From Modern to Postmodern: How Literature Embraced Uncertainty
In our last blogs, we have explored Structuralism
and Post-Structuralism.
Now, we will look into Modernism and Post-modernism. Postmodernism is a way of
thinking that came as a reaction to Modernism. While modernism
focuses on order, progress, and finding universal truths, postmodernism
challenges these ideas. As with structuralism and post-structuralism, much discussion exists about how modernism and postmodernism differ. Initially,
we will explore the question: What is postmodernism? What was modernism, and
how do they differ? We will discuss their distinctions, and key figures,
investigate the theory through examples, and, finally, examine what
postmodernist critics do.
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In the
early 20th century, art and culture flourished, leading to the emergence of the
Modernism movement. It influenced music, painting, literature, and
architecture, introducing a new perspective that caused people to move away
from pre-20th-century traditions. In art, movements such as Cubism, Dadaism,
Surrealism, and Futurism began to take shape. Modernism is not only significant
in the realms of art, literature, and architecture but also in the broader
context of history. Therefore, without an understanding of Modernism, it is
impossible to comprehend 20th-century culture.
Briefly,
we explain what kind of things emerged in this term:
1. Music:
o Melody and harmony were put aside, shifting away from traditional
musical compositions.
2. Painting:
o Perspective and direct pictorial
representation were abandoned in favour of abstraction. This reflects movements like Cubism (Pablo Piccaso, Georges Braque), which
broke objects into geometric shapes, and Surrealism (Salvador Dali), which explored
dreamlike, non-representational imagery.
3. Architecture:
o Traditional forms and materials (wood, stone,
bricks) were
replaced with geometric designs and modern materials like plate glass
and concrete. This approach gave rise to the functional and minimalist
styles seen in Modernist architecture, such as Bauhaus.
4. Literature:
o There was a rejection of traditional
realism, which relied on chronological plots, omniscient
narrators, and closed endings. Writers adopted experimental forms,
such as stream-of-consciousness techniques and fragmented narratives, as seen
in works by James Joyce and Virginia Woolf.
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This was a time when writers experimented a lot with how they told stories and wrote poems. Famous writers from this period included T. S. Eliot, James Joyce, Ezra Pound, Virginia Woolf, Wallace Stevens, and Gertrude Stein.
1. Focus on Personal Experience and Perception:
o Modernist writers cared more about how
things are seen or felt rather than just describing what happens.
o They often used a style called stream-of-consciousness,
which captures the flow of thoughts and feelings in a character’s mind.
2. Moving Away from Traditional Storytelling:
o Instead of having an all-knowing narrator who
explains everything, Modernist novels used different perspectives and
avoided clear moral lessons.
o This gave stories a more open-ended and
realistic feel.
3. Mixing Different Forms of Writing:
o Modernists blurred the lines between genres.
o For example, novels became more poetic,
while poems included storytelling elements.
4. Fragmented and Unpredictable Structure:
o Stories and poems didn’t follow a smooth,
continuous flow.
o They were often broken into pieces,
like a collage, reflecting the confusion and complexity of the modern world.
5. Self-Awareness in Writing:
o Modernist works often questioned what it
means to write or create art.
o For example, a novel might explore the purpose of storytelling or a poem might talk about its own role as a poem.
Instead of seeing them as
two successive stages in the history of art, they can be viewed as two
opposing moods or attitudes. This means that postmodernism does not
necessarily follow after modernism as a logical next step, but rather,
the two represent distinct mind-sets or approaches to art and
culture.
1.
Eclectic Approach:
o The term "eclectic"
is used to describe postmodernism, meaning it mixes and borrows ideas and
styles from various sources.
2.
Aleatory Writing:
o Aleatory writing refers to writing that
incorporates chance or randomness, such as the Dadaist movement's
use of random words from newspapers to create poems.
o This randomness is a feature of both modernism and postmodernism,
though the modernists, especially in the early stages.
3.
Parody and Pastiche:
o The use of parody and pastiche (imitation with a twist) is
associated with postmodernism, challenging the traditional role of the
author.
o This idea of parody connects to modernism’s rejection of omniscient narration and the authoritative voice in favour of fragmented narratives, but postmodernism takes this further by openly mocking or playfully imitating earlier works.
1. Fragmentation:
o
Modernism and postmodernism
both heavily feature fragmentation in their works, but they do
so with different attitudes.
o
Modernist fragmentation
is seen as a sign of loss and regret, often
related to the collapse of traditional values and structures.
§
For example, Ezra
Pound refers to his work The Cantos as a "rag-bag,"
suggesting a collection of disjointed pieces that reflect a fragmented world,
but with a sense of nostalgia for a time when things were
whole and faith was strong.
§
In T. S. Eliot’s The
Waste Land, the persona expresses a despairing tone
with the line "These fragments I have shored against my ruins,"
reflecting a lament for a broken world.
§
Visual art, such as the
collages of Kurt Schwitters, also illustrates this pessimistic
view of fragmentation, mixing random clippings with painted areas to represent
a world that has fallen apart.
