什么是后现代主义（What is postmodernism）

什么是后现代主义（What is postmodernism） 什么是后现代主义(What is postmodernism) Data worth having From the usual study, accumulation and summary Where there is a problem, there must be some Please also criticize and correct me! What is postmodernism? Sink of ice Let's eliminate several impossible definitions of postmodernism from the very beginning first Post modernism is not a style concept The idea that postmodernism is a style The reason is untenable It is because No matter what style or terminology is used to define modernism and Postmodernism It is found that the two are difficult to distinguish perhaps The latter is only a reinforcement or modification of some of the styles already possessed by the former It has long been pointed out that Hassan has some distinctive features about Postmodernism (such as uncertainty, internality, etc.) Not at all Define postmodernism in style or language It can also cause some parts of a work to be modernist Other parts are the absurd conclusions of Postmodernism (for example, that Ulysses's stream of consciousness is partly Modernism The part of parody or parody is Postmodernism Another example is that Eisenman's architectural language is modernist But its space is post-modern And so on) As Chabot (C. B. Chabot) said: "we lack a fully and universally accepted understanding of modernism." Many of the arguments for postmodernism have become plausible Many have been crowned in the name of later modernity All directly from the earlier [modernist] writers "1) Second Postmodernism is not a concept of a period or an artistic movement because firstly It first erroneously regards modernism as a time - conscious art movement (as from 1860 to 1960) Such errors would lead to absurd conclusions that "all" art after 1960 will be regarded as postmodernism; secondly It is not based on a vulgar social determinism (as in Jameson) It is based on the dogmatic dogmatism of certain assertions that we have entered the Postmodern Era (e.g. And most of the lower postmodern theorists) As Chabot said "People even think we live in a postmodern society." A certain number of people apparently believe it The break of culture at some point has occurred Its logo can be perceived from the whole range of our cultural activities however Few people seem to agree on the time between their basic nature and their assumptions Fewer people have the same opinion on how best to characterize the impact of it on our cultural products 2. This dogmatism is not only untenable And he was evil in his prophetic tone Santol (F. F. Centore) points out: "postmodernism has become an unofficial state religion." A new salvation myth Have universal validity Every good citizen must abide by In fact Those who do not follow this free consensus are guilty of treason In the name of radical hermeneutics, deconstruction, new pragmatism, or postmodernism The current orthodoxy teaches people to the modern world (16001945) With the fall of God, with objective science Forever passed A world of more fluid, amorphous processes should be replaced It therefore calls for a more radical interpretation model It insists that each thing is only a metaphor or symbol of reality And reality does not exist Every thing is the function of history; all cultures and religions are temporal, temporal, and mythological Genesis is not God's word But Hermeneutics -- midway and ending, of course, are no exception "3) Third Postmodernism is not the reality of Western Contemporary Art It is only, and always is, a form of ideas A critical concept or concept of aesthetics This is particularly worth mentioning Some naive Marxists believe that... We have entered a period of epoch-making Here it is Everything is postmodern In China Because some of the more naive postmodernism scholars, but the specious And from the beginning example 7 "postmodern theory" In everyday consciousness People have produced "the West has entered the postmodern." What should we do? The irrational anxiety of style Or, "we should bypass the utopian fantasy of modern direct access to postmodernism." In fact Postmodernism is by no means a social reality of the West Not even a thought reality It's not social reality Because As Berger pointed out sharply: "although compared with the second half of the nineteenth Century." The economy, technology and society have undergone profound changes But the dominant mode of production remains the same: the exploitation of surplus value by collective capital by private capital The social democracy in Western Europe has been fully recognized Despite the growing significance of government interference in economic affairs The pursuit of maximum profit remains the driving force of social production therefore We must explain current changes carefully They can not be naively labeled as a landmark shift 4) it is not even an ideological fact to say that postmodernism Because, from the very first day it was born Postmodernism has always been criticized and refuted by Western insight Let me put it another way Postmodernism did not exist for a single day as a "thought reality" It is always there as a problem As Chabot said, "they [postmodernism] assume that we are actually witnessing some kind of real postmodern culture." And I want to challenge this hypothesis In my opinion Some are called postmodern things in fact is a kind of New Modernism itself development or evolution This statement has at least the same similarity I have put forward some arguments to support my argument: (1) there is no satisfactory existence and generally accepted postmodern interpretation; (2) after a lot of things called modern actually directly from modernism; (3) the most debate about it mainly is through the summary of exhaustion Modernism In particular, through a generalization that ignores the nature of the concept as a second level To acquire its initial authenticity "5) Last Postmodernism is not the concept of a media concept or an artistic style therefore For example We can not say that