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Postmodernism refers to a wide range of eclectic thinking applied to art, architecture, fiction, literature, philosophy, and cultural and literary criticism, among other things. It is considered a reaction to the assumed certainty of scientific or objective attempts to explain reality. As such, postmodernism conflicts with explanations that claim to be universally valid—that is, for all cultures, groups, traditions, and ethnicities—and instead focuses on the relative truths for each person.

Modernity has its roots in Latin from the phrase just now. The Postmodern, then, literally means “after just now,” or “after modernity.” It refers to the appearance or actual dissolution of those social forms associated with modernity. Postmodern is “post” because it denies the existence of any ultimate principles, and it lacks the optimism of there being a scientific, philosophical, or religious universal truth, a characteristic of the modern mind. It is important to note, however, that postmodernism is a response to modernism—that is, the negation of or disbelief in the modern outlook—rather than simply an approach that arose after modernism. In many ways, the society we live in is still considered modern, not postmodern.

According to the postmodern theorist Jean-François Lyotard, the term represents a culmination of the process of modernity and enlightenment thought, toward speedy cultural change, to a state where constant change is the status quo, leaving the notion of progress contradictory. Postmodernism, thus, relies on concrete experience over abstract principles, always cognizant that the end result of one's experience will necessarily be fallible and relative rather than certain and universal. While modernism deals with purpose, design, hierarchy, distance, synthesis, centering, and presence, postmodernism is synonymous with play, chance, anarchy, participation, antithesis, dispersal, and absence. As a cultural movement, factors such as globalization, consumerism, the fragmentation of authority, and the commodification of knowledge have greatly contributed to the development of postmodernism.

History and Development

Ihab Hassan points out several instances when the term was used before postmodernism became a theoretical discipline in the 1970s. John Watkins Chapman, an English academic painter, used it in the late 1870s to mean postimpressionism, whereas Federico de Onis used it in 1934 to mean a reaction against the difficulty and experimentalism of modernist poetry. The eminent historian Arnold Toynbee used it in 1939 to mean the end of the “modern,” Western bourgeois order dating back to the 17th century, while Bernard Smith, in 1945, referred to it to mean the movement of socialist realism in painting.

By the late 19th century, Soren Kierkegaard and Karl Barth's important fideist approach, or the view that religious knowledge depends on faith and lifestyle, brought irreverence to reason and the notion that “truth is subjectivity.” Nietzsche introduced the concept of existentialism and injected a new nihilism and atheism that influenced culture. The early 20th century saw aspects of postmodernism arise with the emergence of the Dada movement, which focused on the framing of objects and discourse as being as important as, or more important than, the work itself.

Many philosophers during the mass postcolonialism period after World War II speculated that one could not have an objectively superior lifestyle or belief. This idea was further expounded by the antifoundationalist philosopher Heidegger, followed by Jacques Derrida, who reexamined the fundamentals of knowledge and deconstructionism. These philosophers broadly argued that rationality and logic were neither as certain nor as clear as the modernists or rationalists assert.

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