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Journal articles on the topic 'Modernism (Literature) Modernism (Literature) Postmodernism (Literature) Postmodernism (Literature)'

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Published: 4 June 2021

Last updated: 11 February 2022

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1

Ismail, Yusuf. "Postmodernisme dan Perkembangan Pemikiran Islam Kontemporer." Jurnal Online Studi Al-Qur an 15, no. 2 (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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Farzali Rahmanova, Irada. "The literary trend “postmodernizm” and its self-expression in modern Azerbayjani literature." SCIENTIFIC WORK 56, no. 07 (2020): 51–54. http://dx.doi.org/10.36719/2663-4619/56/51-54.

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The article deals with such a literary trend as postmodernism and its self-expression in modern Azerbaijani literature. The article contains the review of the different scientists’, philosophers’ and writers’ views related to the postmodernism, forms of its manifestation and its impact on Azerbaijani literature. Many Azerbaijani writers created their works under the influence of European literature in the postmodernist style during the period of independence. Their works are analyzed on the basis of the concrete facts. It is noted that while encompassing a wide variety of approaches, postmodernism is generally defined by an attitude of skepticism, irony, or rejection toward the meta-narratives and ideologies of modernism, often calling into question various assumptions of Enlightenment rationality. Consequently, common targets of postmodern critique include universalist notions of objective reality, morality, truth, human nature, reason, language, and social progress. Keywords:postmodernism, globalization, fiction, literary trend, symbols

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3

Shams, S. M. Riad. "Modernism to Postmodernism." International Journal of Customer Relationship Marketing and Management 4, no. 3 (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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Orlić, Milan. "Crnjanski’s New Textuality: The Poetic Play Mask (1918)." Transcultural Studies 11, no. 2 (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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White, J. J., and Richard Sheppard. "Modernism: Dada: Postmodernism." Modern Language Review 97, no. 4 (2002): 1028. http://dx.doi.org/10.2307/3738713.

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

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

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9

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

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10

Herman, David J. "Modernism versus Postmodernism: Towards an Analytic Distinction." Poetics Today 12, no. 1 (1991): 55. http://dx.doi.org/10.2307/1772982.

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Daniels, T. Tilden. "Michel Butor'sMobile: Modernism, Postmodernism, and American Art." Symposium: A Quarterly Journal in Modern Literatures 62, no. 2 (2008): 99–112. http://dx.doi.org/10.3200/symp.62.2.99-112.

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NICHOLLS, PETER. "Divergences: modernism, postmodernism, Jameson and Lyotard." Critical Quarterly 33, no. 3 (1991): 1–18. http://dx.doi.org/10.1111/j.1467-8705.1991.tb00958.x.

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ETARYAN, Yelena. "The German View on Modernism and Postmodernism." WISDOM 15, no. 2 (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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Gasiorek, A. "4 * Modernism and Postmodernism." Year's Work in Critical and Cultural Theory 14, no. 1 (2006): 64–88. http://dx.doi.org/10.1093/ywcct/mbl004.

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

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

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McH., B., Andreas Huyssen, and Teresa de Lauretis. "After the Great Divide: Modernism, Mass Culture, Postmodernism." Poetics Today 9, no. 4 (1988): 888. http://dx.doi.org/10.2307/1772971.

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Flores, Ralph, and Andreas Huyssen. "After the Great Divide: Modernism, Mass Culture, Postmodernism." World Literature Today 61, no. 4 (1987): 681. http://dx.doi.org/10.2307/40143980.

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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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Samuelson, Meg. "Literature in the World: A View from Cape Town." PMLA/Publications of the Modern Language Association of America 131, no. 5 (2016): 1544–47. http://dx.doi.org/10.1632/pmla.2016.131.5.1544.

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Returning Recently to Teach at My Alma Mater, The University of Cape Town, I Was Amazed to Find That the Undergraduate curriculum to which I had been exposed at the dawn of the post-apartheid era remained substantially unaltered. With the exception of an experimentally convened introductory year that reverses chronology with interesting effects, the English major continues to plot a literary history across four inherited periods: Shakespeare and Co., Romance to Realism, Modernism, and Contemporary Literature, which collapses a previous bifurcation of the capstone course into Postmodernism or Postcolonialism.