easel painting is modernist And installation art (installation), video art (Video Art), and so on It's Postmodern because Fundamentally speaking The dividing line between modernism and postmodernism is not media or material Or the difference of a particular style It is the difference of ideas The problem is a bit complicated We have to make a slight curve We already said that Yes, we have entered the post-modern" And the assertion that we are witnessing the emergence of a new culture Often accompanied by the announcement of the death of Modernism Some of the more neutral authors Seems more willing to put forward, "has modernism failed?" "Such a problem Such as Gabril J He begins with the book of the same name and asks, "Modernism - the term that has been used to describe art and culture for the past few centuries - seems to be heading for the finish line As long as we like to think everything must be art Innovation seems impossible Or even undesirable We have left behind a creative and resonant stage of success and resonance Is it an age of poverty and decline? Modernism has been successful Or has it failed? Since pluralism is in a frenzy Then postmodernism provides a wider space for freedom Or is it just what Hagel calls "bad infinity" - it asserts that it understands everything? In fact, it is merely a false complexity that masks the scarcity of its meaning "6) The gabrik modernism and postmodernism debate summed up as follows: "art for art's sake Or is it art for society? He said, "anyone who tries to face all the realities of modernism." Even now Still in its encomiast (those who defend the abstraction and art for art people) and its detractors (those who believe that art must serves a purpose or believe that art must have for people in the crossfire between) "7) Gabrik explained The high modernist stage from the early twentieth Century to the 30s Art in order to save its essence Very consciously cut off ties with their social moorings And retreated to his position In the early decades of this century, art was "humanized"" More of a response to the spiritual suffering of the artist in the capitalist and totalitarian society As Kandinsky said The phrase 'art for art' is in fact the best dream that can be maintained in a time of materialism (materialism) Because it is an unconscious protest against materialism and demands for all things that should be useful and practical "In order to oppose materialist values And the collapse of the spirit as a result of the breakdown of religion in modern society The early modernist turned inward Turn away from the world Thus focusing on self and inner life Since it is worthwhile, it is no longer possible to find it in the social world They turn to themselves to find the meaning In the minds of artists in the early twentieth Century A work of art is a world of independent and pure creation It has its own spiritual essence however In 1960s and 70s Late modernism began to give up growing self referential examples of formalism This formalism denies that abstract art has any function or significance in the social framework of any dissident After a stage when most avant-garde artists are violently separated from social themes or effects Many artists began to dislike the star system and the narrow form of "movement" "They start asking themselves some big questions As they lift their heads from their canvas and steel material They saw politics, nature, history, and mythology "(Lucy, Lippard Marx and feminist critics in the United States) many artists began looking for substitutes for paintings and sculptures Both are likely to provide practice for opportunism and ruthlessness in the market system They developed a new model Such as concept art, anti formal art, earth art, process art, body art and behavior art, etc. Non - materiality and non - Permanence are the main strategies used to dissolve the materialization of Art In this way, they are no longer precious things" It is no longer what attracts the market 8) Obviously We have come to one of the key questions of contemporary art theory: the one that aims to destroy the narrowness of Modernism (such as Greenberg) On the other hand, they try to maintain modernist critical contemporary art (i.e., conceptual art, anti formal art, land art, process art, body art and behavioral art, etc.) What is modernism? Or postmodernism? Answer to this question It depends on our definition of modernism / Postmodernism We have defined modernism in the book "Introduction" There We answer that modernism is not a media shift But a concept based on the concept therefore Be sure to say These critical art styles in Contemporary Art Still belongs to the category of Modernism Only when art meets such conditions: when they insist on the autonomy of art as a differentiated cultural sphere meanwhile Adhere to the form of Limited (or visual quality) when the concept and partisan And when they give up these concepts They are no longer Modernism therefore These new styles in Contemporary Art (including installation art and video art) belong to the question of modernism or postmodernism Do not generalize When people give up the premise of Modernism People are sure to ask the following question: so... Are they post modernist? Martin Jay (Martin Jay), when summing up Adorno, Berger and Habermas's ideas about contemporary art, once pointed out that If we are a little closer, look at the aesthetic dimension of Contemporary Art We will see that the same antidifferentiating impulse is at work A large number of conceptual art, anti formal art and behavior art in Contemporary Art Make us feel anxious Because it departs from our sense of boundaries; between public events and private events Between the reality emotion and the esthetic emotion There is no difference between art and self "In this sense Postmodernism can be seen in part as a non Utopian drop in the art of avant-garde art by Peter Berger The classic example of the strong tendency of Postmodernism to deviate from the boundary