‘ANEW FACE OF MODERNITY tw act ht there ar, 1 prope in the et hater ‘hs book to coficting and nterdependent modernise socal progresive, tinal, compete, tec, the ther clay ead slr, bent. desing the asc ales ofthe fete ae beter propel to understand he fen anoying ambience and pardons lke tothe at meters Literary dene, t ake a glk ex {hus bath modern and antimider. men in commie ‘noon. int rejection ofthe ator of ein, In eer ‘teal atimoer nt msl of the gna proses Us erique of rutin, int sense ht adem ction bes brought lout the las af something pesos the dwalaton of et ete sain th fgeniton of wht ot a ‘Hig unty: To yo beyond the allt concep die tes raed by the voablry of modern, I hve tpakon mete oral ofthe ines” of costae doubted ange (0, and dapistoar—moterny ~ “ Heoc the new ete: Hath ton of pestered eloped, over the st desde o 9 oth dnt atures to snake “ela pysgomt reed tal edged “ae of teratoma wth useai, decadence, the stata, |Lerlich? teary thins bere question, ince he ery to aoe of Moeriy thine shper on poster. imple» parte awe, Batson the wher hd histo, Toto anew ae of modernity” can ol ein age, tert, and et meaningless pro ad son re ea Ine at her range, propery quite nd dso. I ost ‘rian has nded med sear pysogny oft own ne shoal beablet describe leary and persis, afb ta by20 FIVE PAGES OF MODERNITY 1 means cass, ven the great semants ination fr even “hyper fnlation” ofthe contests in which the tern afte spear Bye the neeased culation othe word pstnaderis = hich nowadays one rutnelycaconntrs athe atl Section of papers and mapzines—prves litle anything Acta, the ‘tore obvious consequence of such ose widerpred we hasbeen fo ‘hance the dubious “aur” srrounding postmederis rm eal an aur ht has confined to nse psonate tacks, only on the soundaos ofthe concept, bt alo onthe artistic and moral leptimacy of what purportedly stands for Gerald Cra haw ths denounced terry postmodemism as one of the central ths of {he counterculture, fatended to autboriae an antl ecle- tration of rate WT eneray and an etor of mindless hednis More recently, Charles Newman bas sed the poster men tay even more sweepinly, looking beyend erature Int the ‘soci and economic fits that sxonn fri desractve appeal = elem sortis af this kind are ala Fr feet en kin and, bya perverse effet, they ca contrite to the sucess ‘that which they indignantly reject Poplar sucess, however, does not transite into ntlletal cre. Pestmodernism's most power enemy has remained the sheptal sspicon with which it sill regarded by a sigefcant segment the intel igen, Many fine erties of contemporary Bert simpy cannot bring themseles to take postodernvm serial. Type Sey ‘nl ighre i, shrog i of as the ease may be, make fan oe ‘Ths, when writing about oh Ashbery poet who has been so Insstety sociated with postnodernin a wit traditonalt ie Cade Rswson wl ty to dete the notion by suggesting hat itis litle moe than a code fo the bind of nar hich gnes ‘hat fpostpople” ike to ploy? ‘But beyond! erry enticsm, there are erasing numerous ‘hinkers and scholars a arty of aes including piles, the Fistor and philosophy of sence, and scology who believe that smaderity bas come to an endo i uadergoing» dep identity rss There sf couse let agreement a to what precsely might ow rostmopenyis ser ensttute postmodemisn, and ever let a to whether the nation etfs any lesimary. Buthe mere emergene ofthis sae beter, ofthis new framework for aking quetins about modernity ‘ts modes, and its postbledemise—cntront us with major and puzdlingeultralpheaomenoa. Who, onthe bass ofthe ears hsto= 1 ofthe tem postmodern, would have inaived tha fy er ves tog that a? ‘Wht we learn fom this history thatthe esly American sees £postnedertsm, poets sch a Kandll Jarl Jon Beryman, {rin amore valicinstory se, Carls Olon, gave the word rain nied eareney nthe dseuson of the ew poetry” ofthe ate 15405 and the 190s Jarl was perhaps the ist American to speskofpostnodernism when, i 148, he characterized the poetry “GRobert Lovells "post orant-mderist, ads such cera 0 Se inBuenti™ eis que posible tht Jarl coined the term independently fom the Bitch hstrian Arold Toynbee, who st shout the same time Wetloguing though his semmarier, . Somervel* announced toa lege reading public new ae of Wester history, eal # “Post-Modern” suggesting tht sniht be the at Toynbee hada seat impact on post Worl War I intellects inthe West, but his notion fa ptnader age was at ken by fellow philsophesofhistary, ner by othe scholars nthe sot and historical dicplines. Ie appeal seemed limited to poets, a {st and literary ents, who oe eatorprated a applying the Somedate postwar perio, ignoring that for Toynbee the begin ings ofthe postnoder age went back tothe mid 1870. World ‘War I wath ts unprecedented savagenes ard destruction, wth its revelation of the brutality tthe ere of high techs eile ton, could sppear as the eolmiation of «dernic modmy, ‘woderity tht had finally been overcome. Th, some the more Innvaive postwar American pots the aftermath the war being les vomberon this ofthe Adan than ws in une Europe) fred the postmodern ation fom the pesmi antes tac toitby Toynbee and aed the new ge aan eae ime in whicha FIVE PACES OF MODERNITY , | teat coud be deed, scording Chalet Oona Sty sale of orig = PSEA opinistcapoepte intertaton athe tem pot moder mace itecee prominent ple inthe eel) theo ofthe be. moder as ea and oer wa tine fr wil celeron, The mast ef “ps” became almost tert ish Honore moder inthe iol of ierton Somer eta ming ac ws wedi pve, deme {rly aoe to aby who wanted to lm everthing Sortie stated with “po"--pestmoder, post istene, po Trane Inthe 10 the te of postmodern sored > fave ben indy ke the fief the ountecltare, with ts numerous cen contador, comune fans, tat omit sada" gon Supt, however, postmodernism i not ae vay with the rte foo of hat draw oft ing the einer {Pts ids at poriodersi Deca nmol tem in evry and at ees sad she al in architecture etn Teer ac ding thse deceesht t came seine, t 9 lager or lester dees, in other itiktroreti! dscns fang fom epistemology tthe scl sence In hi process tho term, whi a the bopning ha ben ted ios excel in ‘Koei eablsed taf iteration * Fartbernore, and hs ‘Speraps more stafent, the son he portnoern renserted {be inal phere Nteriedtes ad ad in Toabe's potato. Tere discasingin mre det he ari mec ofthe quar reetveen the mers a the postmodern, Thisk tht» ume tray prose ft ain theoreti fameveks in which fostnserism fn een except nrecot Years might Prove usw asf] becky Ter re wo sei eich {cont of postnadeeim has peated mre oss sstenty Siete pblton f Pace of Moder The Br broally << phlosphial cng prblen fepstemao, he stay and Phish of sence, and herent. The end reese the ow PosTmoDERNISW 20 otions of maderism and the avantgarde in twenteth-centiry faltre-tod thei possible exhustios. The