The Routledge Companion to Postmodernism (Routledge Companions)
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This fully revised third edition of The Routledge Companion to Postmodernism provides the ideal introduction to postmodernist thought. Featuring contributions from a cast of international scholars, the Companion contains 19 detailed essays on major themes and topics along with an A-Z of key terms and concepts. As well as revised essays on philosophy, politics, literature, and more, the first section now contains brand new essays on critical theory, business, gender and the performing arts. The concepts section, too, has been enhanced with new topics ranging from hypermedia to global warming. Students interested in any aspect of postmodernism will continue to find this an indispensable resource.
and difference. During the 1980s, Jencks expanded his theory of double coding into other areas of culture. In art, Jencks sees the return of representational painting, self-conscious allegory, eclecticism and hybridity as signs of ubiquitous postmodern double coding. In fiction, Jencks admires writers who neither repudiate nor slavishly imitate the experimental modernist writers of the early years of the century, but who, like John Barth and Umberto Eco for instance, give us the traditional
activity than we are normally led to believe, although for the deconstructionist it is also a more creative affair. J. HILLIS: CRITIC (1928- ) Previously Professor of English at Yale, and then Distinguished Professor of English and Comparative Literature at the University of California, Irvine, Miller has been associated - alongside Bloom, de Man and Hartman - with the Yale School of criticism. Described by Hartman as a 'boa-deconstructor' in Deconstruction and Criticism (1979), to which he also
throughout the course of history. POSTMODERNITY Postmodernity describes the cultural situation we are now assumed to inhabit, in the wake of modernity's collapse as a cultural ethos. Modernity represented a culmination of several trends in Western culture, including the belief in economic and social improvement and, in a general sense, the inevitability of progress in human affairs (each generation having greater knowledge and technological sophistication than its predecessor). A commitment to
individuality By the early 1980s it was no longer possible to see in Sherman's work a fascination with unravelling the matrix of filmic conventions that articulate female subjectivity. However, Fashion (1983-84), Disasters and Fairy Tales (1985-89), Civil War (1991) and Sex Pictures (1992) were still identified as exemplars of postmodernist art. In these works she began to use new compositional formats, subjects and truncated plastic mannequins; and these alien commodities, purchased from medical
the 1920s, though his ideas are typified by the high rise flats which came to dominate our cities in the 1960s. The modernist architects - like modernist writers and painters in their respective fields - rejected all previous forms and insisted that both traditional and classical forms of architecture should be replaced by buildings based upon rational and universal principles. In practice this meant an emphasis on plain functional design usually in concrete and glass. The building was