is between high and low art Between culture and garbage And the collapse of the difference between the sacred space of the museum and the secular world Especially in architecture (which has been widely regarded as the most acute attack area of postmodernism) Charles Jenks said "radical eclecticism" means the difference between the style of interruption of long-standing Is also a "serious" construction has been superior to a more popular and vulgar local buildings (such as those in Robert Vinchuli's defense of Lars Vegas in praise of building) hierarchy collapse 9) thus We have clearly seen where the difference between modernism and postmodernism lies But this is still not the right time to define Postmodernism It is only after we listen to the claims of those who pretend to be Postmodern We can figure it out What are they talking about postmodernism? Then We are expected to give a more apt definition of Postmodernism Although the overt postmodernism disdain the theory or just disdain the theory But some people think For example, Robert Vinchu's idea of architecture is directed at modernism and avant-garde art theories Therefore, it is helpful to unravel the basic traces of this new change Jencks moves in a similar way and more broadly into theoretical areas Another leading figure is Oliva (Oliwa) He was a pioneer in early 80s in Europe and early 90s in China with a strong appeal for "trans-avant-garde" theory There are also many self comments and interviews with artists Such as Sherman (Sherman), Jeff Konz (Koons), Stan Baha (Steinbach), and so on Both openly claim the post modernist position If people pay attention to what they say If one could examine the diversity of artistic activities in all these areas When can people explain what they mean by postmodernism? Morawski (Stefan Morawski) points out the following two basic characteristics of Postmodernism First There is no doubt about the anti avant garde Postmodernism is extremely indifferent to the contemplation of the status of Art Even if it's not hostile At this point Postmodernism is an intellectual anti rationalism (anti-rationalism), and there is no mistake Or even anti intellectual Postmodernism is often self - contained and most advocates tolerance; but it must not tolerate any ideological contribution or Eschatology (utopia or blueprint for liberation) It challenges the pursuit of constant innovation The collapse of the best art knights is a heroic belief in the media, the means of expression and iconography Contrary It agreed that art is not a vocation but one of the many occupation Its legitimacy lies in the production of goods that sell particularly well It will not wait for rebellion or Transcendence It adheres to the closest distance from the average member of society The aesthetic dimension must be restated Either in the form of a dazzling forgery (which reminds us of the stylized art of design that is demanded by the market) Either in the form of an artist's spontaneous expression (these artists use colors, sounds, words Deny the possibility of perfection Just want to present a deja vu imitation of reality In a world without a center axis In a vacuum of value The fundamental goal is to create freely for the sake of pleasure" Imitation painting and drama are the most appropriate means to witness the present cultural rubbish The guest card is eclectic shameless 10) Secondly Post modern practice is the fall of advanced culture But it was a deliberate fall Intentionally lowering himself to a lower level of literacy It wants to find a feeling of going home Because it makes it more consumer oriented So it takes advantage of narrative, familiar symbols and simple forms Its main form is diversity of attitudes and values People can choose whatever they like Social reality is recognized at all levels as heterogeneous, fragmented, and accidental The post-modernism insists that Nothing is available to the judge today Therefore, art has no mission It's just some sort of diversion All the principles of avant-garde art have been questioned Painting only means pointing to something fleeting Without making an assertion that can be remembered The image is usually a nightmare related trite or only with human sadomasochist. It does not refer to frames So you can't remember anything The audience demand for pictures or to ignore the aesthetic quality of the outbreak to rush Or to imitate the classical masters of the old techniques to meet Straightforward eclecticism leads to art sense of dignity of distrust and a belief that everything is just the commercial exhibition Images of R Longo (R.) are often borrowed from magazines, newspapers and movie stills Painting should always be an operation using proper workmanship To unite the painter with a naive audience who is indifferent to any serious thought It should be as good as a gift to understand And should As Oliva said Cheer, "happy nihilism."" Cheryl evine (Sherrie, Levine) constantly self repeated photo reproduction Mark Kostab (Mark Kostabi) continue to redo operations (Leger) Leger Konz's copy of all market icons The stylish, stylized images of the Prince (Prince) Wait All belong to this category Not that there is no difference between these artists however All of these works are now finished by buzzing parasitic to be copied into 11) In the field of Architecture The average interest is deeply rooted in the regional (ethnic) tradition Therefore, it is easy to mistake postmodernism for revival however The products of postmodernism can be identified by the following facts: different styles Whether it's new or old Be juxtaposed together. And through modern technology and the latest material to be strengthened Column, column, arch revival The space is filled with trees, flowers and small fountains Intermittent lines are welcome Colors are invited to work with shapes Architecture must also have narrative: it uses symbolic symbols of the past Try to be interesting and enthusiastic This will make everyone happy to be loved by the