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

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Kruger, H. "'Confessing out the soul to conform to the rhythm of thought': a reading of Allen Ginsberg’s Beat poetry." Literator 28, no. 1 (2007): 23–46. http://dx.doi.org/10.4102/lit.v28i1.149.

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Much critical writing about the Beat Movement has focused on the strong interrelationship between the literary and social discourses within and around the movement. However, the study of Beat literature also necessitates an awareness of its position within the literary discourse of the twentieth century. Beat writing may be seen as standing in the unstable, shifting territory between two equally unstable, shifting literary movements: modernism and postmodernism. Beat poetry pits itself against high modernism and the New Critical tradition, draws upon some aspects of early avant-garde modernism, and simultaneously remoulds these aspects into what may be regarded as the beginnings of postmodernism in the USA. This article presents a reading of Allen Ginsberg’s Beat poetry against this literary-historical background. A brief general overview of some of the key characteristics of Beat poetry is given, followed by a discussion of a number of Beat poems, organised around some salient features of Ginsberg’s Beat poetry that may be linked to Beat poetry’s position in the transition from modernism to postmodernism.

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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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Prins, M. J. "Postmodernistiese tendense in Magersfontein, o Mogersfonfein! deur Etienne Leroux." Literator 19, no. 3 (1998): 99–118. http://dx.doi.org/10.4102/lit.v19i3.561.

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Post-modernist trends in Magersfontein, o Magersfontein! by Etienne Leroux The aim of this article is to prove that there are trends towards the radicalisation of certain tenets of modernism in Magersfontein, a Magersfontein! (1976) by Etienne Leroux. In the first instance, there are signs of what Brian McHale considers to be typical of postmodernism, namely epistemological uncertainty. Readers of this novel are confronted by a modernist shift from the idea of an objective rendering of an empirical reality towards a focus on the ways in which the individual consciousness p lays an active and projecting part in the formation of images of self and world. This shift is juxtaposed with an investigation into humanity's search of knowledge of the past The shift entails a modernist questioning of the objectivity of historical knowledge, an indication of the partisan way in which history can be dealt with, an emphasis on the relationship between different renderings of history and the legitimising of political power, as a result of which the novel tends towards postmodernism, at least as far as Wesseling's (1991) definition of this trend is concerned. At the same time the novel can be read as a satire on the way in which institutions like the state and the film industry are instrumental in the creation of "realities The images which are projected onto reality are often "prescribed" to the individual consciousness, a motif which is well-known in postmodernist fiction.

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Orlić, Milan. "Post-Yugoslav Serbian Literature and Its Roots in the Social and Political Changes." Transcultural Studies 14, no. 1 (2018): 101–18. http://dx.doi.org/10.1163/23751606-01401006.

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Post-Yugoslav literature and culture came out of the stylistic formations of Yugoslav modernism and postmodernism, in the context of European cultural discourse. Yugoslav literature, which spans the existence of “two” Yugoslavias, the “first” Yugoslavia (1928–1941) and the “second” socialist Yugoslavia (1945–1990), is the foundation of various national literary and cultural paradigms, which shared the same or similar historical, philosophical and aesthetic roots. These were fed, on the one hand, by a phenomenological understanding of the world, language, style and culture, and on the other, by an acceptance of or resistance to the socialist realist aesthetics and ideological values of socialist Yugoslav society. In selected examples of contemporary Serbian prose, the author explores the social context, which has shaped contemporary Serbian literature, focusing on its roots in Serbian and Yugoslav 20th century (post)modernism.

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McH., B., and Matei Calinescu. "Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism." Poetics Today 9, no. 3 (1988): 669. http://dx.doi.org/10.2307/1772739.

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Simon, David. "Rethinking (post)Modernism, Postcolonialism, and Posttraditionalism: South—North Perspectives." Environment and Planning D: Society and Space 16, no. 2 (1998): 219–45. http://dx.doi.org/10.1068/d160219.