2. Postmodernism's View of Fragmentation:
o
In contrast, postmodernism
sees fragmentation as liberating and exciting, reflecting a break
from restrictive systems of belief and authority.
o Postmodernists celebrate fragmentation, viewing it as a way to escape from the constraints of previous systems, whether in culture, art, or society. This is a more positive and freedom-oriented perspective compared to modernism’s despair.
Modernism values restraint, simplicity, and a clear distinction between high art and other forms of expression, viewing excess as vulgar or offensive. Postmodernism, on the other hand, rejects these constraints, celebrating inclusivity, exuberance, and the mixing of high and popular culture.
1. Modernist Asceticism:
o
Modernism was characterized by a strict
asceticism, rejecting the ornate and elaborate styles
of the 19th century, which it viewed as excessive and distasteful.
o
This approach favored simplicity
and minimalism, visible in:
§
Poetry: Narrow columns,
two-word lines, and sparse observations.
§
Drama: Works like Samuel
Beckett’s plays, where minimalism is pushed to the extreme, such as a
13-minute play with a single speaker, no set, and highly pared-down language.
o
This ascetic tone
reflects modernism's elitist tendencies, valuing refined and
rigorously sparse artistic expression.
2. Postmodernist Excess and Inclusivity:
o
In contrast, postmodernism
celebrates excess and rejects modernism's strict divide
between 'high' art and popular art.
o
Postmodernism embraces:
§
Gaudiness: Vibrant, extravagant,
and often overwhelming art forms.
§
'Bad Taste' Mixtures:
Combining elements from different styles, genres, or cultural levels without
concern for traditional hierarchies.
o It sees modernist asceticism as elitist and counters it with an inclusive, playful approach that blends contrasting elements freely and cheerfully.
Modernism is characterized by the radical break from the traditional forms of prose and verse whereas postmodernism is characterized by the self-conscious use of earlier styles and conventions.
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Jürgen Habermas:
'Modernity - an Incomplete Project' (1980)
Jürgen Habermas’s essay “Modernity - an Incomplete
Project” explores the distinctions between modernity and postmodernity.
According to Habermas, modernity begins with the Enlightenment, a period from
the mid-17th to the mid-18th century characterized by a strong belief in the
power of reason and logic to improve society. Philosophers such as Kant, Voltaire,
Diderot, Locke, and Hume embody the core ideas of this period. The
Enlightenment aimed to break away from tradition, blind adherence to customs,
and religious dogma, promoting reason and rationality as tools to solve
societal problems. This vision is referred to as the "Enlightenment
project," and the French Revolution is often seen as one of its first
practical tests.
Habermas argues that modernism aligns with this Enlightenment
project by lamenting the loss of purpose, coherence, and values that modernity
initially sought to uphold. In contrast, post-structuralist thinkers like
Derrida and Foucault in the 1970s rejected these Enlightenment ideals, such as
reason, clarity, truth, and progress. Habermas critiques these thinkers for
detaching themselves from the pursuit of justiace and labels them "young
conservatives" for their rejection of modernity's foundational principles.
Briefly, Habermas views modernity as an unfinished project that remains
relevant for achieving societal progress. He critiques postmodernists for
abandoning the ideals of the Enlightenment, which he sees as vital for
addressing contemporary challenges.
Jean-Francois Lyotard:
The Postmodern Condition: A Report on Knowledge (1979).
Jean-François Lyotard's works, particularly The
Postmodern Condition: A Report on Knowledge (1979) and his essay “Answering
the Question: What is Postmodernism?” (1982), played a central role in
shaping the modern understanding of postmodernism. In these texts, Lyotard
engages in a debate with thinkers like Jürgen Habermas about the Enlightenment
and its legacy.
Lyotard's essay critiques what he sees as a call to abandon
experimentation in culture and philosophy, framing the debate as an effort to
label one's opponents as the true conservatives. He implicitly targets
Habermas, who defends modernity and the Enlightenment project, accusing
postmodernists of rejecting its ideals. Lyotard, however, flips this argument
by suggesting that those clinging to modernity are the ones resisting change
and experimentation, positioning postmodernism as a continuation of questioning
rather than a rejection of progress. Lyotard challenges the idea that
postmodernism abandons the Enlightenment. Instead, he portrays it as a new way
of thinking that resists rigid adherence to outdated ideals, emphasizing the
value of experimentation and diversity in thought and culture.
Lyotard critiques Habermas and others who call for an end to
artistic experimentation and a return to ideals such as order, unity, identity,
and security, accusing them of wanting to "liquidate the heritage of the
avant-gardes." For Lyotard, the Enlightenment project that Habermas seeks
to preserve represents just another "metanarrative"—a grand,
overarching explanation, similar to Christianity, Marxism, or the myth of
scientific progress. These metanarratives claim authority and attempt to impose
a totalizing view of the world, suppressing diversity, difference, and
opposition.
