Postmodern Literary Criticism
Postmodernism attempts to call into question or challenge the notion of a single absolute unified master narrative without simply replacing it with another. It is a paradoxical, recursive, and problematic method of critique.
It encourages transcendence through or in spite of limitation, while simultaneously decentering the concept of absolute transcendence. To this end, it encourages the development of a heightened sense of self in relation to itself and the world around it.
Postmodernism assumes an ontology of fragmented being. Where modernism asserts the primacy of the subject in revealing universal truth, postmodernism challenges the authority of the subject and, thus, universal truth based on it. Modernism and postmodernism, however, draw upon distinctly different epistemological modes: critical and dogmatic.
Modernism posits itself as a source of dogmatic knowledge. Dogmatic knowledge is an unchanging, absolute ideology. It has found the Truth or believes it is possible to acquire it. Knowledge is objective, tangible and quantifiable. The dogmatic mode attempts to subordinate further critical thinking in order to spread knowledge of Truth.
Postmodernism, on the other hand, aspires to reflect the critical. Critical knowledge is a process, rather than product. Absolute knowledge is unattainable, conditional, and provisional at best. Any unequivocal sense of the real is rendered superfluous. Truth, therefore, remains elusive, relativistic, partial, and always incomplete; it cannot be learned in totality. "Truth itself is a contingent affair and assumes a different shape in the light of differing local urgencies and convictions associated with them" (Fish 207). Critical knowledge has no choice but to exercise complicity with the cultural historical context in which it is hopelessly mired. As Lee Patterson states, "Even scholars who are dealing with chronologically and geographically distant materials are in fact examining a cultural matrix within which they themselves stand, and the understandings at which they arrive are influenced not simply by contemporary interests but by the shaping past that they are engaged in recovering" (259).
Postmodern literary criticism asserts that art, author, and audience can only be approached through a series of mediating contexts. "Novels, poems, and plays are neither timeless nor transcendent" (Jehlen 264). Even questions of canon must be considered within a such contexts. "Literature is not only a question of what we read but of who reads and who writes, and in what social circumstances...The canon itself is an historical event; it belongs to the history of the school" (Guillory 238,44).
Macey, David. “Postmodernity.” The Penguin Dictionary of Critical Theory. London: Penguin Books, 2001. 307-309. Print.
Postmodernism can be defined as a rejection of the idea that there are certain unequivocal truths or grand narratives (such as capitalism, faith or science) and as a belief that there are multiple ways of understanding anything, whether it be it culture, philosophy, art, literature, films, etc, or even television... Television reflects the mass-produced society we live in and certain shows exhibit many of the archetypes of postmodernism that have become prevalent in other art forms. Postmodernism can be useful for understanding contemporary television it can help us to relate to the ever-changing world we live in. Television shows like ABC’s Lost (ABC, 2004-2010) dabble in matters of intertextuality, questioning of grand narratives and, amongst others, a manipulation of time through use of flashbacks, flash-forwards and, uniquely to Lost, the flash-sideways.
In the essay I hope to explain why I picked each poem and to suggest
Postmodern literature contains an authoritative point of view as it expresses the “real” and the “unreal”. The authoritative viewpoint hides within the representation of words and the form of the text. Jean Baudrillard speaks of the masking of view in his essay, “Postmodernism and Consumer Society”, when he says, “This, feigning or dissimilating leaves the reality principle inta...
Postmodernism movement started in the 1960’s, carrying on until present. James Morley defined the postmodernism movement as “a rejection of the sovereign autonomous individual with an emphasis upon anarchic collective anonymous experience.” In other words, postmodernism rejects what has been established and makes emphasis on combined revolutionary experiences. Postmodernism can be said it is the "derivate" of modernism; it follows most of the same ideas than modernism but resist the very idea of boundaries. According to our lecture notes “Dominant culture uses perception against others to maintain authority.”
In the beginning of the twentieth century, literature changed and focused on breaking away from the typical and predicate patterns of normal literature. Poets at this time took full advantage and stretched the idea of the mind’s conscience on how the world, mind, and language interact and contradict. Many authors, such as Fitzgerald, Steinbeck, and Twain, used the pain and anguish in first hand experiences to create and depict a new type of literature, modernism. In this time era, literature and art became a larger part of society and impacted more American lives than ever before. During the American modernism period of literature, authors, artists, and poets strived to create pieces of literature and art that challenged American traditions and tried to reinvent it, used new ways of communication, such as the telephone and cinema, to demonstrate the new modern social norms, and express the pain and suffering of the First World War.
Post-Modernism, the absence of any certainty, discredits the values of modernism, opposing the fixed principles of meaning and value. It is built on countless theories about society, the media and knowledge of the world, but it is also aware that there is no ultimate way of making sense of humanity. Ondaatje embraces aspects of post-modernism, by creating a novel that breaks away from the traditional narrative, thereby giving readers a greater perspective on the novel. One learns that any story is simply a storyteller's construction, and is never unbiased.
