, and Steam." October 100 (April 2002): 154–74. http://dx.doi.org/10.1162/016228702320218448.

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16

Sweet, Leonard I. "Straddling Modernism and Postmodernism." Theology Today 47, no. 2 (July 1990): 159–64. http://dx.doi.org/10.1177/004057369004700206.

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17

Lieberman, Carol. "From modernism to postmodernism." History of European Ideas 22, no. 1 (January 1996): 45–49. http://dx.doi.org/10.1016/0191-6599(95)00081-x.

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18

Teampău, Radu. "Theatre Performance in Postmodernism." Theatrical Colloquia 8, no. 1 (May 1, 2018): 187–205. http://dx.doi.org/10.2478/tco-2018-0001.

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Abstract The present paper aims to investigate, in brief, the controversial relationship between postmodernism and modernism; to outline, synthetically, the specific procedures of conceiving theatre performance in postmodernity; to analyze the performance narrative that, in postmodern era, reveals the indicible and the existential fragmentation. The research is carried out taking into consideration the end of postmodernism which was announced since the middle of the first decade of the 21st century. At the same time, besides the attempt to observe the phenomenon in its theatrical implications, the study pursues to delineate the decontextualization of theatricality from theatrical space and its recontextualization in sociopolitical space. In conclusion, the perspective beyond the end of postmodernity from which theatricality is evaluated intends to avoid the partisan thinking that any attempt to treat postmodernity requires.

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19

Setiawan, Johan, and Ajat Sudrajat. "PEMIKIRAN POSTMODERNISME DAN PANDANGANNYA TERHADAP ILMU PENGETAHUAN." Jurnal Filsafat 28, no. 1 (February 28, 2018): 25. http://dx.doi.org/10.22146/jf.33296.

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The birth of postmodernism can not be separated from the notion of modernism. The view of modernism assumes that the truth of science is absolute and objective, meaning that there is no human value. Here is the birth of a new idea of postmodernism which is one of figures are Jean Francouis Lyotard, postmodernism is a continuation and correction of modernism to provide a new thought and solution in his view of science. For postmodernism, science is not objective but subjective and the interpretation of man himself, so the truth is relative. Postmodernism can not be separated by its weakness and whether it is relevant to today’s life, so postmodernism adds to the acquisition of knowledge which can be accepted by its existence.

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20

Mankus, Martynas. "MANIFESTATION OF POSTMODERNIST IDEAS IN ARCHITECTURAL COMPETITIONS AND UNREALIZED DESIGN PROJECTS IN LITHUANIA OF THE 1970S AND 80S / POSTMODERNIZMO IDĖJŲ RAIŠKA XX A. 8-OJO IR 9-OJO DEŠIMTMEČIŲ LIETUVOS ARCHITEKTŪROS DARBŲ KONKURSUOSE IR NEĮGYVENDINTUOSE." Mokslas – Lietuvos ateitis 6, no. 3 (May 22, 2014): 225–33. http://dx.doi.org/10.3846/mla.2014.34.