analbgies among the ‘Gln oaestins beingake nthe two areas are ery interesting slthoogh they do aot warrant, I think, any Irger hypothesis of 3 pastnader epstemi structure or ctf mind or Wetman ‘The uss of pstnoderais in these wo areas do present, however 1 amily resemblance” of sorts, apd looking at them more lowly foo) help win one aternpt to dently postmodernism, a were, physogomial” EPISTEMOLOGY AND HERMENEUTICS: FROM MODERNITY TO POSTMODERNITY ‘The more comprehensive prevenatins of the isues of post malemisn sometimes iacude references to epistemological pro ems and concepts, auch athe ers of determinism, the place of ‘nce and disorder in natoral proeses, Mesenbergs principle o) ndcterminay, the question of tne and pars bneversble Time hose recognition bas dplaned the powerfl casa lock work model ofthe universe, Karl Popper's iew of een theo Fis in ers of “fiat” ater tan mere "verity, od “Thomas Kuli “paradigms” at “sciatic revolutions "That such ‘eas can easly be misunderstand stored by Iterary ets fd artists gre without saying en 0, the rites new interes in AheoretiaLepstemogal seer comes fom a real sense that Important changes have oxcured in he ways Since views Hell nd the legitimay ts procedres offence. And his interes fntiancd by» tlie that sch changes i cent paris can tnt be witht snags onthe level of artiticcnsiowsnes. Se ‘ican, this bei soems to receive tesogniton oF encouragem0 FIVE PAGES OF MODERNITY iment when a phibsophr of scene, borrowing the contioversa ‘ultra bel postmodernism, wil sak of "pestmode seenar ost of mater ofcourse But een more eats potion, like the one taken by Tia Prigine sl Eabelle Stenges when they elaborate their dstincion between a "modem sense” and 2 “new scence,” ean be quite relevant tothe lage dabute sbout postmodern, “To Prigozine an Stenger, author of Onder out of Chon, od fm science, enormously erative though it wan showed Bae apinst two conepts whose fll sigflcmce has been reongied nly by what they eal “the new sees ieeversbe tine the so and chance. The bas again ireversible tine fesstance tothe itrodvction of ireverilty 'nthoretial ply was may de to modern senses tort Ascover the eternal ws f mater. Fors reat ches viewed negatively, asan obstacle to man's fll mastery ofthe natal laws chance did not relly exit, war the result of ou ignorance, 48 Laplace implied when be formulated the famous fon of is modciet "demon"; chance was utmately reflection af the ‘tations of or intelligence. Characters, Eisttn sai, "God ocat pay die.” Even in moder biology, where the senna ofthe role af chance had rendered the theory of natural election sible, a msor gure hike Jacques Mona, fr example, could mot help droving a phsophiclly pessimist conelsson om the es tence of randomaess. Mopod Sikes an almost Pasian nee as Frigrin and Stengrs pint ot) when he writes, "Man ks lst that hei ale inthe univers ndifren ent oto which he emerged oly by cance," What Pringine and Stengers stout to doin their bok sto show thatthe new sence he stl ebited the lrg neat (and osesonly trai) views of ineversbity and chance spl ‘bymany modern sient, History the determine mechan ‘el model ofthe universe and the negative approach chan fontributel t the modern scenic “disenchantment of the wold.” But sow i the time, Prgugine and Stengers belie, to vere this station, The new selene respprases the lea ie versity and chance and promise fill reenchantment of the wl. 1s this vision over optimistic or ented? Be tha as it may, Pssosine and Stenger ppea to repent a lrger tend foley Histor and plilonophy of sence, trend that cosets of acepting thatthe bse ssomptions of sient thurs are in consuat eed sf being discussed, eritezed, and reasesed alight of her foo hci or ereatty. The ere ofthe deterministic cone st trth hs thus opened mew hoon to stent hough ade search, How does odor aie rom dsrde? This sa guestion that ony the new science is eapable of aldeaing ily. Recaptelatng ‘hecentral theme of tet book, rgpgine and Stenger wie athe ‘crludingchaper “One ofthe mai sources of tnation i ta em sceace was precisely the fling tht it had dseoverel sare laws a the core of nature’ transfnmations and thes ha exarcoa time and becoming. «A new unity i emering revert ' source of order a al levels. ereverbiity the mechani hat brings oder out f eho "2 Epistemology as such, even when fll consis ofthe histor tal varton of knowledge, tends to reach beyond history nos mally takes the trinsistorelimplatins or ean of rary ss owl: At any rat, i cental questions are rarely of det historical sate. This may explain why penad conept such ae Postmodern) ae sekom used in epistemology. The situation fret in hermeneates, bth in the traitonal variety a nthe ‘se phosophicl hermeneuts, with ts deep Ns slfcon ‘eiounen Acknowledging the great elevane of phiosaphalher. ‘meoeutis to contemporary thought in general the phloryey, [Rcd Rony has gone so fr st argo that once tana ope, lemology's ahistorical assumptions ae proven to have no el“, sitions,” andthereore to be untenable, epistemology el atm hot bat to hecome a for of hermencutis, Whether we seep, 4 tach view oF nt the notion of hermeneutics in this Sense mes Tack to Niece’ entique of bth Keli and postin fem FIVE FACES OF MODERNITY real is famous dictum thats are interpretations) and Heidegger's rad histricentThe ftar hermes wes present-day phlsophied vogue diet to Hederger and a rely to Heidegger’ iflentitdcile, Hane Georg Gade. ‘Neither Hetdeauer aor Gudamer uses the tr postmodern, but ‘many of te current phosophial discussions of poster) Fer ta thei thought aa source and frequently a0 buck o Nitec, ‘shove impet on Heidegue i well now. Lite wonder then that, Fe the Uaitod States and elsrwbere, Heidegger oaonally seen ‘the "Best prtmodern "To trae th postin, Ll ely mention the talan philosopher Glann Vato, who, throug hi Commentaries oo Netache and Heidegger, hs iitted «Hvely ‘hate on the “end of moderaty” fa ly. Phsopaly, sce ing to Vatimo, the end of moderety bigs about the emergence of 1 penser debole” or "weak thought,” « ypially pastmodem rode of reflection tat i direct opposton to “metaphysics” or stro howght™ (thought that domineering, imposing univer sali tempor agzesively sccentered,atlerant in sepa to whatever appa to contrat #2). The strong thoughtiweak thought opposition, fr fom being ‘aly theoreti, has anlage, practi, and even ciety poli ‘implications, In character eecent pie (roproted se the prolaceto Al dla del soe). Vattino makes it clear tata soon taodeen theory of revoltion (such asthe Masust ane) wl abays Imply some “vcent abor of homogenization and universaization's he stresses tht, more generally, “the pretension of having eelae tion to vals thet i not governed by memory, nostalgia, Sopp too, is a demenie pretension Central to Vattino's concep tuazation