Post modernism is a very difficult concept to define. A French philosopher once defined post modernism as an "incredulity toward all meta narratives," which basically means a skeptical attitude toward all claims of absolute truth. Post modern writers use elements and techniques that provoke the reader to question their reading experience and scrutinize their own personal understanding of life and the values of their society. There are excellent examples of post modern writers using elements of post modern writing, such as irony, magic realism and fragmentation in the short stories read in Ms. Reynolds's English 4U class. The use of post modern elements in these short stories forces the reader to further their reading experience by going more in depth into the writing and figuring out how the story is significant to them and their view on the world.
George Marcus describes reflexivity as the “self-critique, the personal quest, playing on the subjective, the experiential, and the idea of empathy” (Marcus 193). In Ethnography through thick and thin, Marcus writes that the emergence of the different styles of reflexivity in ethnographic writing has come to stand for the influence of postmodernism. In brief, according to the Encyclopedia of Cultural Anthropology (1996), post-modernism is defined as an eclectic movement, originating in aesthetics- architecture and philosophy. Postmodernism espouses a systematic skepticism of grounded theoretical perspective. It concentrates on the tensions of difference and similarity erupting from the globalization processes: circulation via people, cross-cultural interaction, interaction of local and global knowledge. Postmodernism manifests historical perspective of modernism and modernity.
Postmodernism first appeared around the 1980’s, following a hectic and messy period of time. The postmodernist theory that defines a new era describing the world as society is fragmenting, while authority is de-centering, and real truth does not exist; there are only representations of it. Believers of the postmodernist theory, believe that postmodernism is a mixture of present, past, and future, more specifically, the cultural and spatial elements of these different times (Lemert, 2010). The postmodern age is considered the information age, or even, the technological age. Both of these are evident through the changes that have occurred within the typical marriage and family. One of the main emphases of postmodernism is that no real truth exists, demonstrating the grand narrative. The grand narrative states that the “truth” is invented for the sole purpose of selling things. This is clearly shown, in a different manner, in marriages and families in today’s society. No real truth being in existence creates change in the typical marriage and family.
While this essay can in no way claim to contain a fully representative sampling of what various scholars have contributed relative to the ongoing debate over the literary canon, I will attempt to highlight three distinct positions which are all informed by John Guillory's critical contributions to the canonical debate. First, I will discuss the concept of ideology and canon formation as Guillory first articulated it in his 1983 essay, "The Ideology of Canon Formation: T. S. Eliot and Cleanth Brooks," and which he subsequently thoroughly revised and included in his 1993 book on canon formation, Cultural Capital: The Problem of literary Canon Formation This essay on the ways ideology and cultural politics complicates and informs canon formation, also discusses Guillory's theory concerning the death Joe Weixlmann who offers his own commentary concerning how ideology and politics of literary orthodoxy in favor of a more democratically situated heterodoxy, and how this concept of a heterodoxy might inform the university's literary curriculum. Next, Christopher Ricks' essay, 'What is at stake in the "battle of the books"?" will be analyzed to determine if his attack on Guillory's assertions relative to his critique of the current status of the canonical debate contributes in any meaningful way to opinions about whether or not the literary canon should be revised. Finally, the several critics who have now offered commentary on Guillory's latest theories on canon formation as articulated in Cultural Capital will be discussed relative to how influential they perceive Guillory's latest work to be as it pertains to the ongoing debate over the nature of the extant literary canon.
This lack of action continuously emphasizes the lack of empathy and care of the narrators and highlights to the reader the importance of acting differently from them. Through both of these poems the reader is shown that everyone faces struggles and how important it is to help others in their times of need because they too will face them at some
Another important sign of postmodernism in literature is the abandonment of strict time lines, sometimes called discontinuous time. Often an author will construct a sequence of events that have no time relationships to e...
In the 1950s, authors tended to follow common themes, these themes were summed up in an art called postmodernism. Postmodernism took place after the Cold War, themes changed drastically, and boundaries were broken down. Postmodern authors defined themselves by “avoiding traditional closure of themes or situations” (Postmodernism). Postmodernism tends to play with the mind, and give a new meaning to things, “Postmodern art often makes it a point of demonstrating in an obvious way the instability of meaning (Clayton)”. What makes postmodernism most unique is its unpredictable nature and “think o...
Postmodernism is a style of art that first became popular in the late 20th century. When seeing the word postmodernism, it might have to do with any one medium of art-- literature, philosophy, history, economics, architecture, fiction, and literary criticism. Lyotard, a founder of postmodernism in philosophy, is quoted as saying, “Simplifying to the extreme, I define the postmodern as incredulity toward metanarratives.” By saying this, Lyotard simply meant that, as a postmodernist, he was against the ways of thinking of modernists and wanted to see something new philosophically and artistically. Postmodernity demonstrates a departure from the art style modernism.