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Many social scientists and development experts working in the South have dismissed postmodernism and related perspectives as irrelevant in the context of continued poverty and struggles for modernisation. Conversely, Northern authors on postmodernism frequently imply the global salience of the paradigm in a universalising manner redolent of modernist discourse, whereas critics of conventional development(alism) tend to base their arguments on caricatures in which the diversity of real-world experiences and some important improvements in the quality of life over the last 30 years are ignored, Neither approach is tenable, and in this paper the author explores the scope and basis for more fruitful engagements with postmodernism, postcolonialism, and related perspectives, including Southern notions of posttraditionalism, in the context of current developments and popular aspirations in the South. A critical reading of the literature is combined with examples drawn from different regions. In the analysis a pathway is offered through these often confusing fields and the relationships between globalisation, modernisation, and postmodernism, the changing roles and abilities of state and nonstate actors, and the complex ways in which local communities engage with such dynamics in pursuit of a better life, are encompassed.

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Y, Lalitha. "Postmodernism in the Fiction Synchology Summary of Kumaraselvas Fiction." International Research Journal of Tamil 3, S-1 (2021): 132–37. http://dx.doi.org/10.34256/irjt21s121.

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The article Post Modernism, written by writer Kumaraselva, examines the emergence of postmodernism in the short stories Nagamalai, Karatam, Ukilu, Vidalu and Uyirmaranam, and then modernity does not see anything as universal and analyses everything separately. It is also expanding beyond the limits of art and literature to philosophy, politics, lifestyle, technology, architecture, drama, cinema. Postmodernism created myths with a mystery that distorts language, distorts stories and expresses the poetry of the language. It also attracts the attention of the readers and gives them a happy reading experience. It is noteworthy that postmodernism is not theory but also in life.

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Astrakhan, Natalia. "MET-LITERATURE AS A WAY OF MANIFESTING META-REALITY: JN THE ROAD TO A NEW WORLD VIEW." LITERARY PROCESS: methodology, names, trends, no. 17 (2021): 6–15. http://dx.doi.org/10.28925/2412-2475.2021.17.1.

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The article deals with the phenomenon of meta-literature as a manifestation of self-reflection inherent in creative writing and artistic creation. The articles makes an attempt to characterize the phenomenon of meta-literature, which reflects the basic laws of literary development in the twentieth century, gaining special significance in the context of the transition from modernism to postmodernism. It is noted that the problem of art and reality relations is re-thought in connection with the formation and development of modernist literature, all the most significant works of which in one way or another are involved in updating the vectors of artistic solution to this problem. The aesthetic, ideological and poetic features of modernist literature are analyzed, the shift that the content sphere of modernist works undergoes in connection with the interpretation of the problem of art and reality relations is demonstrated, and their poetic basis is determined. It is emphasized that by exploring the phenomenon of literature artistically, meta-literature, in its various manifestations, opens the prospects for a new vision of reality, allows to expand and deepen its understanding. By arguing the need for experiencing literature within the framework of existential experience and thus removing the boundary between artistic and real dimensions of existence ("real life is literature", according to M. Proust), modernists approached the views of philosophical hermeneutics. Remythologization, which characterizes the modernist literary and artistic discourse, can also be understood in connection with the need to correlate artistic meanings with existential ones, to find new ways of identifying and legitimizing them in the situation of religious consciousness crisis. A new configuration of the combination of ancient and biblical-Christian meta-images in the process of remythologization determines the construction of a new world view and concept of man, ensures the achievement of a multifaceted vision of reality. The introduction of the metabolic image of a book into the works of postmodern literature provides an artistic manifestation of the meta-reality discovered by modernism.

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Adamou, Christina. "REVISITED: Answering the Question." Samuel Beckett Today / Aujourd'hui 15, no. 1 (2005): 201–10. http://dx.doi.org/10.1163/18757405-015001018.

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This article reads the two productions of for the screen, focusing on the ways in which they relate to modernism and postmodernism. The readings draw on methodologies developed for television drama and film and seek to draw attention to the role that aesthetics, production contexts and cultural assumptions may play in reading and 'classifying' a production.