of weak thought ae the Heseggerian notions of Ander ‘ence o “rethinking and Verindungiflerent rom the more frequent Ubervindang or “overcoming” and tansatable ly sch words as "healing," “convalescence,” resignation,” "a ‘ipance")_ Another key trm i peta, the sgn under which the ‘hice of weak thought wll npanive fll. The mort adequate ex. pression af weak tought i the “sght” hermeneutical stale ow PosTMoDERNisM mm which 8 Gamer sages in Truth and Methods, the interpreter Prete, 8 were, a method weakness (ale up of ten "veness and compliant the inner demands of the abject of nr (Cielito, ssp rt een ality, linen flisten fo tess before questoniag i and renewed elorts oto inpase Ie ones oun “atonal” o convictions ‘Othe nny axpet of tie piloxophicaldscoson of modernity nd posterity Il ous hereon jst one. Ihave selected [cae it ha ben resposible for an itreting ongoing pole, which as started fn TO80 when Jigen Habermas, on being ‘warded the. W Adora prize athe ty of Frankur, elivered 3 spec on "Dic Meer: Hin unvallendetes Projekt,” tant {sto nals a "Moderity eras Pstmodersty." In dis speech the netrMarsit Habero Wentifes the notin of postmderaity with the (nekenaserative postion f those who belive that ad ty has fale nd thatthe utopian impos gave nse to should {hereore be suppressed. But modmy or the “projet of the En Tightenment” Habermar arses frm the standpoint of ie own ‘emancipatory philosophy, tno led prefect, ony ao unfinished fone. What should be rejected isnot modernity, whose eee hentage as reappased by the Frankfort School of Adorno, Horkbeiner, oF Benjamin stil souev of “emulation for the Intlecra what shouldbe rejected isthe (nokonservativeide- ogy of postmodern. ‘Wha actually trigered the poem was Habermas tack on Freneh “posttroctunan,” defined atu ceaservatve ejecting of modernity as cnt vals of atonal ad univer By Soagesting that Michel Foucault and Jacques Dereda ae peo- found akin tothe group of thinkers known during the Republicas the nghoneratven Young Conservatives). Haber ms wanted to ses ther common descent nat only om Heide ‘er but shimately from the mort antinodern of todern pio ‘hers, Friedrich Nite. Although not named inthe Adorn rae speech, adhd Frenchman, Jenn rangi otard, wa peo ably the male targct of Habermas rites,™ FIVE FACES OF MopERNITY oth imply and exlicly, Lyotant's La Condon portmad ‘(157 had challenged Habermas philosophy af mederat 1 Eli, while using Habermas's approach fo knowl in eg leitination, Lyotard had summary reece his ation of Ds furs oF rational consensus, propesing rather fatuouly Wat once ‘modernity integrates, the ead tale ofthe new postnodene ‘onsciones becomes dissent —dascat ss a gulding eecle Alsen fr the mere sake of dient. But Lyotnts plat iar lenge to Habermas's doctrine of mademity ha eon the seve ‘portant one. took the form ofan argument about the ak ot ‘ety ofthe universalist conceptions, or the peat iological ‘Ry tls fom which the modern project sel had ulntly bean ‘erie. Essent, Lyotard expats in The Posmodorn Condon ‘and, more recently, in Le Postmodern expliqu us enfants in there are two Kinds of “great store” gnands vets) or “inotney _atves” ctor) that ave served tolegtinice noe inthe st ox pat diferent, to give aconvnkinganswerto the question ‘Wat is knowledge wltinately god fr? The fist Kinde ythad (tadonal) and the second projective (cwodern). I tudinal ‘oltre, religious anthropology shows, kuolege is letineal !nseferenc tothe origin, othe primordial tie when things eae {nto being, Unie myths, the metaarativescareteritc teach rity Jetinize knowiedge in terms not of the pst ba the future 2” [What Lyours various metanarrative of modernity have in ‘ommon isthe notion of ulversl ality. However diferent the ‘modern projects ar all premised una faite vison of coed uso, and in ths sense Chitty (asthe story of human fina redemption fom the original Adame st) conan ‘oder. All he major “sores of emancipation” of raleraty ane ‘seni secularized variations on the Christon pari the Enlightenment metanarrative of proges through Knute, by which humanity will be emancipated fom el igoranee; he spec tive Hegelian story ofthe emavepain of mind or Gest” hooy selfalenaton though dlc the Marist story of mans ens pation fom exploitation trough the revolutionary sre of the roltariat the capital tory of human's emaesption fg erty though the market. thas, through the Intervention ot Adam Sith “ovible Hand," which cates a universal Barone fom countless config selinterest#" But such mae he ogc metanaratves have lst their crebiiy, Usiorclin te bron dsplced and the great stories af mserty (which I oo all versons of moder “epistemolgil thea") ee An ‘earating under our eyes and sve way to a multe af heron sencou and lel “petites histoire,” een af highyparadeced nd paaogicl oat. Unde such srcumstances Haberoat Din urs can be no more than lingering isan, ‘The meanderings and details ofthe plemic between Habermas ‘nd Lyotard donot interes us her, ls main aunts and cn ‘erannments have been icy summarize, fom the iberpeg {nats perspective of dcp a John Dewey. by Richard Rasy & ‘The purpose of my brief reference to the Habermas Lyotard Rasy ip has boen spy to indicate ome ofthe currents antes ory thioght (hermeneutics, seo Marni. French "potton, ‘ersten which the cont of postmodern as hase, ostwey or negatively, during the at docu ose THE SILENCE OF THE AVANT-GARDE ‘The erm postmodernism has enjoyed a more obvious popularity ta the dictsion ofthe want gare in contemperey art ypu (he van gard, asthe experiment ating edge a aero, he historically sven ites double tsk; to destoy snd to nce Boa ‘negation certainly the most sigaant moment in the told loca dal ioovaon it the ol the insttatnazed pot ‘he Library and the Museum, that must be effectively soneom FIVE FACES OF MODERNITY ented to doe evant rt st ie by {in pwede, has ben bined 1 petal hi reat et cael ape ace et wt Wt ull on s0 ch res en os Syne oat ac et he ce ae Ste wine che cbt pets Amin te ure he mnt end pes iraltecnand cutee ated tne, pees AEStcciige' ney neue dees nd em) {Ge ex enmpie vdeo tara tetera iy oe Se ea ce cay cheng ar Trrlecrm fri emt un lap reese err Reke cys opuaty Eo Uy eens the SSPE van aay mane engde ml be emer of he police pati cata he raed yey nd ela besser Te Na Ja tee ans toy bese eter ee Thc Punt of Compote age ln Pt sae oppo etal bebe cee ‘onic eth Uae Bp “Te ita avant en sete sores withthe pat ‘Do wth aight atresia eof ‘> eter sou he no repeal with what ‘Ser emun tautle|The mutes desoye debs te pat oe Domaee Agwn pl ane gues Then the ‘unten rte, soe the ure cede aie ot Theat th ma, the we ona, the sed eva the ‘Sure cnet eestor ad the val at wl be the ran wal he balling atk ore prlllippe, nina (Stteanre, the detuction fhe ow dco, the Baro he cage: sence, the nite pp, mee, Ue pate