In recent years, multiculturalism, tolerance and political correctness have been integrated into how American society thinks. America seems to be trying to learn more about the ingredients of her melting pot. These efforts can be best understood by examining post-modernism. Post-modernism is especially important to breaking down stereotypes such as those that exist surrounding the black family.
To understand post-modernism we must first understand modernism. Modernism is the philosophy that began with the Enlightenment. The Enlightenment was an era when science and art flourished. European society used the Enlightenment to object to the oppression of the church. This era emphasized only those things that are observable or measurable (Smith, 1995). The scientific method developed at this time became the standard to which everything is measured. Modernism, although moving away from the confinements of religion, was limiting in its own way.
Post-modernism can be viewed as an expansion of modernism. It does not limit the idea of truth to only that which can be observed. Post-modernism is all encompassing. Post-modernism does not allow for only one definition for anything. There are several explanations for phenomena. Where modernism emphasizes racial classifications, post-modernism emphasizes cultural and ethnic classifications. Post-modernism sanctions differences from family to family and person to person within the parameters of one culture.
This multiculturalism is being used to educate from primary education through higher education. In Percival and Black’s study with sixth-graders and multiculturalism, they realized that, although they were examining a specific Native American tribe, stereotypes of that tribe or people can develop (2000). For example, all African Americans from the South eat collard greens and corn bread. So, educating oneself about other cultures cannot be used to generalize to the entire group. Post-modernism is, thus, very important to understanding the concept of a black family.
Post-modernism reveals that circumstances cannot be explained in one way. Modernism has clear procedures and criteria for defining phenomena. The question of truth is determined by science. Scientists control the worldview or meta-narrative o...
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The general consensus on postmodernism is that it’s indefinable, Bell hooks offers a solution in her essay Postmodern Blackness. She grounds the philosophical issues of postmodernism within the political framework of race and gender. She poses the question, why haven’t African Americans discussed “postmodern theory”. She describes post modernity as the celebration of differences and otherness, with that said she challenges postmodernism with the inclusion of African American identity. In many ways her essay covers some ground that, Langston Hughes, of the Harlem Renaissance did in his story The Negro Artist and the Racial Mountain. In which he discusses the significance of skin color and how it affects African American life. Both Hughes and Hooks take aim at what identity means to them and how it applies to the African American, but in very different approaches. Although hook’s speaks for African Americans, she makes a point to concentrate on women and men, displaying how postmodern theory applies to them. Meanwhile, Hughes takes aim for the struggle of being a “negro” and the importance of accepting their skin color. Still he mainly focuses on the African American men, never truly identifying with the female of the community. Both still focus on the interweaving of African American culture in the United States and the issues of race, identity, and gender.
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The third key principle of race, ethnicity and post-colonial analysis centers on a group’s culture being erased in order to adapt to the “new” dominant culture (Hall 269-271). The group being affected may try to hold on to established traditions but may face a divide in their ranks. The older generations are more likely to cling on to established cultural traditions but the new generations will try to adapt to the new ones society presents to them. Ellison gives examples of the divide in the African American community. “He was brought up along with the members of a country quartet to sing what the officials called “their primitive spirituals” when we assembled in the chapel on Sunday evenings” (Ellison 47). The older generation, that Trueblood
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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.
Modernism is defined in Merriam-Webster's Dictionary as "a self-conscious break with the past and a search for new forms of expression." While this explanation does relate what modernism means, the intricacies of the term go much deeper. Modernism began around 1890 and waned around 1922. Virginia Wolf once wrote, "In or about December, 1910, human character changed." (Hurt and Wilkie 1443). D.H. Lawrence wrote a similar statement about 1915: "It was 1915 the old world ended." (Hurt and Wilkie 1444). The importance of the exact dates of the Modernist period are not so relevant as the fact that new ideas were implemented in the era. Ideas that had never before been approached in the world of literature suddenly began emerging in the works of many great authors. Two of the pioneer Modernist writers were Joseph Conrad and T.S. Eliot. The tendencies to question the incontestable beliefs embedded in all thinking and to focus on the inner self dominated. Old viewpoints were tossed aside to make way for the discovery of modern man's personal spirituality. Two works that are considered important forbears in the Modern period are T.S. Eliot's The Wasteland and Joseph Conrad's Heart of Darkness.
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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 can be defined as the post-industrial revolutionary era, where which the western world began to see a change in all spheres of living. The effects of the industrial revolution became prevalent towards the end of the nineteenth century and the modernist movement drew inspiration from this widespread change. Artists, writers, architects, designers and musicians, all began to embrace the changing world and denounce their pre-taught doctrines and previous ways of producing work. Society felt the urge to progressively move forward toward a modern way of thinking and living.
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