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Resch, Robert Paul. "Modernism, Postmodernism, and Social Theory: A Comparison of Althusser and Foucault." Poetics Today 10, no. 3 (1989): 511. http://dx.doi.org/10.2307/1772903.

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Fernandes Butar Butar, Herry. "CRIME STUDY IN POSTMODERNISM PERSPECTIVE." Journal of Correctional Issues 3, no. 1 (2020): 1–15. http://dx.doi.org/10.52472/jci.v3i1.41.

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This research answers how Postmodernism criminology explains about conceptual meaning of crime that differed from modern perspective. With the development of criminology and the rise of new thought in criminology gave us chance at renewing the approach in doing research needed to explain crime and how crime occurred. In post-modernism criminology that has been critically question that modern perspective had not been explained crime as how crime defined empirically. The research is using qualitative perspective with literature study and case study of crime such as environment crime, womanizing, the rise of sentencing in Indonesia and other cases and analysing it with the perspective of post-modern criminology. The case study goals are how to see crime from postmodern and modern criminology and gave the option how to create policy to handle crime

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Wilcox, Leonard. "Modernism VS. Postmodernism: Shepard'sThe Tooth of Crimeand the Discourses of Popular Culture." Modern Drama 30, no. 4 (1987): 560–73. http://dx.doi.org/10.3138/md.30.4.560.

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Gillespie, Gerald, and Douwe W. Fokkema. "Literary History, Modernism, and Postmodernism (The Harvard University Erasmus Lectures, Spring 1983)." Comparative Literature 39, no. 2 (1987): 169. http://dx.doi.org/10.2307/1770541.

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Martin, Carol. "Japanese Theatres: 1960s-Present." TDR/The Drama Review 44, no. 1 (2000): 80–84. http://dx.doi.org/10.1162/10542040051058906.

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From the Meiji restoration of 1868 through the period of Japan-as-colonial-power, to the birth of Japan, Inc. after World War II, the Japanese have responded energetically to the challenges of modernism and postmodernism— no less in theatre than elsewhere.

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Humpál, Martin. "Det Identitetsløse Menneske Etter Modernismen Og Postmodernismen: Noen Eksempler Fra Nordisk Litteratur." Folia Scandinavica Posnaniensia 14, no. 1 (2012): 25–33. http://dx.doi.org/10.2478/v10252-012-0003-5.

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ABSTRACT The author of this article attempts to show how the theme of lack of identity figures in Scandinavian literature of the recent decades, especially in postmodernism, and partially also later. The absence of identity was a considerably frequent theme in modernism. According to many modernists the lack of identity was characteristic of the people of the twentieth century, and modernists usually regarded this phenomenon as tragic. This changed in the 1960s. Some modernist writers of the 1960s began to view the absence of identity in a more conciliatory way: their works featured a greater acceptance for the idea of an individual with no core. This movement away from the tragic conception toward a greater acceptance forms an important line of development in later Scandinavian literature. The article discusses a few selected texts which illustrate this development. The examples include texts by Hans-Jørgen Nielsen, Dag Solstad, Peter Høeg and Erlend Loe.

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Mizerkiewicz, Tomasz. "Niewspółczesność. O możliwej historii literatury polskiej po 1989 roku." Wielogłos, no. 1 (43) (2020): 23–36. http://dx.doi.org/10.4467/2084395xwi.20.003.12151.

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Noncontemporaneity. On the Possible History of Polish Literature after 1989 Temporal and historical frames usually applied to the description of recent Polish literature gradually lose their potential. “Postmodernism,” “late modernism,” and other terms do not reveal the complicated and local temporal landscape of this literature. Processes like the traumatic return of past events (WWII, the Holocaust, Stalinist terror), the simultaneous activity of Polish language writers in countries around the world, immigrant writings, etc., preclude the use of the term “contemporaneity,” since they do not create any shared temporal horizon and belong to processes of different temporal dynamics with separate time rhythms. Rather, they belong to the dimension of “noncontemporaneity” or “asynchrony.” “Noncontemporaneity” is both the general perspective of the latest literature and the experience of the main characters presented by the literary works.