om ‘ay opal to sate lence inh ens, the uly Cae ow rosrwopeawtsw =m mde. But the momeat comes when the avanti (he mod frm) amg further The portmodern ph» cana of ‘Scoping th the pst, sce camo ely be detoyed, be ‘Sve dest esto ence. tt be revised bt with ony, tance (co is aware that this Kind of argument (modernism bas ex- ‘usted ll ts formal possibilities) had been advanced erty on by sch theorist of postmodernism a Joho Bath in his exsy “The {Literature of Exhaustion” (1857), The new element in Eos treat tment ofthe problem i his insistence that the postmodernist re ‘iscovery ofthe pastor ofthe “aleny sai” cannot be ianacent and that this ack of tnocence must belly acknowledged. tony, pay fulness, predic and sell-proiie nostalgia are some of the ways of oig But there i larger moral and aesthetic ens in which posto Aeris’ los of innocence goes beyond “the already sid to relate to the darker, savage, unspeakable side of a moserity tha calm tated in the genocidal policies of Stain oF Hitler. Particularly for the Exrepeins the monstrous consequences of modern wtopanim (a the Soviet Union) or of eountermoder tbl (i the Tid eich in Germany) canna and should not be ignored. Ths, many af the artists whom Guy Scarpetta egarsas postmodern (Hermann Brock, Samuel Becket, MitaKundera, and Pier Paolo Paslint ‘tvong them) variously try to come to terms wit the debacle of artery a its rape legacy ba impr, which he ets out ‘oto deine the essen “impurity” of postmodern aesthetic, in Contrast to the ange fr “prt” ofthe modernists, Seapets notes ‘hat the ol avantarde ate prcticed a theorc of “the death of 210" But this rhetoric was an optimistic one: ar was proclaimed ‘Gmbobealy) dead only as a fist step in the avantgxdes thaumatorse project for resuctating it in purer frm. The ae tity ofthe postmoderas, according to Scarpetta, takes plae in » hanged, “pox poclypi” framework: “The question ito eeate ‘thin the horizon of his death oat), within the hypothesis hat this death is possible—to create even fom this death we Bnd thems FIVE PACES OF NopEANITY oN rostwopenwisu =n dea lead in Ado: The notion ofa culture sesstatd sor interesting as some of the examples examined or may aeny ‘echt itll and a absurdity which weald moneda ve sggested. Pstmoderaisn, ar Tacit snot new sare ‘nly posible cuure ada i postapoalyptie Allien ae em “ely,” or “mental structure,” oF “word ioe fata ‘ince inthis regard would be totaly anchrenie at Bete fom which on an sk certain question abot roy ‘en yar ag, in Faces of Modernity, treat postmodern {nts sever incraton. Al period tems, at Tare rpoal 2 subcategory of the want gad, at basil cotcngee Where ar (or shout be) mode of hitrial questioning Wel Ponte rte TH m2 ie when te ton | He of oer, postmodernism appears to me a avg Brtmodernin wa rarty wed ote the United See Sty sn, am even mote exlelyinterrogtve mature than other ky tn tomer a ran dtntion was tat been, | REN Put diferent, among the lcs of modernity portnclony RRademism andthe atacand fo continent stapeen | __ ac perhaps the mat gues selakeptle esa {ss critial ofthe Anglo-American tendeny to clase tyes living et searching. benevolent yet none ‘etwoes modernism including the avant-gade) and sng lam Now thi the Europeans, fer the Americans, lancome | THE NOVELTY OF THE PAST: feethe svat sade aan intel par efthe madesit mgr ns harder to rue tht postneerai ie merely an ences he THE VIEW FROM ARCHITECTURE {4 want, asterism i on the ety a tas ST sint Aen ee tesa eprom ses aay on ns carer a period term, we saw, pstmoder. Eivceaing cemetienlalsit ecvithastong | Ealhonin desert the altura present ofthe Wertere wal emerge ody. atheciensaac bngaapy | resent tat speared to hve danced tel ss te ges the sae of hi eacnbanee? madera” eurents thought sod imagination, tr thee hat {hos come t the question with whi started this ay 1 raked sine the Renaisanoe andthe Rebate Yireeh ad ‘honk ht postive aver has une eral laa hoe | Ealihcnen. But Amold Tyee dco ews ‘The term pattnodrnam self may ont be «los woke oe aol on the one hand, and an anu porters ree 2g parc when ne is fy aout ehymeloges ase, aftrsnalm srting cia 187508 the ther remained ees anes fm no," which in Ltn mean “st nooo | Sivassveeping Thefint Ameri pease sey tye ce ma oy atte ny wom |e ag inthe we othe vast new category. Ressadarae Spl or even of tomorow, but, quite ody. af “aersel esa that stage, nt only “tale a Poppeon toe oe (rey abo be hated a the sean af to wba and ary dogma rahe than a properly hyetetal a Hes ht went tothe mabig of enter tha as Une St, but ao plant wit ode wth urton a Meece Ee» bus complained till “on tou fare” Theat a {_ filand mutes. fz all urpre caning coe ra Severe th otnodenism at be eyed ly and een bebunded around as abate cry, postmdernur baie dence,nating power or heute al and tayed that way un the Iter 1960 Among the literary crits who ated this rather precarious notion, tha Hasxn was the Sst to engage ns sustained fr to iclie the enters of ts wage. For His, postaodeaist ‘more than a Rerary movement, i “a sol phenomenon, peraps ‘ven a tutaton in Western bani.” He aks Can we unde. and postmoderim in erature without some lineaments of & potinader sacey a Toymnean postmoderty oft Fow fauldan épsténd, of which the Merary tendency». but asim he elitist stain?" Whats interesting here i that Hassan ques ‘on, formulated rom an tly terry stindpin, is immediately broadened in'a move tit goes from the parteubr (ostmoders erature) to the general a postmodern epsteme” o "dseasive formation” inthe sense of Mckel Fouaal). What ditinguiches fom eae erry ates of the term sb his superior ‘gry of philotes and his one lid perception ofthe fine points of arts snaogy and contest between modemism and ostmedernsm. We my not vas gre with hs insights int the strain episteme” (which sometimes appear contradictory), ‘we may quarrel wth this or that example or rma, and we may remain skeptical of his plyfl“prerteal” breakp ofthe ‘rica text (hat he als hie poxtnatder “poli f the pase) ‘ut onthe whole, we cannot help recaniing tats wits, ‘expecially since The Dismemberment of Orpheus (17, eons ‘Perhaps the single mow impresivealtempt to bull aphiowopi Ierary concep of postmodernism in America With Hasta, 0 ‘hurt, postmodernist beg to ave a more dieernible went nd it through that some European (Lyotard fr iatnce im have dacovered the ter tas, however, notin connection with Ktertar or phosonky ‘that patnoderism wast receive Bet more seditly con ‘inc and invent defnitons. Ast earned ot the ten ha te imu fr the dtction of treads in cootemporary architecture 1 Tecome stuvely gaspable by larger nunbets of people. Arch OW FOSTMODERNISIE ost tecture, the most pli of he vila, lered a more concrete Lina ese controversial) bass or testing the eins made by theory of postnoderniom aot oly ia