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The research work analyzes the influence of the post-modernism phenomenon on Lithuanian architecture as observed since the 1970-s. This controversially estimated period in architectural history opposed the modernist tradition by its cultural and aesthetical landmarks. In the Lithuanian context it was distinguished by the raise of its expression partially overlapping with the period of post-soviet socio-cultural fractures. After short introduction of prerequisites of postmodernist idea formation in architecture, the text focuses on the main ideological concepts and characteristic features of architecture related to postmodernism. Besides the evaluation of influence of western postmodernist architecture on the soviet space, the aim of the article is to analyze the objects innovative by their aesthetics, applied symbolism and treatment of their application to the society in the sociocultural context of the time. The text focuses on unrealized projects and competition offers of the 1970-s and 80-s (from the emergence of the first examples to the reestablishment of Lithuanian independence) with most brightly reflected postmodern trends: complex composition, eclecticism, historical references and decreasing scale. The examples analyzed in the research are a part of culture of the complicated transformation time, which is underestimated. Darbe nagrinėjama postmodernizmo fenomeno Lietuvos architektūroje įtaka, ryškėjanti nuo XX a. 8-ojo dešimtmečio. Kontroversiškai vertinamas architektūros istorijos periodas savo kultūriniais ir estetiniais orientyrais oponavo modernizmo tradicijai. Lietuvos kontekstui būdinga tai, kad jo raiškos pakilimas iš dalies sutapo su posovietinių sociokultūrinių lūžių laikotarpiu. Trumpai aptariant postmodernizmo idėjų formavimosi architektūroje prielaidas, išskiriami pagrindiniai idėjiniai su postmodernizmu siejamos architektūros konceptai ir būdingieji bruožai. Straipsnio tikslas – siekiant įvertinti Vakarų postmodernizmo architektūros diskurso sovietinėje erdvėje įtaką, išnagrinėti anuometiniame sociokultūriniame kontekste savo estetika, simbolikos vartojimu, taikymo visuomenei traktavimu inovatyvius objektus. Tekste koncentruojamasi į XX a. 8-ojo ir 9-ojo dešimtmečių (nuo pirmųjų pavyzdžių atsiradimo iki nepriklausomybės atgavimo) nerealizuotus projektus ir konkursinius pasiūlymus, kuriuose ryškiausiai atsispindi postmodernizmo tendencijos: kompozicijos sudėtingumas, eklektiškumas, istorinės referencijos, mastelio smulkėjimas. Minimi pavyzdžiai yra sudėtingų permainų laiko kultūros dalis, apie kurią kalbama nepakankamai.

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Lamichhane, Shreeram P., and Mana P. Wagley. "Post-Modernism and Nepal's Education." Journal of Education and Research 1 (April 16, 2013): 9–12. http://dx.doi.org/10.3126/jer.v1i0.7946.

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The postmodernist critique of science consists of two interrelated arguments: epistemological and ideological. Both are based on subjectivity. First, because of the subjectivity of the human object, anthropology, according to the epistemological argument, cannot be a science; and in any event the subjectivity of the human subject precludes the possibility of science discovering objective truth. Second, since objectivity is an illusion, science, according to the ideological argument, subverts oppressed groups, females, ethnics, third-world peoples etc. ! e greatest accomplishment of postmodernism is the focus upon uncovering and criticizing the epistemological and ideological motivations in the social sciences. DOI: http://dx.doi.org/10.3126/jer.v1i0.7946 Journal of Education and Research 2008, Vol. 1, No. 1, pp. 9-12

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22

Widiawati, Harfiyah, Lambok Hermanto Sihombing, and Aris Masruri Harahap. "The Act of Silencing in Robert Musil’s “Tonka”." Journal Polingua : Scientific Journal of Linguistics, Literature and Education 9, no. 2 (October 30, 2020): 48–53. http://dx.doi.org/10.30630/polingua.v9i2.144.

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Modernism’s overemphasize on universal objectivity as well as its optimistic humanism have generated critical questions. The critics on modernism, labeled under the name of postmodernists, question the neutrality assumed by humanist universalism and scientific objectivism. Seeing the ugly sides of enlightenments, the modernist critics begins to see modernism “as deeply implicated by forms of oppression: sexism, racism, class-ism, colonialism”. The purpose of this paper is to analyze a modernist work from the view point of postmodernism. The work that is under discussion here is “Tonka” by Robert Musil. Within the story, we can see that a form of oppression appears. We are to find how the form of oppression within the story works. It is interesting to find that the oppression works through the act of silencing. To see how silence is interwoven in the story, we have to firstly set some limitation to make possible the discussion on silence itself. The easiest way to do it is by putting the entity in a binary opposition since the text strongly shows binary organization.

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23

Surette, Leon. "Modernism, Postmodernism, Fascism, and Historicism." University of Toronto Quarterly 60, no. 4 (May 1991): 476–92. http://dx.doi.org/10.3138/utq.60.4.476.

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24

Dieckmann, Katherine. "Electra Myths: Video, Modernism, Postmodernism." Art Journal 45, no. 3 (1985): 195. http://dx.doi.org/10.2307/776853.