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Connor, Steven, and Matei Calinescu. "Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism." Modern Language Review 85, no. 1 (1990): 134. http://dx.doi.org/10.2307/3732808.

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Weststeijn, Willem G. "A Russian View of European Literary History." European Review 21, no. 2 (2013): 263–71. http://dx.doi.org/10.1017/s1062798712000415.

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This article discusses the theory of the Russian medievalist Dmitry Likhachov regarding the evolution of European literature. In the history of European literature, Likhachov distinguishes a number of so-called ‘megaperiods’, which each consist of a ‘primary’ and a ‘secondary’ cultural period or style. The megaperiods are: Romanesque–Gothic, Renaissance–Baroque, Classicism–Romanticism, Realism–Symbolism, Modernism–Postmodernism. Primary periods generally favour ‘realism’ and are connected with a definite ideology; secondary periods tend to decorativeness, irrationalism and various, even opposite, ideologies. The change from a primary to a secondary period is gradual, from a secondary to a primary one rather sudden. The theory makes us aware of the existence of a kind of ‘rhythm’ in the development of European literature and culture.

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Segura Zariquiegui, Ainhoa. "José María Eguren y la búsqueda de la propia esencia: un poeta más allá del modernismo y del postmodernismo." Monteagudo, no. 25 (October 7, 2020): 171–83. http://dx.doi.org/10.6018/monteagudo.448591.

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Muchos de los genios, tanto de la literatura como de cualquier otra área artística, son difíciles de clasificar. Eso es debido a que su expresión creativa es demasiado novedosa y los cánones establecidos no encuentran un lugar para ella. José María Eguren dejó perplejos a los críticos de su época. La poesía egureniana se encontraba más allá del Modernismo e incluso del Posmodernismo porque era una poesía que expresaba la esencia íntima del autor. En este artículo se va a examinar esta cuestión. A través de este análisis de varios de sus poemas se podrán observar las características estilísticas que hacen de Eguren un autor inclasisificable y único. Many of genial artists, in literature and other artistics areas, are difficult to classify because the creative expression is too new. Jose María Eguren suprised the critics; they did not know where framing his poetry. The Eguren poetry was beyond Modernism and Postmodernism. The Eguren poetry was a poetry that expresed the essence of the autor. This article is going to discuss this issue. Througt the analysis of several poems, we can observe the stylistic features that make this poet as a unique autor.

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Smith, Tyron Tyson, and Ajit Duara. "Postmodernism: The American T.V. Show, 'Family Guy, As a Politically Incorrect Document." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 4868–84. http://dx.doi.org/10.47059/revistageintec.v11i4.2510.

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Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. "After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement's momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music." Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art. Postmodern television and the central part of this study applied to the popular animated American TV show, 'family guy' is a postmodern show in its truest form, while attempting to use certain aspects of postmodernism tropes to help emphasize that visual art can be considered a historical document while doing an in-depth analysis of the visual text of 'family guy by itself, several other research papers were used to help further put in stone that 'family guy' is a true representation of postmodern television. It is divided into two phases of data collection: context analysis, which involves a qualitative study. The second being in-depth interviews (also qualitative) which in itself helps give a subjective view of participants between the ages of 20 and 28. These comprise students who are familiar with the show and the concepts of the show. All of them, both frequent viewers of the show and those also politically informed of world politics, helped further emphasize the concept of the paper, which was the idea of how a television show in all its absurd narrative and pastiche functions as a historical document. The purpose of this study, along with the results for this research, is to help bring about the comprehension of how postmodern shows are influenced by other past events, figures of history, etc.; this understanding can explain how a television show like 'family guy could be considered a historical document – by its narrative, by the cultural references connected to these said events, and also with the help of paintings, which the makers of the show use to design the episode of the show, and which reflect and refer to the actual historical figures. Historiography is being proven to be biased in more ways than one, which leads us to an understanding of a different narrative depending on one’s own opinions of history and historical documents as we know it.

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Hunter, Walt. "Contemporary Poetry and Capitalism." American Literary History 31, no. 4 (2019): 860–69. http://dx.doi.org/10.1093/alh/ajz039.

