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Lazy Dreamer's World

Scope


This project is about an article that provide a detail explanation of the difference between:
MODERNISM and POSTMODERNISM

in terms of the time scale between the two concepts. It will include both visual and indicative examples from Mary Shelly's Frankenstein, which is a great work of science fiction; blade runner, a Ridley Scott's postmodern movie, and other related texts and media examples. The purpose of this project is to achieve a better understanding of a software package in relation to improve academic skills.It will be displayed as a webpage as the whole project can be accessed via Internet. Microsoft FrontPage will be used as the software package and certain levels of literature knowledge will be used to achieve the project.

Learning Reflection

Modernism V.S Postmodernism


Modernism
To characterize postmodernism, we must look briefly at what came before: modernism. "Modern" was once used liberally as an adjective to describe many things--from the latest kitchen gadget to a style of art. A full definition of modernism would be rather difficult. But "modern" also refers to a specific period of time (roughly 1870 through the mid-1960s) and to the range of cultural ideas, beliefs, and artifacts that people generated during that period.

Modernism was grounded in the beliefs of the Enlightenment--a time in western civilization (roughly 1730-1800). Replacing traditional beliefs in God, church, and king, they established a new authority centered in man and his rational abilities to create a new, "liberated" social and intellectual framework for human endeavour.

The modernist believed that science had shaken the foundations of traditional authorities and truths. (Consider, for example Darwin's evolutionary theory--had radically altered the social consciousness of western man.)

Postmodernism

A term used to designate a multitude of trends¡ªin the arts, philosophy, religion, technology, and many other areas¡ªthat come after and deviate from the many 20th-century movements that constituted modernism. The term has spread in contemporary discourse and has been employed as a catchall for various aspects of society, theory, and art. Widely debated with regard to its meaning and implications, postmodernism has also been said to relate to the culture of capitalism as it has developed since the 1960s. In general, the postmodern view is cool, ironic, and accepting of the fragmentation of contemporary existence. It tends to concentrate on surfaces rather than depths, to blur the distinctions between high and low culture, and as a whole to challenge a wide variety of traditional cultural values.

Postmodernism can just as easily be stripped of its appearance to reveal a position according to which the 'society of the spectacle' produced by 'late capitalism' seems right and inevitable. . . It becomes indistinguishable from behaviourism, a functional positivism that, no matter how radical it sounds, involves an implicit affirmation of the status quo.

In my opinion, postmodernism is hard to pin down, not only because it appears in so many different contexts and through so many different discourses, but because one of the fundamental principles of postmodernism is indeterminacy¨Conce you pin something down, name it, categorize it, you have already tried to fit it into a humanist or Enlightenment model of knowledge; postmodernism is, in general, whatever resists or destabilizes the Enlightenment mode of thought, knowledge, or action.

In Jameson¡¯s (¡°JAY-meh-son¡±) article, he claimed the most two significant features or practices in postmodernism are pastiche and schizophrenia. People could be confused with parody with pastiche as they¡¯re both involved the imitation of other styles and particularly of the mannerisms and stylistic twitches of other styles. Parody exists when modernist believe there is a linguistic norm behind. What will happen when if one no longer believes in the existence of normal language, of ordinary speech? That¡¯s the moment at which pastiche appears and parody has become impossible. Pastiche is like blank parody, speech in a dead language, without the satirical impulse, without laughter, it¡¯s parody that has lost its sense of humour, parody what that curious thing, the modern practice of a kind of blank irony.

Schizophrenia is considered as the breakdown of the relationship between signifiers in language. It is when isolated, disconnected, discontinuous material signifiers which fail to link up into a coherent sequence. This could be explained by many forms of cultural production today. The article used the example from a younger poet bob Perelman called china. It is a secretly political poem about new reform in china and tells sth about the hidden reflection from public about the social experiment of new China.

Postmodernism is a more serious concept when it was still a cutting-edge theory rather than a played-out marketing strategy, but nowadays it is widely used as a way to attract the newly grown generation with less depth of thinking.

Examples

Examples for postmodernism could vary in people¡¯s life, culture, society. Postmodernist philosophers emphasise how the barriers between art, literature and a wider political and social life are now non-existent. High school kids in America know more of the cultural life of their country (TV, films, and above all the `information superhighway') than college professors.. It was first noticed in architecture, especially in the work of the American Philip Johnson, who put sloping roofs and columns on skyscrapers.

Television: Successful sitcom "Seinfeld" claimed itself as a "show about nothing." Isolated, narcissistic, urban, "thirty-something singles" float through their existences trying to make sense out of what they ultimately perceive to be a meaningless, patchwork world. We laugh as we watch these actors portray individuals with no roots, vague identities, and conscious indifference to morals outside their self-determined ones. George riotously works out his "pathetic" life "going with" whatever works for him at the moment in jobs, scams, or relationships. The commercial and critical success of this show is attributable not only to the genius of its script, character development, and acting, but also to the way the audience identifies with the fragmented, ludicrous, pastiche of "moments" which make up the characters' lives. Seinfeld is uniquely postmodern in its presentation of groundless, malleable character identities. It is also postmodern--as are most TV sitcoms today--in its radical, up-front play with "moralities" altered at the characters' whim; there is no one morality.