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25

Fokkema, Douwe W. "Literary History, Modernism, and Postmodernism." Poetics Today 6, no. 3 (1985): 561. http://dx.doi.org/10.2307/1771921.

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26

Gu, M. D. "Lu Xun and Modernism/Postmodernism." Modern Language Quarterly 69, no. 1 (January 1, 2008): 29–44. http://dx.doi.org/10.1215/00267929-2007-023.

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27

Craig, Herbert E., Raymond L. Williams, Raymond L. Williams, and Raymond L. Williams. "Review Essay: "Modernism and Postmodernism"." Chasqui 29, no. 1 (2000): 125. http://dx.doi.org/10.2307/29741576.

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28

Dieckmann, Katherine. "Electra Myths: Video, Modernism, Postmodernism." Art Journal 45, no. 3 (September 1985): 195–203. http://dx.doi.org/10.1080/00043249.1985.10792298.

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29

ETARYAN, Yelena. "The German View on Modernism and Postmodernism." WISDOM 15, no. 2 (August 23, 2020): 211–19. http://dx.doi.org/10.24234/wisdom.v15i2.336.

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This article examines the origins of modernism/postmodernism and their presentation in the light of aesthetic and philosophical treatises or literary works of Friedrich Schlegel, Heinrich Kleist, Friedrich Schiller, as well as in the triad model of the world history and the biblical story of the fall of the man. The common idea which lies at the basis of the works presented is the contrast between the principles of nature and reason and the search for opportunities for their synthesis. The main thesis of the article is to present the commonality between the maxims of modernism/ postmodernism and early German romanticism, as well as to consider postmodernism as late romanticism with its inherent manneristic features. The basic concepts of modernism and postmodernism are presented through the prism of works and theories of Friedrich Nietzsche, Wolfgang Welsch, Christoph Bode, Rolf Günter Renner, as well as Victor Žmega?. The central concept in the article is the concept of self-reflection of literature and art as the most vivid feature of modernism and postmodernism.

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30

Kovalova, N. I., and V. L. Levchenko. "AESTHETIC SPHERE IN PHILOSOPHICAL AND INTELLECTUAL REFLECTIONS OF THE XXth CENTURY." UKRAINIAN CULTURAL STUDIES, no. 2 (3) (2018): 8–13. http://dx.doi.org/10.17721/ucs.2018.2(3).02.

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The article is devoted to the consideration of the aesthetical and the philosophical in intellectual reflections of the twentieth century. The material for the study were conceptions of such characteristic figures of modernism and postmodernism as W. Benjamin and J.-F. Lyotard. The task of the work was the analysis of modern and postmodern discourses and identification of their intertwining and intercollision. Benjamin articulated main modernist tendencies in his writings. For him the sociological approach and the consideration of the subject of art and artistic activity in all manifestations were basic everywhere in analysis of art. Instead of these postmodern art reflects itself as an antisocial practice in the context of it by the "decline of metanorations", the decline of ideology, the rejection of the general theoretical position, Modernism cuts off idea of any connection with the past. The principle condition on creativity for modernists was innovation and originality. Benjamin demonstrates such a level of decadence of the moderating guidelines in relation to the tradition. But for him Interest in historicity, games with citations in his books and writings are closed him to postmodernist positions and directions. Postmodernism, in relation to the past, is based on the paradigmic guideline that "everything was already there," everything has already happened both as an event and in an interpretive sense.

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Franklin, Geraint. "Listing postmodernism." Architectural Research Quarterly 22, no. 3 (September 2018): 275–80. http://dx.doi.org/10.1017/s1359135518000477.

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Like modernism, postmodernism was an international phenomenon with significant regional variants. Britain played an important role in mediating between the very different postmodernisms developing in North America and Continental Europe. It helped that London was at the centre of architectural discourse in the 1970s. The Architectural Association attracted international figures such as Charles Jencks, Léon Krier, and Rem Koolhaas, while publications such as Architectural Design and Andreas Papadakis's Academy Editions imprint combined coverage of new buildings with excursions into theory and history. James Stirling, John Outram, and Edward Jones won important overseas commissions, while the work of Terry Farrell, Jeremy Dixon, and others was exhibited at the seminal 1980 Venice Biennale.