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Abstract The field of poetry and poetics has been revitalized by a decade and a half of close attention to many of its enduring premises and assumptions. Three new books by Jasper Bernes, Margaret Ronda, and Heather Milne show how US poetry from 1945 to the present responds to the changing conditions of historical capitalism. Departing from older periodizing narratives anchored in the shift from modernism to postmodernism, these books uncover the poetic histories that emerge in tandem with changes in economic structures and political regimes.

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Browne, Ray B. "American Fiction: Modernism?Postmodernism, Popular Culture, and Metafiction by Jaroslav Kusnir." Journal of American Culture 30, no. 3 (2007): 334. http://dx.doi.org/10.1111/j.1542-734x.2007.00561.x.

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Tomiche, Anne. "Lyotard's Differend: Radical and Unresolved Dispute, from the Political to the Literary." Paragraph 40, no. 1 (2017): 28–42. http://dx.doi.org/10.3366/para.2017.0213.

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Lyotard's notion of the differend can be analysed as a philosophical theory of radical disputes, that is, disputes with no possible resolution other than the silencing of one of the parties. The concept is explicitly meant to shed light on ethical, historical and political debates, while literature and psychoanalysis are strikingly absent from this theory. However, the concept of the differend is crucial to Lyotard's own discussions of literature and art. Developing from a reading of some of his texts on literature and art and on psychoanalysis, this essay shows how the concept of the differend operates in Lyotard's understanding and appreciation of literature and art, in order to then ask how the differend can help us think issues of ‘modernity’, ‘modernism’ and ‘postmodernism’ in terms other than those of literary history, and can help us think experimental writings and artistic practices of the twentieth century in terms other than those of provocation or scandal.

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Politis, Dimitrios. "Between Modernism and Postmodernism: Greek Literature for Children and Youth in the Last Decades of the Twentieth Century." Bookbird: A Journal of International Children's Literature 56, no. 2 (2018): 52–56. http://dx.doi.org/10.1353/bkb.2018.0026.

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Yerzhanova, S., and A. Zhutayeva. "APOLITICAL APPROACH AND AESTHETIC EFFECT IN CONTEMPORARY KAZAKH PROSE." BULLETIN Series of Philological Sciences 72, no. 2 (2020): 405–11. http://dx.doi.org/10.51889/2020-2.1728-7804.65.

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This article deals with the relationship between the author`s view concerning the main idea and its impact on the reader in contemporary Kazakh prose. Features of postmodernism and its characteristic features are widely reflected in contemporary Kazakh prose. Particularly, an apolitical view and aesthetic effect establish strong connection between author and reader. The author`s apolitical point of view (approach) is directly related to the conveying themain points of idea in the process of writing. The personal opinion of the author is the main foundation for the theme and ideas of the work. The reader receives an aesthetic impression from the author’s worldview. Two categories, integrating, convey to us the relevance of a work. All these are postmodern features inherent in modern Kazakh prose. This article identifies the differences in the detailed and mental picture of the post-modernism of modern Kazakh literature and also describes their manifestations in prose scenes. The author analyzed the main problems of the writer's laboratory and discussed the idea of a postmodernist trend.

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Mnich, Roman. "One’s Own vs. Other / Another / Alien in the Conceptual and Aesthetic Paradigm of Modernism." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 2 (2021): 233–45. http://dx.doi.org/10.15826/izv2.2021.23.2.037.