architecture but in oer areas well Metapborvally spesng war architecture that took the ses of postmodernism out ofthe clouds and dawn teat the ream ofthe vse ‘What architectural postmodern? If we desaribe it a « rection to nade hich obviously is). we must hasten to ‘tat this isnot merely fra ection bat one hat engages the hole avant-prdstpllosophy underhing the modernist project Sine the dys ofthe Baha What i at stake in the cot i fetwly much les the modernist legacy as och (ve shal son ee tn) than the ager atements made by the Funtoal Beaty and sient Party af rm o acter modernism: statements | HEout their ow neces and eniverslty, in lipit of which the \resitinacy ofall ther ors was to be denied ance and for all ‘AL ist witout making us ofthe term postmoderniom (Rabert ‘Venturi, ner on subsuming in # vaous dictions away from rnoemism (Chiles Jocks,» Paslo ortaghesl" and more re tently Henri Klote), the supprters of archlectralpstmod ‘nist ave atte a tie not oly af the aesthetic of od ‘lm but, more important, of ideological sumptions. Thi ‘igue. I think, shook interest ny stodent of contemporary fare: Here can dono sore than tines main arguments and tenes “Historical, the modernist relation started 3 rejection of the highly orate acituctre that preva a Europe inthe ate fmetecnth and erly twentieth ceatries. The very nation of the tment was rly contested as practiced inthe soled Ik Tele Epuaue the omanent revealed ts tue prasticand antifin tional evence- What feymbolzed was sta-seeking, conspiewos Consumption. and diy, Desortion and, more gener, er Dress, the modernists thaght, war soll and moral ebje Tonsble, fotelletally indefensible, and este corp) 1 ts in a wor, what tay we woul eal ypper- or midle-ss‘isch To such fad taste and bad ith, modernian opposed ts ‘scot, wapin, and rational esthetic} [The modernist ideal of geometric and fantonl purty was ‘ely idoloially charged and, inthis sense, the srt an {tne by the modernists ware io be en not ely elie at emty bat lo as antiptions ofthe radiant, eaveral co ts futuro the city asasymbol fa Soll berated antonio: Society: The avatgadat cormitinent to sich s gal neve among othe things, a efi lek bckvards tothe tari ola {he complexity off ane the cntnuity wth the pat that ay a ‘bungled ty, with all ts fal, posed |The posters esponse tthe topian ighties of the mod mits was to cal for soder) ety with memary. Thi epi achieture and beyond, the emergence ofa new biovcea he ft bean tobe innstenty revisited, ot only a a sorchone ot ‘ead or obnlte firms that might be reused sais seein enter but alo a « “dloge™ space of undrsandcg dertanding, a spice in which completed prem hel be [des aritectural madi had atl “una! wag, ‘m onder to justify ts ovn unelentngy mesa aude enon The postmaderas hve taken the opposite course, mney, tat of de-unying and de-simpldVing our image ofthe pct. Fees tally purist, the histrcism of postnader architect ree Yerpots the pst in a musty of ways, ging fom the sod {neh ply to heroic nostale anlinling sch tts x itoods as humorous irreverence, bigue homage, low sein, ‘on, wity quotiton, and paradonical commentary we acept the view tat now modern herself beame a ‘ing of the ps, we should nat be surprised thatthe posrccans ‘ts do not treat any diferent (with more ostilty olen) than ay other dings af the pat, While eticeing the nena \tepian ins ofdenism the postmodernist architects reno ay rejecting its formals legacy. As a mater oft, feed hproblems of sas, caput, and fiction encountered eases the century by the great moder, the pester sl eae {it o reset on oceson to some of thee tec tad ec ‘olution. It would have been both impose at nceaceate them to ignore the modernist meth af constrictions ene ‘emphases when he points to perhaps the entangle a the postmodern sys, double cong opposed to madera sngle ‘eine Jench wie: “A Post-Madern bldg te doubly cod rt Modern and prt something eh: verncur, sean heal fommercil, meuiphoiel, of contested. it baie dene ‘ein the sense tht sedks speak on tw levels at once, {gneerned minonty of architects, an elite who recognise the sala > “Enjoyment and complexity go together wel n postnederss ‘Unbeto B's own The Name a the Rose ix god terry eases point. On one level, Bee's novel san entertaining medieval thle, ‘which aoureelly employ the schemes of competion of deter {ie story nan exotic historical sting (a fourteenthcentry abbey In Norther Ty). Atthe sae tine, ona more sopisticted level, the clborte unraveling of the mystery uncovers several oer codes: oe is pisopicl (he detective genre being mys tently metaphysical genre, as it eonfonts the reader wth “tbe fundamental plilsophiel question: who is gily?)2" another code could be deseribed at eltral (he tet of The Name of the owes Yall of references an allasns, fen ofa subtly parade Ow rosTMoDERNIsM 5 nature, to countos books and authors, fom the Bible to Boge the third ade, which ne ht al seni, uses the mystery framework fr sustsned mediation oo stns and the pandoes involved in oor production and ieterpretation of sigs. The ch orchestration of eet resulting from such multiple coding cls fo ‘ retamintion of the casi dckatomy between works designed for poplar consumption and ran gare works (unpopular, exper ‘mental, provecate, ete (One cn, Eco wees, “in elements of sera td cotton in works that end themselves o Ee (consumption, andi (ako posible to redize that. certain ‘rks, wich erm prowoative and ll erage the public, do nt/ \ eal contest anything" mF eayment offered by postmodern art (architecture in Saded comes in the form of bral defined pace practice} ‘which ome commentators lave dscemed a more general hace este of or cultural Hes, Ht has thus en sugested tha the ‘ew reconstruatve” treatment ofthe pst patie or oer, Shows marked preference for "dvble coding” Jeneks and, with {ferent mpations, Hutcheon,» really for multiple coving ot ‘even overeding [Seapet). Mos fequent among the poetic Incan by which such multiple coding canbe achieved are allusion rd alloc commentary, citation, playfully distorted or inveted reference, resting, tanmostion, deliberate anacvenss, the rising of wo or more historical or slistie modes, et. Along these Tne, the seth of postmodersn has been desebed as essen tilly “quotation” of “elton” In eleareut opposition the ‘minimal avatars] which, at we sw in theese of aeitoc- ture, banned reference a ipure Tn acai, of curse, the sue of postmodemia i archi: tures mach ore complex and mest than I bve made ot tobe for purposes of expository convenience and brevity. Even when tua bye mot veal proponents, postmodern fe resogized be a hybrid” ambiguous concept. Ever since The Language of PostMlodern Architecture (S77, Charles Jencks bas sought 0 speaty the appliation ofthe ern, st signal by introducingPI PIVE PAGES oF MODERNITY ‘he