Postmodern Quotes (displaying: 1 - 30 of 45 quotes )
Postmodernism has turned into this devil's vortex where no matter what you do, your neck will be turned and your face shoved into a foreign example, and worse, no matter what you say, despite the context, it will be considered a postmodern device. That's the danger of postmodernism: it poses itself as something that can't be trumped, something you can’t escape. It continually mocks your efforts for the sake of its name. I know even this will be seen as another postmodern bullet, and no matter what I say, critics and readers will be locked into how to lock me in.
Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. ... The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years.
Postmodernity is said to be a culture of fragmentary sensations, eclectic nostalgia, disposable simulacra, and promiscuous superficiality, in which the traditionally valued qualities of depth, coherence, meaning, originality, and authenticity are evacuated or dissolved amid the random swirl of empty signals.
Postmodern irony and cynicis?s become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming wha?s wrong, because the?ll look sentimental and naive to all the weary ironists. Iron?s gone from liberating to enslaving. Ther?s some great essay somewhere that has a line about irony being the song of the prisoner wh?s come to love his cage.
In the pragmatist, streetwise climate of advanced postmodern capitalism, with its scepticism of big pictures and grand narratives, its hard-nosed disenchantment with the metaphysical, 'life' is one among a whole series of discredited totalities. We are invited to think small rather than big? ironically, at just the point when some of those out to destroy Western civilization are doing exactly the opposite. In the conflict between Western capitalism and radical Islam, a paucity of belief squares up to an excess of it. The West finds itself faced with a full-blooded metaphysical onslaught at just the historical point that it has, so to speak, philosophically disarmed. As far as belief goes, postmodernism prefers to travel light: it has beliefs, to be sure, but it does not have faith.
Every last minute of my life has been preordained and I'm sick and tired of it. How this feels is I'm just another task in God's daily planner: the Italian Renaissance penciled in for right after the Dark Ages.... The Information Age is scheduled immediately after the Industrial Revolution. Then the Postmodern Era, then the Four Horsemen of the Apocalypse. Famine. Check. Pestilence. Check. War. Check. Death. Check. And between the big events, the earthquakes and the tidal waves, God's got me squeezed in for a cameo appearance. Then maybe in thirty years, or maybe next year, God's daily planner has me finished.
Listen--God only exists in people's minds. Especially in Japan, God's always been kind of a flexible concept. Look at what happened after the war. Douglas MacArthur ordered the divine emperor to quit being God, and he did, making a speech saying he was just an ordinary person. So after 1946 he wasn't God anymore. That's what Japanese gods are like--they can be tweaked and adjusted. Some American comping on a cheap pipe gives the order and presto change-o--God's no longer God. A very postmodern kind of thing. If you think God's there, He is. If you don't, He isn't.
Friedrich Wilhelm Nietzsche (October 15, 1844? August 25, 1900) was a German philosopher. His writing included critiques of religion, morality, contemporary culture, philosophy, and science, using a distinctive style and displaying a fondness for aphorism. Nietzsche's influence remains substantial within and beyond philosophy, notably in existentialism and postmodernism. Nietzsche began his career as a philologist before turning to philosophy. At the age of 24 he became Professor of Classical Philology at the University of Basel, but resigned in 1879 due to health problems, which would plague him for most of his life. In 1889 he exhibited symptoms of a serious mental illness, living out his remaining years in the care of his mother and sister until his death in 1900.
I had not particularly liked the way in which he wrote about literature in Beginnings, and I was always on my guard if not outright hostile when any tincture of 'deconstruction' or 'postmodernism' was applied to my beloved canon of English writing, but when Edward talked about English literature and quoted from it, he passed the test that I always privately apply: Do you truly love this subject and could you bear to live for one moment if it was obliterated?
The world, every day, is New. Only for those born in, say, 1870 or so, can there be a meaningful use of the term postmodernism, because for the rest of us we are born and we see and from what we see and digest we remake our world. And to understand it we do not need to label it, categorize it. These labels are slothful and dismissive, and so contradict what we already know about the world, and our daily lives. We know that in each day, we laugh, and we are serious. We do both, in the same day, every day. But in our art we expect clear distinction between the two...But we don't label our days Serious Days or Humorous Days. We know that each day contains endless nuances - if written would contain dozens of disparate passages, funny ones, sad ones, poignant ones, brutal ones, the terrifying and the cuddly. But we are often loathe to allow this in our art. And that is too bad...
Look around you. Watch how people function and interact with one another. You'll see this is going on everywhere all the time. People devour each other in the name of love, or family or country. But that's an excuse; they're just hungry and want to be fed. Read their faces, the newspapers, read what it says on their T-shirts! 'I think you're mistaking me for someone who gives a shit.' 'My parents went to London but all they brought me back was this lousy T-shirt.' 'So many women, so little time.' 'Whoever dies with the most toys, wins.' They're supposed to be funny, witty, and postmodern, Miranda. But the truth is they're only stating a fact: Me. I come first. Get out of my way.
The collaboration which sometimes follows is seldom based on good will: usually on desire, rage, fear, pity or longing. The modern illusion concerning painting (which post-modernism has done nothing to correct) is that the artist is the creator. Rather he is a reciever. What seems like creaton is the act of giving form to what he has recieved.