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32

Schulte-Sasse, Jochen. "Introduction: Modernity and Modernism, Postmodernity and Postmodernism: Framing the Issue." Cultural Critique, no. 5 (1986): 5. http://dx.doi.org/10.2307/1354354.

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33

ESPEJO, RAMÓN. "Coping with the Postmodern: Paul Auster's New York Trilogy." Journal of American Studies 48, no. 1 (April 19, 2013): 147–71. http://dx.doi.org/10.1017/s0021875813000698.

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Throughout this essay, I will show the characters of Paul Auster's New York Trilogy moving between modernism and postmodernism, and discuss the way some of them epitomize either largely modernist or postmodernist epistemologies. My purpose is to offer a reconstruction of Auster's dialogue across both, and I will resist situating the novelist in either the modern or the postmodern camp. I see him as rather watching from a distance, while his characters scour the terrain (both terrains, as a matter of fact) for him. My conclusion is that Auster seems to acknowledge the inevitability of inhabiting the cultural space of the postmodern, while staking out a claim to question, or even to challenge, some of its presumptions. While modernism still holds a powerful spell for the protagonists ofCity of GlassandGhosts(less so for the latter), the narrator ofThe Locked Roomposits the inextricability of embracing our contemporary sensibility, the postmodern, without necessarily rejecting altogether what went before. Auster associates modernism largely with the secluded, invisible, despicable Fanshawe, whose spell and influence over him the narrator of the third novel of the trilogy manages to break.

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Kadiroğlu, Murat. "JOURNAL OF MODERNISM AND POSTMODERNISM STUDIES." Modernism and Postmodernism Studies Network 1, no. 2 (December 31, 2020): 1–173. http://dx.doi.org/10.47333/modernizm.2020265978.

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35

Kadiroğlu, Murat. "JOURNAL OF MODERNISM AND POSTMODERNISM STUDIES." Modernism and Postmodernism Studies Network 1, no. 1 (December 24, 2020): 1–126. http://dx.doi.org/10.47333/modernizm.2020165092.

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36

Orlić, Milan. "Crnjanski’s New Textuality: The Poetic Play Mask (1918)." Transcultural Studies 11, no. 2 (April 10, 2015): 216–41. http://dx.doi.org/10.1163/23751606-01102005.

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This essay is about the emergence of a new sensibility and a new textuality in Serbian Modernism/postmodernism, constituted by the poetic and prose works of Miloš Crnjanksi amongst other. A survey of earlier, 19th century Serbian prose and drama, demonstrates that the Modernist/postmodern poetics had its antecedents in the works of Jovan Sterija Popović and Đorđe Marković Koder, which demonstrates the continuity of Serbian literature through the all the phases inherent in European (French) literatures of the 19th and 20th century. Crnjanski’s early poetic play Mask is analysed through the sensibility of a new “world malaise” and the poetic principle of “Sumatraism” which make up Crnjanksi’s “Nihilism.” This is decoded as a sensibility close to the Absurd, which has consequences for the structure of Crnjanski’s subsequent works as well as for the development of Yugolsav/Serbian Modernism/postmodernism.

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Mankus, Martynas. "MANIFESTATIONS OF SYMBOLISM IN ARCHITECTURE OF POSTMODERNISM." JOURNAL OF ARCHITECTURE AND URBANISM 38, no. 4 (December 23, 2014): 274–82. http://dx.doi.org/10.3846/20297955.2014.998853.

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The article analyses expression of symbolism in Lithuanian postmodern architecture. It discusses the concept of symbolism and transformations of its meaning in comparison to the period of modernism as well as examines its most significant aspects in semantic understanding of postmodernist architecture. The article seeks to disclose the forms of symbolism represented in Lithuanian architecture by the end of the 20th – the beginning of the 21st century. It searches for the most expressive examples of Lithuanian architecture of the given period by clarifying the character of postmodernist use of symbols. Attempts have been made to trace the expression trajectories of symbolism in contemporary architecture that have been influenced by postmodernism.