transtonaleategory of “tearm.” The dition between ‘ate modem and postmodern is defendable on pratiad towne ad the way Jencks himself wes i in Current Avcatectuve foe hrateriing ferential the works of ew doen ontenporcy architects i certainly acceptable. But, on closer inmpeton veal: a disturbing theoretical vagueness, Simply tesessng the ‘umber of “variables to be cnsdered in dtinguishng toon 'ate-modern and postmodera—fenchs comes up with eles tag ‘hiya no create this ene of fssnese, Jencks may convince us thatthe Pompidou Centre ia Pais, designed by Renao Piano and Ricard Rodgers, «ply be over bullng. while James Slings new Statuglei in Stat ‘2s dtinctlypostedem. The lte modem tess meaner ‘aegcration of modernism hat the great modern of the 10a would certainly hive condemned, achive its staring eet ith, ‘in single-minded, sngecoded fume of velrenae, Thus ever thing inthe desig af the Frpido Cente is subordinated tte ‘exlicly maderist theme af the machin: the search for an toe topic sail samenes in the ater, the tendeney toward fe, inalist exoseleton "bes," Wat, pipes, dct, ud aes the outside, the tendeney to ute tecnlogy retortaly snd ose "atively (which at least eternally dows break the madras inte ‘iin of the ornament), and fay the tendency toward tur ‘stiscientifc type of fantastic, resign the appearance ofthe building at» “bueyed mechankal monster of Stence Fcton, Weliustrated by tiling’ Statler, the postmodern syle is qt diferent, wth now-sotope, unexpectedly are ani, ‘pace, with ironical revival of traduna fn and ges ce ns ocsionally painted in trompe Foe arches. arcades, ea), and with 16 overall tendency toward & new uncmsained, aneon ‘tional bt eal iatellgble cassis As longa we work witha soll numberof clernt examples, the distinction between lite-modern ad postmodern holds eh ‘ven his Kourtie value. But as soon atthe sample ges lrg ow rosrmopeaxisa ot conceptual dicts start appear, Ta resolve these, Jencks ‘ames up wih his thi varbles, considerable unproven, he thinks, ove the ve osc variables that mos architecture hiariane ie to distinguish between sles. But Jencks alt tll hw ‘many of is thity variables mut be efetvely taken int secoet os minimum for determining that spec sreture iether te ‘modern or postmodern In reality Jencks ims, when fae wth india eases, seems 1) we no more thin five uF st ceria hich he slet as he lenses rom the ttl of tye preane that statistically Indefensible. I one thing oto Bo "agnostic exter," alo mast ae stully sid before waking, 8 partinar dagnesis. Ii «completely dierent thing out of they such enter, only five or sx are flectively sted the Augen this ese wll be extremely umelable This, whe inttvely we may often agree with Jencks jugments, hs tres leon of thin varables theoreti ot very bela, Ina interesting slp, Jencks comes closet eeopicng the dial of bis poston, a he eplins that his variables ae supposed to “blog ‘ut the complesty of the ston the overlap. conten, and ferences among movement." (Note the poston of "oveag™ a the sequence) By and large. neither Jenks or other writers on postmodern schteture seem tbe aware tht porters, ike other por ta terms, an easly generate ts oom versions ofthe old “realti ksi, by vite of which a mere construct the mind or male! sf understandings perceived sa har-an-lst rey. ft thse athe temptation of histori teleology, which make us tinh of the preeat a ou of previous devehipmnents and which inde to read history backwards fom the present, we begin eae how widespread and signin are the lass to which the sar of postnaderism, a of sinarperodzing constructs ae lable #2 ‘One shuld therefore insist an the nse ora seleonscious sad openly ypothetial use ofthe term, which eral the ese, ether Imarchitecar etn or elsewhere2 FIVE FACES OF MODERNITY CRITIQUES OF POSTMODERNISM ‘Thos far I ve considered the ies of modernism versus postmodernism mostly from the perspective ofthe crits of mod ‘risen, Whit 1 would ike to do now ito lok at the opposite ‘ition. Since the exiiqu of postmodernism sanst be presented bere inal te wide-ranging impletions, Iwill concentrate on two more or ess typ anges of ack, oe “camera, theater adi” (and tote preity ne Mars). have placed “conse. ative” and “ada in quota nak to undercoe not oly hat {hese Ile are highly elatie, bat alo dat the evo atts they hae, ostensibly antihetisl, can on eceson reves striking ‘Suite, Tnsayngthi, weve, [do not wish tmp thatthe contrib tins and personalities ofthe cts have chosen to exemplify these laneratitudes, Clement Greenberg and Frere Jameson, ae o be equated in any fishion, Greenberg, clorly aseited wid the tle af modernist painting in America as ats mor theorist and ‘ite porsesies an unustlly Brow nd gprovs mind His complex {uments whether one ager or diagrecr with then, havea it Consitency and « sharp pression that have avays been rare ‘qaites inca writing, Jameson's tye of thinking and we siderably Toor and. might be seen a trating Ue serious Intlloctal problems contemporary Wertera Marin experenc- ing What eset Mares scr to Dein, most notably ts ‘de methodological integity an the ier histor logs hat tad it ecogniale among other modes of soil hooght. Todays Marxist cts sppear ready apd even aio to apt whatever ‘methods or “antmetode” happen to be intellectually fashionable ‘om formalism to strstr tothe most esoteric versions of pastsructulism, without caring that such adoptions might result. tthe bursting ofthe very Mari frame of ference they ein © represent Such theoretical tendiness more apparent in works by ow POSTMODERNISM 0 Jameson that wil ot be dsonsed hee, bu it does ve a bearing fn his view of modemnsm vers postmoderism as presented fn ‘ontmeernism and Consumer Soaey,” 9 which T shall turn omental ‘One might question the selection of Clement Greenberg re rena te conservative title toward postmodemism. Aer al, ‘rath strongly enti with Marxism atte eine of his ‘Cheer? Wasn't e the outpaen Tietakyite editor of Partin Re ‘Grin the ate 190s? Ideological on the Gr le, Greenberg has “Shp een, perhaps even ore so tha oer contributors to the play ale but caltrly modest Foran Review, an ss {etc “purist” and even a paradoael “conservative of the avant (pe fr hin the madera painters had thing whatsoever to ration or novelty nd adal long ben, nei commento high standard, bskvard- rather than frank {i Over the ean, reeobenfs version of modernist consents ‘i eithets bec appealing the soporter ofan neresingly ‘enbatled arate modernism, and today his Blot rejection of Dstnoderise nd his pasate defense of bstrit paitingcln- ides wheter he Mies orn, eth the cultural polis of the “The pston a Clement Grenberg in his 1980 lecture entitled ‘The Notion ofthe “Post Modern” ould be summarized inthe Towing ters: moderns in printing hs been, since is inception ‘with Manet and the impresonist »herte srugle agaist the “reroute of bd taste or Kish nthe domain af at; pot: Erni is only the latest sae under which commer bd tate, ‘resqverading a sophstested“advancedoes” challenges the tepity of art, Werecl that aly on, nhs inprtant ey “Avant Garde and Kitsch (1935), Greenberg ba already suggested that the incompatbity between the stant-arde (fr him synonymous teh modernism) and itch wa largely responsible or the was Tthich dhe avant-garde had evolved. But we consider Greenbers's (er theoreti writings on moderaism, partially his 1966, Modernist Painting” the made of development f modernism athe propotes plainly tofld. On the one and, Greenberg stresses, ‘immanent evolutionary pris, that he explain the evel ‘io of modernism in terms af “loner atte Logie” Re ths Principle that his compelled sucssive generations af ate te ‘im with increasing force the medium of panting in what Sh ‘nique to, namely, is “Mates” o two-dimensional, sop. esd toll other features that piting shares with te ts he sexipturaliion of theee-dimensanal spce. figuration, clog ee) (On the other and in potenti contraction with his mane ii ew ofr histry asthe unfeldig of an inflebl ane lg, ‘Grenberg believes that mederisi is bee trout ts history Shing more than an endeavor to maintain the high sandr of {he old masters against the introsos of eommerisn and coropt ‘market rte. This second view ugaets that moderna hs boon “OBEgET ya sot of ngative estheticethical nmpeate tow, raw fom what an ever-expanding commer ast had munaged ‘to sporopriate and then markets “high "inline the moder {st own earlier discoveries. This “eeactive” approach is dominant In Greenberg’ atack on postmodernism, Insc a reactive” seme, modern “consis fn the cone tinsing endeavor to stom the decline of esthetic standards thet cued by the relative demoeratzing of ovr cute under las ‘vals: and the overriding and nnermot logic of Moderato ‘intainthe levels ofthe past inthe ce ofan posto that hada’ ‘ben present nthe past The made do ot ely innonste Greenborg insists lthongh thelr wspraton to uly may free them to lok new, een outrageously. "Modern stot a Plating with Impressionism. an, wth thi, for ats sae. For ‘which same sake the sucessrs in Moderain of the Impresonbts were forced to forget about truth to nate. They wore oe to look even more outrageoaly new: Cézanne, Gain, Sera, Van Gog, ad all he Moverist punter after theme the nike af Sesto vile, aesthetic quilt, mating els" vigorous sd ow PosrmopEANis ey Dighty demanding quality cites make modernism the veritable ene of at ‘Any deviation from modernism, then, tavoves betrayal or corrpion of sesthetie standards. See ros ths vantage pit he pstnodern canot be mich more than renewed "arg t re Ix,” partially pera aftr the advent of pp at with deleterious ofc onthe at world. Posteri, Crenbers tonelades, “isa way, above al to justify oneslf in peering es demanding ar witht being ele resetonary o reared ic 1 the greatest har of the newnged phitines of advanced = Tk type of egument (moderns selEconcous miso, to ‘sores ad ast from the domain of igh ar today urges it ever wa) appears aa variety of forms and shapes in the writings “Ofte defender of moderns party agsnt the infiltrations of om ‘mercial ani fashion. nts Songer versions, thi way of gun inves deet entiation of ortmedernisn with Kitsch rea, Sr intinoe ig Hilton Krarer sharp attacks = | Whether one stresses Groebergs notion ofan iner artic loge of develement toward greater and greater pity, or the no tin ofa hero‘ resign toa market tat conguers and deradelhe second one i nt fi om Adorn ew of unyelingy negative aesthetic avant-garde one fees the sme stn: in modern ism progressively narowing i formal chokes and geting coe to the pot where ae proery creative posites might be com letly exhausted? And how is modernism to sty live when the rice thas to ray for maintaining sigh standards fe sheer erlty?? ‘resonable way out ofthe lemma wou certainly ot require 4 rash abandoament of hish stnlars, what it would req, ‘hough, a change of he Manichacan defiiton of aesthetic qi proposed Clement Greonbers Instead of phigh rise modernity isthe sone ofa myth battle betwen Cond Tat and *Hud Tate (High Catore versus Mase Culture, Avtheatic Benuty ‘versus Kitsch, and so eth), would take a mre relativistic and sl skeptical posto in rear to the current aesthetic depts a ‘tea of “demonizing” the market and, conversely, "ageing the Spl of modern, I woud uagesta moe Bakitnan, “aig.” | polptont,” and “cara view of things, in which bolt inciples wold lookout of place (to serious, too eos sl nn, too arogan, and, imately, to borin ther pasion fra formality conceived purty of sta dads, the defenders of mdernism end up ofering tle more than ta thetor of aesthetic conservation or, at best, eoneertve ver sion of a ply moderast “great stry” of emancpation: the femasepation of art fom bad tae, But instead of the ere and mame ime of « orwart looking, ionovative modern, what swe mow et the image ofa parndexia "backward oon” one (Greenberg owe term. “Turning to the second, “atic” tite toward the diinction becween moemisn and postmoderaim, 1 would note that i ‘more opealyideolosel, slhough ar I shall show, It can be as testbeds asthe Best. Thi atte is pervasive in neo-Marget ‘eles and Yevives the great Marin sory ofthe newb end af ‘apis, but with the new vit heaps lat days ae less spucalyptic and the inpendng revolution ses cer in shape and ‘Peano than might have appeared to ear Marni, A od simple ofthe neo-Marst views of postroderim is frised by Hal Foster's anthology The Ané-Aethete Essay Post-Modern Culture (1985). The contribs Habermas Kenseth Frampton, Howl Kraus, Fred Juneron, [av fded and Far Sa sean 16 sare, whatever their fartculr fous, the general proposton thst postnoderisin—to th divided into ghd renin antepalt variety and a Bd, reactionary ane—is a eltral phenomenon characterise of Tate taptalisn.” But ule older othodox Maat sted ofthe “din iatre™ of epitalsn (ve thinks of Christopher Cadwell’ rather ‘sophisticated rojectan af modernism inthe 1309), the eye inched in The Anidethtic ae not wholesale condemnations of ther modernise o postmodern th the exception of Haber ‘mus, whose understanding of postmodernism Is entely neti). ‘The ral arguments found nth ae more ities and more anmbalet,butalso more confusing, both theoreti and in ela tin to partelar qoeston, themes, procedures, o nid ex- amples. Looking at oneof thes sa), Fred Janeso'sambitons “Postmoderis and Consumer Sot,” may give ws 1 moe spe- cede af he no Maras approach to postmaderisn TVamesoabelioves that postmodern clue, the rest ofa vert ‘ie socal mutation, at lst much of he “subverivenes” both sesthetc and poita) of elder moderaism. This view impli ‘vers the concussions Maras analyses af moder: tn oes Canel