1. POSTMODERNISM Breaking it Down Or at least trying...

2. a complicated term, or set of ideas Postmodernism has only emerged as an area of academic study since the mid-1980s. Postmodernism is hard to define, because it is a concept that appears in a wide variety of disciplines or areas of study, including art, architecture, music, film, literature, sociology, communications, fashion, and technology. It's hard to locate it temporally or historically, because it's not clear exactly when postmodernism begins.

3. Another non-definition Postmodernism is difficult to define, because to define it would violate the postmodernist's premise that no definite terms, boundaries, or absolute truths exist. The term “postmodernism” will remain vague, since those who claim to be postmodernists have varying beliefs and opinions on issues.

4. Let’s review modernism to help From a literary perspective, the main characteristics of modernism include: 1. an emphasis on impressionism and subjectivity in writing (and in visual arts as well); an emphasis on HOW seeing (or reading or perception itself) takes place, rather than on WHAT is perceived. An example of this would be stream-of- consciousness writing.

5. 2. a movement away from the apparent objectivity provided by omniscient third- person narrators, fixed narrative points of view, and clear-cut moral positions. Faulkner's multiply-narrated stories are an example of this aspect of modernism. 3. a blurring of distinctions between genres, so that poetry seems more documentary (as in T.S. Eliot or ee cummings) and prose seems more poetic (as in Woolf or Joyce).

6. 4. an emphasis on fragmented forms, discontinuous narratives, and random- seeming collages of different materials. 5. a tendency toward reflexivity, or self- consciousness, about the production of the work of art, so that each piece calls attention to its own status as a production, as something constructed and consumed in particular ways.

7. 6. a rejection of elaborate formal aesthetics in favor of minimalist designs (as in the poetry of William Carlos Williams) and a rejection, in large part, of formal aesthetic theories, in favor of spontaneity and discovery in creation. 7. A rejection of the distinction between "high" and "low" or popular culture, both in choice of materials used to produce art and in methods of displaying, distributing, and consuming art.

8. Postmodernism, like modernism, follows most of these same ideas, rejecting boundaries between high and low forms of art, rejecting rigid genre distinctions, emphasizing pastiche, parody, irony, and playfulness. Postmodern art (and thought) favors reflexivity and self- consciousness, fragmentation and discontinuity (especially in narrative structures), ambiguity, simultaneity, and an emphasis on the destructured, decentered, dehumanized subject.

9. But... The difference Postmodernism doesn't lament the idea of fragmentation, provisionality, or incoherence, but rather celebrates that. The world is meaningless? Let's not pretend that art can make meaning then, let's just play with nonsense.

10. postmodernism is concerned with questions of the organization of knowledge. In modern societies, knowledge was equated with science, and was contrasted to narrative; science was good knowledge, and narrative was bad, primitive, irrational (and thus associated with women, children, primitives, and insane people). Knowledge, however, was good for its own sake; one gained knowledge, via education, in order to be knowledgeable in general, to become an educated person. This is the ideal of the liberal arts education.

11. In a postmodern society, however, knowledge becomes functional--you learn things, not to know them, but to use that knowledge. Educational policy today puts emphasis on skills and training, rather than on a vague humanist ideal of education in general. This is particularly acute for English majors. "What will you DO with your degree?"

12. Postmodernists believe that the West’s claims of freedom and prosperity continue to be nothing more than empty promises and have not met the needs of humanity. They believe that truth is relative and truth is up to each individual to determine for himself. Most believe nationalism builds walls, makes enemies, and destroys “Mother Earth," while capitalism creates a “have and have not” society, and religion causes moral friction and division among people.

13. Postmodernism – Right and Wrong? Postmodernists do not attempt to refine their thoughts about what is right or wrong, true or false, good or evil. They believe that there isn’t such a thing as absolute truth. A postmodernist views the world outside of themselves as being in error, that is, other people’s truth becomes indistinguishable from error. Therefore, no one has the authority to define truth or impose upon others his idea of moral right and wrong.

14. Their self-rationalization of the universe and world around them pits themselves against divine revelation versus moral relativism. Many choose to believe in naturalism and evolution rather than God and creationism.

15. The Practical Shifting narrators – 1 st person – they are all telling their stories – perspective variation – no absolute plot – like music and different instruments all doing their own thing yet coming together in harmony – even if it is chaos – discord.

16. Time – Past, Present and Future are intertwined – recognition of the past’s influence and relation to the present and the future. No sense of linear progression. Idea of maze and being lost – not sure where in story or in whose story the reader is involved. “Flashback” idea.

17. Language & Words –– Music is the emotional language that is only in the present because it can’t be written down and played the exact same. Definition of a word isn’t clear. The original source of something cannot be discovered. Author and character become lost and often intertwined.

18. Location and place becoming essential to the story - almost as though it is another active, yet ambiguous character in the story.

19. Genre. A similar set of issues guided our decisions regarding genre boundaries--what is and is not fiction. For forty years, some of the most vital and innovative American fiction has routinely transgressed genre boundaries, and has drawn strength from the transgression. It is essential to sample some these hybrid exercises that remain predominantly "fiction" according to traditional understanding. To represent the journalism/fiction hybrids of early postmodernism one can read Truman Capote's In Cold Blood, which bears more resemblance to a traditional realistic novel than similar work by contemporaneous New Journalists.