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This article focuses on the issue of the Other/Alien within the conceptual and aesthetic paradigm of modernism. In the context of modernistic ideas, the author analyses the philosophy of dialogue and phenomenological views on the Other as represented in the intellectual heritage of the twentieth century. Taking into consideration these ideas, the author discusses three mainstream aspects of the Other/Alien in Russian modernist literature: 1) mythological tradition, which provokes the image of the enemy through the image of the Other; 2) Romantic tradition of the double (doppelganger), and 3) philosophical / phenomenological notion of the body, which views personality as “me/Self” and “my body”. Conceptual analysis of these aspects is provided with reference to poetic texts by Alexander Blok, Innokenty Annensky, and Osip Mandelstam. The author stresses the conventionality of such a division, on the one hand, and the influence of the analysed aspects of the Other/Alien onto the conceptual system of Postmodernism. Modernism in European culture, in contrast to other historical periods, is characterised primarily by the fact that many of its ideas and concepts were only proclaimed, but not presented in the form of complete theoretical concepts/systems. In this sense, modernism turned out to be open to the future, which allows us to call it an “uncompleted project” (Jürgen Habermas). Previous eras offered solutions to important existential problems in the form of complete philosophical systems (Immanuel Kant or Georg Wilhelm Friedrich Hegel), ideas or concepts (Kant’s concept of “eternal peace” and a moral imperative, Hegel’s idea of state and law). Modernism, influenced by the philosophy of Friedrich Nietzsche, destroyed the systematic nature of thinking, doubted traditional morality, and offered paradoxical solutions to many problems in the form of conceptual questions, which are discussed to this day. One of these uncompleted modernist projects was the concept of the Other/Alien, discussions about which have been going on for over a century.

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Selepe, T. J. "‘Looting killed’ the audience: Africanlanguage writing, performance, publishing and the audience." Literator 22, no. 3 (2001): 59–74. http://dx.doi.org/10.4102/lit.v22i3.1055.

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This article examines the role played by African-language writing, performance and publishing, including critical practice, in the demise of the indigenous audience in African-language literary practice. Using implicit materialism the argument is premised on the developments wrought by the era of Modernism that has lead to a univocal writing of world history, and the era of Postmodernism that has ushered in the era of a multivocal writing of world history. The transition from oral literature to written literature will also be used to advance the argument about the subsequent exclusion of the indigenous African- language audience from literary practice. This exclusion is considered to have a direct bearing on the under-development of African societies. Finally, possible solutions will be sought by revisiting some of the causes that characterize the African language problem as a medium of communication and research.

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Tumbahang, Mohan Kumar. "Postmodernism and Post Structuralism: A Literary Dichotomy." Dristikon: A Multidisciplinary Journal 11, no. 1 (2021): 115–26. http://dx.doi.org/10.3126/dristikon.v11i1.39153.

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This article entitled 'Postmodern and Post Structuralism: A Literary Dichotomy' has fairly attempted to compare and contrast between the most discussed and comprehensive notions of postmodernism and post structuralism in a possible precise form. In addition, the study focuses on dichotomies of these trends against their respective pre-forms, 'modernism' and 'structuralism' as well. Their tendencies in literary creation and theory have been briefly discussed. The study method it has availed is essentially the qualitative research design which is concerned with establishing answers to 'why' and 'how' of the study in question. The writing is based on the views on the foreign writers, scholars and critics in different published materials or the online resources. The views forwarded by the aforementioned personalities have been duly considered and cited in both types of citations-direct as well as paraphrased versions. This study has followed the comparison and contrast as its theory. After the discussion or analysis, the findings have been deducted that these two terms are confusing especially for the beginners because there are certain similarities as well as dissimilarities between them in specific cases. The study is expected to be helpful for both the teacher and students of literature especially in the field pedagogy or the individuals who are not directly related to pedagogical issue.

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Travis, Trysh. "Our Drinking Problem: Recovery and Bad Aesthetics." American Literary History 31, no. 1 (2018): 151–59. http://dx.doi.org/10.1093/alh/ajy047.

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Abstract Both the lived experience and the literature of twelve-step recovery resist the ethics and aesthetics of distance, irony, and authorial agency that hallmark modernism and postmodernism. As a result, authors (and sophisticated readers) with substance abuse problems have often struggled to align their ideas of literary value with recovery’s focus on simplicity and earnestness. Neil Steinberg and Sara Bader’s Out of this Wreck I Rise: A Literary Companion to Recovery (2016) is a compendium of inspiring quotations that acknowledges and seeks to offer a way around this problem. Leslie Jamison’s The Recovering: Life after Intoxication (2018) blends the author’s personal recovery narrative with a literary historical attempt to explain it.

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