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Duruji, Moses Metumara. "Post – Modernism Perspective in Humanities." Politikon: The IAPSS Journal of Political Science 15, no. 1 (April 30, 2009): 56–69. http://dx.doi.org/10.22151/politikon.15.1.3.

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Rosenau (1993) observes that proponents of postmodernism claim to relinquish all attempts to create new knowledge in a systematic fashion, but project an anti–rule fashion of discuss. This perspective being expounded by postmodernists have profound implication in humanities and social science scholarship especially in its contention that there are limits and limitations of modern reason that are inherent in the forms and types of reasoning and social analysis that has characterized society and the modern. But does this perspective have any merit and most especially for us in the third world. This is the angle this study shall take and we hope at the end, we should have been able to render a critical appraisal of this approach in the broader Humanities disciplines.

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Harbour, Karys. "A Comparison and Contrast between Modernism and Postmodernism-Is Postmodernism a Logical Outcome of Modernism?" Motifs : An International Journal of English Studies 3, no. 1 (2017): 7. http://dx.doi.org/10.5958/2454-1753.2017.00002.2.

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Chesney, Duncan McColl. "Beckett, Minimalism, and the Question of Postmodernism." KANT Social Sciences & Humanities, no. 3 (July 2020): 16–32. http://dx.doi.org/10.24923/2305-8757.2020-3.3.

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This article addresses a simple question: Is Beckett a postmodernist writer? Of course, the question is not so simple at all, for it begs a number of other tricky questions that get only more complicated as we address them: How am I defining modernism and postmodernism? What does the post in postmodernism signify? And in any case, Beckett's work does not suffer from not fitting easily into either of these categories or periodizations, so who really cares? Yet all the same, it seems that if postmodernism has any analytical value as a category, a style, or a "cultural dominant" applied to literature (in Fredric Jameson's appropriation of Raymond Williams's term), then Beckett is a crucial test case: He follows perhaps the most exemplary of prose modernists, James Joyce, and produces a body of work which is very much unlike that of his famous predecessor and compatriot/co-exile, as well as that of the subject of his youthful scholarly interest (another quintessential prose modernist), Marcel Proust. Beckett clearly, and not just temporally, comes after these modernists and their moment. His defining war is the Second, not the First. His childhood was not that of the fin-de-si?cle; his abandoned homeland was the Republic of Ireland; his exile was so famously marked by the change of language in order to achieve what he called "the right weakening effect" [2] in a clear attempt to escape the style of Joyce in the language of Proust, and thus attain a style all his own. If post simply means after, then Beckett is perhaps the first great postmodernist. But we all know it is not so simple.

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Zain, Muhammad. "BENTURAN PERADABAN DAN CARUT- MARUT POSTMODERNISME." EL HARAKAH (TERAKREDITASI) 11, no. 3 (October 19, 2009): 258. http://dx.doi.org/10.18860/el.v11i3.5212.

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<p>The paper aims to view the Huntington's ideas from different perspective that is postmodernism. The writer assumes that Huntington's thesis is much easier to understand if it is placed on postmodernism discourse. The outstanding characteristics of postmodernism are decentralization, deconstruction, de-consensus, and "condemned" modernism that is valued anti humanism and militarism. In postmodemism era, the meaning of the text is not on tire text itself, but it is on the relationship bet·ween the text and the reader. In this era, there is a statement about tire death of the writer (Barthes). Its vieuis thatinter-textuality has became the main source of t1v The relationship, hence, forms and also as the power. means that who form the texts which are relevant to reality, truth, or values is powerful. The postmodernism era is a global era in which all events happened in the world even in the most remote part of the world will be soon known and responded by the citizen of the world.</p><p> </p><p>Makalah ini bertujuan untuk melihat ide-ide Huntington dari perspektif yang berbeda yaitu postmodernisme. Penulis berasumsi bahwa tesis Huntington lebih mudah dipahami jika diletakkan pada wacana postmodernisme. Karakteristik postmodernisme yang menonjol adalah desentralisasi, dekonstruksi, de-konsensus, dan modernisme "mengutuk" yang dihargai anti humanisme dan militerisme. Di era postmodemisme, makna teks tidak pada teks itu sendiri, tetapi pada hubungan yang mempererat teks dan pembaca. Di era ini, ada pernyataan tentang kematian sang penulis (Barthes). Visinya bahwa teks-teks telah menjadi sumber utama dari hubungan, maka, bentuk, dan juga sebagai kekuatan. berarti bahwa siapa yang membentuk teks-teks yang relevan dengan realitas, kebenaran, atau nilai yang dominan. Era postmodernisme adalah era global di mana semua peristiwa yang terjadi di dunia bahkan di bagian paling terpencil di dunia akan segera dikenal dan ditanggapi oleh warga dunia.</p>