audience C Moore in the spectrum of the pole (C. Moore) and those of his distant idioms (say corridor) gaudy remodeling Or is S (S. Tigerman) - Tiggemann "Daisy home" An imitation of the phallus and vaginal building; other pole is obviously refined, such as building P Essen Manchester (P. Eisenman), H hollein (H. Hollein) and J Stryn (J. Stiring). They radically revived the modern paradigm But it is not entirely allowed to develop Their strategy is a "double code"" But they also appreciate conscious hand making And graft with heterogeneity and diversity And by careful definition of semantics (semantics) The submission of high technology to the emotional connection with the public receiver Morawski pointed out sharply The art of camel is difficult to pass through the eye of a needle If an artist has become the main condition is to be a conformist and popular person (for example to average demand and interest). He suspects that Costa, Bidlo, Leahy (Lersch) and others - they are parasitic in all sorts of micro or macro quotations Continuous production of paradox and imitation There was no blush at all about the emptiness of their work - were they some of the artists who blew leather? His suspicions were finally confirmed in a book called "Endgame" (1986) The book is published by the Institute of contemporary art in Boston It reviews Black Na (Bleckner) and Halle (Halley) painting There are also so-called integrated media sculptors, Konz, Ottesen (Otterson) and Stein, Baja Make clear These artists are clearly aware of the cultural and cultural contexts in which they live But in favor of widespread commercialism fetishism They are well aware and willing to bend to the needs and reproduction industries of the commercial street Happy handling of the finished product has become the main motive for external urges and art games Shopping Just as Stan publicly admitted in Baja Is the best way to travel and peep Konz's vacuum cleaner can be interpreted as a symbol of a cultural vacuum For these artists They make these goods There is no melancholy at all Nor was there any anger or sarcasm They are just a symbol of universal commercialization Therefore, very close to the most broad expectations and desires of customers 12) Morawski's typical attitude towards postmodern art and its practitioners And their cultivation of certainty and indifference Of course, a firm and critical position Postmodern art has been accused of abandoning the ambition of modernism and avant-garde art Its tenacious pursuit of aesthetic value Its conscience is responsible for cultural and social influences And its spirit of Liberation It is this spirit that supports modernism and avant-garde art And spur it to the highest artistic achievement Morawski's critique of postmodern culture is both a critique of Art It is also a political critique A culture that claims noble indifference and is separated from the artist's studio and everything outside the painting as the subject principle Can produce mediocre and insignificant Art - while strengthening the spirit of commercialism therefore Morawski argued Postmodernism is sensitive to the tragic complexity of human existence In the pursuit of transcendence and improvement in the elimination of human beings In terms of raising the instrumental qualities of hedonism to the highest, in fact, the only position of value Commit a sin Morawski's second front aims at the radical anti fundamentalism of post-modernism philosophy And hostility to all aspects of modern tradition Morawski is not allowed to be rejected as part of the modern heritage It is the deep need to reveal and grasp reality; it is this reality that lays the foundation for episodic and fragmented things and gives them meaning There is also the same deep concern that modernism has laid down human values and ethical principles Morawski suspects the sincerity of the scheme of postmodern philosophers Especially its feasibility He maintains that postmodern philosophers cannot explain their assumptions; intentionally or unintentionally They make their landscape of "absolute" and secretly trafficking in their own "absolute value" contraband The work of modern philosophy, usually consciously and openly And therefore open to challenge and critical inquiry Post modern philosophy has to do with many twists and turns in a sneaky way and And blocks opportunities for self criticism and self correction This is the basic landscape of Postmodernism The depiction of Morawski is not necessarily the whole picture of Postmodernism But it does catch the key Summarize the description and criticism of Postmodernism in our chapters We can give the next definition of Postmodernism: Postmodernism is a place that happened in Europe and America in 60s It was popular in Western art, social culture and philosophy in 70 and 80s The main idea is to abandon the basic premise and normative content of Modernity In the art of Postmodernism This abandonment is manifested in the rejection of modernist art as an autonomous value that has divided the cultural sphere And reject the forms of modernism, the principle of limitation and the principle of Party Its essence is a kind of intellectual anti rationalism, moral cynicism and sensual hedonism Notes: * this is my twentieth Century "art criticism" "conclusions" section a C., Barry, Chabot, The, Problem, of, Postmodernism, the, in, Robert, Cummings, Neville, ed., The, Highroad, around, Modernism, Albany:, State, University,, of, New, York, Press, 1992, p.22. 2, Ibid. F., F., Centore,, Being, and, Becoming:, A, Critique, of, Post-modernism., New, York & London:, Greenwood, Press, 1991, p.17. 4, Peter, Burger, The, Decline, of, Modernism, trans., Nicholas, Walker, Cambridge:, Polity, Press, 1992, pp.32-33. 5, Chabot, p.27. 6, Suzi Gablik, 现代主义失败了吗,纽约和伦敦:泰晤士和哈德逊，1984，pp.11-12。 7、同上，页。 8、同上，26。 9、Martin Jay，“哈贝马斯与后现代主义》，Robert Cummings Neville 主编，公路在现代主义，奥尔巴尼:纽约州立大学出版社，1992，p。 10、Stefan Morawski 后现代主义的烦恼，伦敦和纽约出版社，1996，第89页。 11、同上，pp.89-91。 12，“、同上。 ,, ,, ,, ,, 一