Mamta Kalia
Mamta Kalia Mamta Kalia
Second, in the field of dance criticism, according to Sally Banes, this term has been used to an early movement toward functionality, purity and self –reflexivity and subsequently to ‘ rekindling of interest in narrative structure’. Third, in the field of language, the term post-modern referred to combine polemical tone and new coinages. Further it sees language as the idea of ‘play’the meaning of a series of ‘markings’ is imputed by the reader, not by the author, hence the reader constructs or interprets the text. Post modernism in language has been identified with poor writing and communication skills – ‘pomobabble’ illustrates this trend here. Fourth, in the arena of art, this term denotes diversity and contradiction; it rejects rigid genre boundaries and favours eclecticism, the mixing of ideas and forms. It promotes parody, irony and playfulness (‘jouissance’). It talks of ‘ accessibly’ seeking more connection with audiences. It prefers mixing of words with art, collage and other movements in order to create more multiplicity of medium and message. Here mass media is regarded as a fundamental subject for art. It also elevated cinema in artistic discussions because of blurring of distinctions between ‘high’ and ‘low’ arts and also because of the recognition that cinema represented the creation of simulance that was later duplicated in arts. Fifth, in the arena of photography, ‘content’ is associated with realism and 68 :: April-June 2010 modernism, whereas post-modern is associated with anti-representational, anti-narrative, deconstructive photography of Cindly Sherman, Sherry Levine and Richard Prince. Sixth, in the field of literature postmodernism stands for expansion, return of reference, and celebration of fragmentation. To them, the present is different from the modern era, hence it requires a new literary sensibility. Thomas Pynchon, John Barth, Don Delillo and David Foster Wallace may be put in this category. Seventh, in the field of philosophy, Thomas Kuhn and David Bohm are seen as post-modern as they reject mathematics as a strictly neutral point of view. Finally, in the field of communication, Marshall McLuhan observed that ‘medium is message’- the ability of broadcasting was seen as a liberating force in human affairs, though some scholars viewed television as ‘a vast wasteland’. In the second wave of digital communication, with the introduction of internet, scholars like Esther Dyson, it makes fragmentation of modern society a positive feature and anybody can get access to the artistic cultural and community experiences of his or her choice easily. Thus it is presumed that fragmentation of society and communication gives the individual more autonomy to create his or her environment and narrative. Needless to say that various scholars have talked of ‘ post industrial society’
(Daniel Bell), or ‘post-modern time’ (C. Wright Mills) or age of ‘mass culture’ (B.R. Burg). Further there have been declarations about several types of ends by social scientists and litterateurs. For instance, William Hamilton talked of ‘ the radical theory and the death of God’, (1996), Daniel Bell talked of ‘end of ideology’, J Derrida talked of ‘end of man, (1982), F. Fukuyama talked of ‘end of history and the last man’, (1991) Victor Vergin talked of ‘end of art’, (1986), S. Karnan talked of ‘death of literature’ (1990), Rolland Barthes talked of ‘ death of author’ and Michel Foucault talked of ‘death of critic’. These declarations on deaths have some manifest or latent connections with the post-modernism, or better to say post-modernity. In 1960’s, during the period of ‘counter-culture’, post-modernism was seen as ‘an attitude of counter-culture’ or a new elective and radically domesticated sensibility of rejecting the exclusivist and repressive character of liberal humanism and its institution. In 1970’s, post-modernism entered into the structuralism, taking inspiration from Rolland Barthes, Jacques Derrida, Michel Foucault, Jacques Lacan, Gilles Deleuge and Felix Guattari. To quote Hans Bertens, “Like post-structuralism, this postmodernism rejects the empirical idea that language can represent reality, that the world is accessible to us through language because its objects are mirrored in the language we use. From this empirical point of view, language is transparent, window on the world, and knowledge arises out of our direct experience of reality undistorted and not contaminated by language. Postmodernism gives up on language’s representational function and follows post-structuralism in the idea that language constitutes, rather than reflects the world and that knowledge is, therefore, always distorted by language that is by the historical circumstances and the specific environment in which it arises.” Thus a post-modern subject is largely other-directed, that is determined within and constituted by language. Subsequently, in late 1970’s and early 1980’s, the post-structuralist modernism of Barthes and Derrida became linguistic, i.e., textual in orientation. Their attack on foundational notions of language, representation and the subject is combined with a strong emphasis on ‘ free play’ (Derrida) and ‘inter-textuality’. According to R Barthes (‘Image-Music- Text’, 1977), a text, with the ‘death of author’ is a ‘multidimensional space in which a variety of writings, none of them original, blend and clash’. Further a text is ‘a tissue of quotations drawn from the innumerable centers of culture’. They talked of the ‘end of representation’failure of language to represent anything outside itself- and death of the subject. But it gives birth to a problem. To Brenda K Marshall (‘Teaching the Post-modern: Fiction and Theory’, 1992), since all the representations are political in that they April-June 2010 :: 69
- Page 17 and 18: that she kept with great care with
- Page 19 and 20: to lose touch with those companions
- Page 21 and 22: It rained a lot in the year 1962. A
- Page 23 and 24: was cooked at home, we all got very
- Page 25 and 26: Discourse JOOTHAN: A DALIT LITERARY
- Page 27 and 28: in the present. These are memories
- Page 29 and 30: sun and the needle pricks of the sh
- Page 31 and 32: as well as the rhetorical use of th
- Page 33 and 34: he used to come to our house in Alm
- Page 35 and 36: although drawing its special charac
- Page 37 and 38: the forests, or the discovery of la
- Page 39 and 40: oth the above-mentioned tendencies
- Page 41 and 42: enterprising elements with more cap
- Page 43 and 44: quite opposite to them. This has on
- Page 45 and 46: considerable “reverse flow”, th
- Page 47 and 48: on the basis of a new model. This n
- Page 49 and 50: Our mind Clouds with the din of Loo
- Page 51 and 52: He’s not born in any castle- In t
- Page 53 and 54: Such Is The Time Such is this time
- Page 55 and 56: manning machines returning home, af
- Page 57 and 58: I have to tell them each time that
- Page 59 and 60: Said—I used to love this man. Had
- Page 61 and 62: Poetry FIVE POEMS Nilesh Raghuvansh
- Page 63 and 64: How dear it is to hear him so! His
- Page 65 and 66: Books Never willed anybody for a gi
- Page 67: Discourse POST MODERNISM: A CRITICA
- Page 71 and 72: According to Jameson and Baudrillar
- Page 73 and 74: Modern Architecture’, 1977), impl
- Page 75 and 76: perpetuation of dissensus - on a pe
- Page 77 and 78: information because of media’s bi
- Page 79 and 80: catastrophe and progress together
- Page 81 and 82: theories, it has encouraged identit
- Page 83 and 84: 11. J. Baudrillard (1975), “ The
- Page 85 and 86: article was published in 1901 and f
- Page 87 and 88: Conversation FIRAQ GORAKHPURI IN HI
- Page 89 and 90: and set definition for everything.