Lyotard famously defines postmodernism as "incredulity
towards metanarratives," rejecting the validity of such universal stories
of progress and human perfectibility. In their place, he advocates for
"mini-narratives"—localized, provisional, and context-dependent
stories that acknowledge their contingency and relativity. Thus, Lyotard argues
that postmodernity dismantles the Enlightenment's central ambition: the belief
in a unified, ultimate purpose for history and humanity. Postmodernism embraces
plurality and deconstructs the idea of a singular, overarching truth.
Jean Baudrillard:
Simulations (1981)
Jean Baudrillard, a
prominent theorist of postmodernism, explores the idea of "the loss of
the real" in his book Simulations. He argues that contemporary
life, saturated with images from media, advertising, and entertainment, blurs
the line between reality and illusion, creating a state of hyperreality.
In this state, traditional distinctions between what is real and what is
represented erode entirely.
Baudrillard explains this
concept through the evolution of signs in four stages:
1.
The Sign Represents a Basic
Reality
At this
stage, the sign functions as a straightforward representation of reality. For
example, L.S. Lowry's paintings of industrial cities, with their muted colors
and monotonous depictions of life, represent the harsh reality of
mid-20th-century working-class existence.
2.
The Sign Distorts Reality
The sign
misrepresents or romanticizes reality. Victorian artist Atkinson Grimshaw's
paintings of cities like Liverpool, with their reflective pavements and picturesque
nightscapes, portray an idealized and glamorized version of urban life,
concealing the grim reality of the time.
3.
The Sign Masks the Absence
of Reality
At this
stage, the sign creates the illusion that it represents reality, but there is
no real substance beneath it. René Magritte's surrealist works exemplify this,
as in his painting where an easel shows the exterior scene beyond a window.
What appears to be "reality" outside the window is actually just
another representation, not a tangible truth.
4.
The Sign Becomes Detached
from Reality Entirely
In this final stage, the sign loses all connection to reality and exists purely as an independent entity. This is comparable to abstract art, like Mark Rothko’s canvases, where there is no attempt to represent or signify anything from the real world.
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In the third stage of Baudrillard's
concept of signs, the distinction between reality and representation becomes
increasingly blurred. His example of Disneyland is a powerful
illustration of this stage, where the sign (Disneyland itself) no longer
represents an underlying reality but instead hides the fact that the
"real" world is itself a simulation. Disneyland, according to
Baudrillard, is not just a mythologized misrepresentation of America; it is a
"third-order simulation." It is designed to make us believe in the
authenticity of the outside world by presenting an idealized, imaginary version
of American life, which in turn conceals the fact that the "real"
world itself is also a constructed illusion. Disneyland, then, is presented as
a fantasy to reinforce the illusion that what we consider the "real"
world is, in fact, genuine. The effect of this is to "conceal the fact
that the real is no longer real," thus maintaining the idea of a stable,
coherent reality, even though that reality is increasingly constructed and
superficial.
This brings us to the broader impact of postmodernism, where the concepts of history, reality, and truth are undermined. In postmodern thought, distinctions between reality and simulation collapse, and everything becomes a model or an image—what Baudrillard calls hyperreality. In this hyperreal world, there is no depth, no authentic experience, only surface-level representations. Reality is no longer something that can be grasped or understood directly; it is always mediated through signs and simulations, leading to a crisis of meaning and authenticity in postmodern culture.
|
Modernism |
Postmodernism |
|
Adheres to Western
hegemonic values |
Contests Western hegemonic values |
|
Focuses on the writer |
Focuses on the reader |
|
Focuses on interiority |
Focuses on exteriority |
|
Explores themes of
alienation |
Emphasizes collective voices |
|
Uses unreliable narrators |
Uses an ironic narrator |
|
Rejects realism |
Exhibits ambivalence towards realism |
|
Views literature as
self-contained |
Views literature as open and intertextual |
|
Emphasizes high-brow
genres |
Mixes high- and low-brow genres |
|
Rejects traditional
literary conventions |
Parodies literary conventions |
|
Features metanarrative
elements |
Features metanarrative elements |
|
Employs idiosyncratic language |
Employs simple language |
What do postmodernist critics focus on?
B. Examine the Disappearance of the Real: They analyse works that reflect the "disappearance of the real," exploring how shifting postmodern identities appear through the mixing of literary genres like thrillers, detective stories, myth sagas, and psychological realism.
C. Focus on Intertextual Elements: They highlight the use of parody, pastiche, and allusion, where one text refers to another rather than an external reality. This emphasizes how literature connects with and comments on other texts.
D. Foreground Irony: They emphasize the use of irony, as described by Umberto Eco, where postmodernists revisit the past not to destroy it (as modernists did) but to engage with it critically and with a sense of irony.
E. Highlight Narcissism in Narrative Technique: They focus on works that engage in self-reflection, where novels reflect on their own ends and processes, often "de-naturalizing" their content to challenge how narratives are constructed.
F. Challenge High and Low Culture Distinctions: They question the divide between high and low culture, focusing on texts that blend the two, demonstrating how postmodernism embraces a mix of cultural forms.
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