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Anisimov, Oleksandr. "UNDERSTANDING POSTMODERNISM: NORTHERN BLOCKS OF PODIL." City History, Culture, Society, no. 6 (April 10, 2019): 9–26. http://dx.doi.org/10.15407/mics2019.06.009.

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Reevaluation of Soviet heritage is a contested topic nowadays. At this moment debates are happening about the attempts to conserve the projects of High Modernism in the USSR of the 1970s and 1980s or even to designate them as heritage. In this article, however, the author attempts to reveal another dimension: postmodern architecture within the life span of the Soviet Union. The case discussed in the article is a housing estate “4blocks” located on the edge of the industrial zone in the Podil district in Kyiv, Ukraine. Podil area was spared from being rebuilt according to the modernist planning proposal in 1968. Afterwards, the district became a testing ground for experimental projects, part and parcel of which is the “4blocks” housing. One can perceive this project being a watershed between different periods of late modernism and postmodernism because of the specific architectural approach and the influence this project exerted on the following architectural production. In the article, the unique conditions which allowed the team of architects to work with unprecedented freedom are discussed. In what way did architects reflect on and use international influences in their projects? How did they work with the local peculiarities of landscape, materials, built environment and archaeology? The article also touches upon the topic of the change in approaches toward the historic urban areas in the late USSR. To highlight the parallels between local and international contexts and reflect on the resulting project the author uses the then-contemporary poststructuralist philosophy. Similarities of the concepts put forward by the philosophy in its critique of architectural Modernism and those used by the authors in “4blocks” is striking. One can conclude that Ukrainian Soviet architecture evolved into a variety of different styles in the mid-1980-s, and this project can be considered a vivid example of one of such styles, so-called postmodernism.

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Cahoone, Lawrence. "From Modernism to Postmodernism: An Anthology." Philosophy East and West 49, no. 1 (January 1999): 95. http://dx.doi.org/10.2307/1400125.

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Reid, Panthea, and Michael Kaufmann. "Textual Bodies: Modernism, Postmodernism, and Print." American Literature 67, no. 2 (June 1995): 423. http://dx.doi.org/10.2307/2927827.

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Sanders, Andy F. "Tacit Knowing--Between Modernism and Postmodernism." Tradition and Discovery: The Polanyi Society Periodical 18, no. 2 (1991): 15–21. http://dx.doi.org/10.5840/traddisc1991/19921826.

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Ferraris, Maurizio, and Anna Taraboletti Segre. "Postmodernism and the Deconstruction of Modernism." Design Issues 4, no. 1/2 (1988): 12. http://dx.doi.org/10.2307/1511383.

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Knowles, Sebastian D. G., and Michael Kaufmann. "Textual Bodies: Modernism, Postmodernism, and Print." Modern Language Review 91, no. 2 (April 1996): 441. http://dx.doi.org/10.2307/3735024.

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Smith, Ralph A. "The Question of Modernism and Postmodernism." Arts Education Policy Review 96, no. 6 (August 1995): 2–12. http://dx.doi.org/10.1080/10632913.1995.9934566.

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Williams, Lincoln, and Vishanthie Sewpaul. "Modernism, postmodernism and global standards setting." Social Work Education 23, no. 5 (October 2004): 555–65. http://dx.doi.org/10.1080/0261547042000252280.

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Stanton, John. "Modernism and postmodernism: Canada's century reconsidered." Round Table 83, no. 329 (January 1994): 77–87. http://dx.doi.org/10.1080/00358539408454193.

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