- Page 91 and 92: e hard put to explain. Or take this
- Page 93 and 94: Short story CAMEL WITH SILVER WINGS
- Page 95 and 96: “No sir, you require rest.” His
- Page 97 and 98: next month.” “To marry you?”
- Page 99 and 100: from the jungle or people in their
- Page 101 and 102: They were refugees of permanent kin
- Page 103 and 104: offer it to a man! He had thought.
- Page 105 and 106: “At times they charge so much for
- Page 107 and 108: I have been in this job for a numbe
- Page 109 and 110: emembered my old friend Professor S
- Page 111 and 112: time I got home it was ten at night
- Page 113 and 114: about her school, syllabus, timing,
- Page 115 and 116: my paralysed wife from bathroom to
- Page 117 and 118: to the Oxygen mask. And then, there
Second, in the field of dance criticism,<br />
according to Sally Banes, this term has<br />
been used to an early movement toward<br />
functionality, purity and self –reflexivity<br />
and subsequently to ‘ rekindling of<br />
interest in narrative structure’.<br />
Third, in the field of language, the<br />
term post-modern referred to combine<br />
polemical tone and new coinages. Further<br />
it sees language as the idea of ‘play’the<br />
meaning of a series of ‘markings’<br />
is imputed by the reader, not by the<br />
author, hence the reader constructs or<br />
interprets the text. Post modernism in<br />
language has been identified with poor<br />
writing and communication skills –<br />
‘pomobabble’ illustrates this trend here.<br />
Fourth, in the arena of art, this<br />
term denotes diversity and contradiction;<br />
it rejects rigid genre boundaries and<br />
favours eclecticism, the mixing of ideas<br />
and forms. It promotes parody, irony<br />
and playfulness (‘jouissance’). It talks<br />
of ‘ accessibly’ seeking more connection<br />
with audiences. It prefers mixing of words<br />
with art, collage and other movements<br />
in order to create more multiplicity of<br />
medium and message. Here mass media<br />
is regarded as a fundamental subject<br />
for art. It also elevated cinema in artistic<br />
discussions because of blurring of<br />
distinctions between ‘high’ and ‘low’ arts<br />
and also because of the recognition that<br />
cinema represented the creation of<br />
simulance that was later duplicated in<br />
arts.<br />
Fifth, in the arena of photography,<br />
‘content’ is associated with realism and<br />
68 :: April-June 2010<br />
modernism, whereas post-modern is<br />
associated with anti-representational,<br />
anti-narrative, deconstructive<br />
photography of Cindly Sherman, Sherry<br />
Levine and Richard Prince.<br />
Sixth, in the field of literature postmodernism<br />
stands for expansion, return<br />
of reference, and celebration of<br />
fragmentation. To them, the present is<br />
different from the modern era, hence<br />
it requires a new literary sensibility.<br />
Thomas Pynchon, John Barth, Don Delillo<br />
and David Foster Wallace may be put<br />
in this category.<br />
Seventh, in the field of philosophy,<br />
Thomas Kuhn and David Bohm are seen<br />
as post-modern as they reject<br />
mathematics as a strictly neutral point<br />
of view.<br />
Finally, in the field of communication,<br />
Marshall McLuhan observed that ‘medium<br />
is message’- the ability of broadcasting<br />
was seen as a liberating force in human<br />
affairs, though some scholars viewed<br />
television as ‘a vast wasteland’. In the<br />
second wave of digital communication,<br />
with the introduction of internet, scholars<br />
like Esther Dyson, it makes fragmentation<br />
of modern society a positive feature and<br />
anybody can get access to the artistic<br />
cultural and community experiences of<br />
his or her choice easily. Thus it is<br />
presumed that fragmentation of society<br />
and communication gives the individual<br />
more autonomy to create his or her<br />
environment and narrative.<br />
Needless to say that various scholars<br />
have talked of ‘ post industrial society’