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Postmodernism

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Postmodernism

(1980–2000)
A reaction against the International style and Modernism was evidenced in this style. It reintroduced ornament and decorative motifs to building design, often in garish colors and illogical juxtaposition. It is an eclectic borrowing of historical details from several periods, but unlike previous revivals is not concerned with scholarly reproduction. Instead, it is a light-hearted compilation of esthetic symbols and details, often using arbitrary geometry, and with an intentional inconsistency of scale. The most prevalent aspect is the irony, ambiguity, and contradiction in the use of architectural forms. Those connected with the beginning of this movement include Aldo Rossi, Stanley Tigerman, Charles Moore, Michael Graves, Robert Krier, and Terry Farrell.
Illustrated Dictionary of Architecture Copyright © 2012, 2002, 1998 by The McGraw-Hill Companies, Inc. All rights reserved
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References in periodicals archive
Rapp's answer, at which he arrives through a series of close examinations of key postmodernist texts, is that no such grandiose intellectual revolution has taken place.
To use a favourite postmodernist metaphor, the term itself has become a 'site' of conflicting opinion.
On Lee's reading, Foucault, who is certainly an antifoundationalist with respect to questions of truth and knowledge, "does not really have a 'postmodernist' political agenda"; in fact, according to her, his work "is really meant to enhance, rather than to displace, liberalism as it is practiced" (p.
Like other work articulating intersections between postmodernism and feminism, Michael's project rests on the assertion that the political value of postmodernist textual strategies, rather than being predetermined, depends on the context of their deployment.
postmodernist logic) or the misrepresentaion of facts, falsification of
In what follows, I will demonstrate that the catalogues in postmodernist texts, which are usually random and not organized by any recognizable principle, do not provide orientation--at least not orientation in the traditional sense.
Citing Brian McHale's Postmodernist Fiction, which concentrates on the postmodernists interest in transgressing ontological boundaries, and noting Stoppards almost trademark interest in metatheatrical devices, Jernigan argues:
I think, to a large extent, it is the general lack of scholarship on postmodernist poetry that leads to lesser attention to McHale's scholarship of postmodernist poetry.
In his theoretical chapter, before part one, Sacido examines the defining features of modernist and postmodernist short fiction, exploring the role of the short story in the rise of modernism in terms of autonomy and subjectivity, and analysing how in postmodernism "interpretation is blocked and representation becomes impossible" (14).
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