Lake) which tresed the scaly respon bl, reactionary, and decadent sestetcn of ost igh mode ‘ss So fr Jameson s dose to the par Mast nef the Frank Sell and partly that of Adoro,asoring to whom aesthet teautonomy ithe lst guarantee that a "egal om teurgaicoption [Bat modernist sethetcum, Jameson argues, ‘moe than a tape left pegaion ofthe clare of ap ‘alm, ie polly powerfl subversion ofthe fase boargrois talus In exposive combination particularly wth he “protic” Tadcles of tome pial modernist (he caso of Woodham Lewis) this aesthetic performs 4 mor cea politcal ale by Bowing beyond the deceptive appearancer of liberal democracy ‘nd uransin, the monstoulyagerensive essence of expan (ta Fables of Aggression, Jameson states unequivocal that the” ‘stu of epitalis found nthe work af Wyadam Lewis, with thet aggresive mechanical metaphors, was mare convincing and intellacaly reveling than anything article by the Maret of the time (One can now understand why postmoderaism, precisely by ‘boing “ant-axthet,” by blaaing the power ating edge ofthe ‘esthetic, eae up being es subversive dan moderns ha been AAS 8 domesticated hind of(ntiinoderism, confiaed to an un‘voidably ciel “textual” ad refusing to distinguish between ‘he resthetc nd he ronaesthet,postoderism canna help et ly, however uniting, the part of «“enfner of helio fonsumer pital.) ‘The postndustial (and elu postinaern) society in which wellv, Jameson writs, has brought about “new pes af ons ‘oo: pinned obsolescence: the pentation of averting Wer on, and the media to a hthert unpanlld dese throughout society. the growth ofthe great net of superhighway ad the ‘sri of automnbile culture Postmodern nth ond see ‘ai of social mutation, i the cultural product of the etargence Of ths new moment of late, enramerof multinational eapitaon {Poxtmoderisns formal fetus in many ways expen the deeper Jogo this prsieaar ryt = Lis, however, accounts fr only one side of Jameson's au live att, fr he can show open appreciation se of the ‘syle vented by artiste whom he regards teal postman ohn Cage and younger composes suchas Php Glas Tey ley |x music; John Ashbery andthe recent "L=a=negevcamg=e Poets” in poets, Thomas Pynchoa, Wiliam Burrughs, ad the French noureau ramancers i ftionJAlong these nes, whe he score piece bythe talk pet Bob Pers ("Chins Janson ‘aementfvrablyon che selfconaciosslFrefleive "texts ‘the poet and brings out ts caret political pintaton (China ating toward thie way" away that ehlaatingy avd the !mpases rachel by the ovo superpowers). Given Jameson's un ‘euival praise for both Perlman's cat and pits, one ey wonderin what sense pstndernis sell plying int the band of the detested mmkinional etal (One may also ake tht Jameson fs to cit any conerete example of poster nat Swrk fart actualy rolforcer the Top ol ate captalon Jameson's ambivalence becomes even more evident is tine in ‘heoreteal tems, toward the end fhe eny, when he ask nal whether postmodernism i indeed devo ofall subvershenese or ‘octherial value. The diem i ated yoambiguouy "We x ow rosruopERNisu = aves tha ther wa which tod replies o seoroceseinfres—the logic of cnmer capita, He ‘orga (ny emphasis question whee tere alos ay in which ess ht ose Beth qetion we mat ee ut why? the question aboot he it vale of postmodern ‘nm i sion, what el have prevented the su fom adiresingt weve bil)? Alte ore whe eto of he “Titblgy, Hal Foe, Kal agua i the pref frst Between a somplicent, esata recy potter and an emancatry, “resistant” version. (The ditnton er ep ‘ealngerude old dichotomies crite by Marit rte, such asthe one betweena reactionary” route, a exemple by Geng, anda “popesshe” romantics, eemplifed by + Shelly one may a se fo noe that nth cet rable neo Manion the ppt of vests een wed voy ‘elo “pressive” sogeting Hat th the dc ad the terminology of ogress may hve lt tei appeal othe raed ‘again, So why door Jameson nit the wl of vince the “ogee consume pital a Fate ad nd of ost eras? My own explanation tat even ned vecoguton of Frstmoerin's “estat ther of cptaln wld have | Setlend Jameson's nest contrast between, moder. and | esters and would av cat serve doubts at is cn | tal thes redng the ong comply sce utner seen of ode [Be hts itmay 1 Gk hat headin the “eos vate Grentergan) retin of postnodemin td he “ah ca” (ocr) Hetieaton of porters wih ela tmnsuersm are soe cary vile now Dan when tft stele entence rom bth perpectnes neem meres ‘ative he, whether 8s hero wis nanieted nf atte tate ast urge tad ste orn fmt abveron the cota coll ner. Carus fx ath es here a ton or made sesh’ etn vit, eee open= FIVE FACES OF MODERNITY tion tothe corrptions of the art market the Best unyielding essence” ta the perverse deceptins a capitalist eaogy i the cond. In bath views postmodernism appears ata relation, ‘leer of artistic standard oro the ply poi standards i aesthetic etic.) LITERARY POSTMODERNISM: THE SHAPING OF A CORPUS Soar Ihave sid very ite about the we of postmodern specially Inerary contents Even when such coments have been ‘entioned, the emphasis has ben either on histor description ‘or, ore often, on ste fait portmoderasm in general such the new meaning ofthe past gr the queston of postnedern But site ‘auch diferences, Borges and Nabokov shared profound rear “ipation with the question of represeataton, or pore precisely ith, the question What does representation represen? and sith the ‘ules loge contaditos thst tars up when one attempts to [rnmerit seriou. Hence, inthe works of beth the prolfention of images and etione directly o indie lnkd tothe ides of repre sentation: mirror and copes, reflections and duplations the un- ‘peste and intste pardowes of rexeblance, pretending a {ne nperionating oF mimicking, ad the various mental pred tents they bring about inthe shape of ious ccs, beans of the question, and infite regenes. These are handed in quite las fashlonsin Borges societies they fntion With ia what I would call pote of perpeny, in Nabokv's more ‘expansive and. charmingly overiten novels they are incoded Within formalist esthetics of parody, selEpardy, and ply) ‘Since James Joyee ha lo heen mentioned among the prec sors af postmodernism (partcalaly fr megane Woke, as Thad san bas rept stated, t might e well to compare his lnerary allen with tit of Borges. Theres «sense in which CCstoper Butler has proposed, "the huge overormnization of Franegans Wake” tone pole of date that overs the pstmo {er pied On the ther han, chou, the overalJovcean model. Iles important strato than ts tistily(Forthe extensive tole of punning paranonass,etymolgial verbal lay te) Joye, Butler sbserves, “contbotes a reas of linguistic texture; but Borges was the fst to adopt certain types of narative handing ‘which ave now alo aia." A Btler wade, Borges Siew ofthe worlds a labsrint of posses, of parallel tines, oF sheratve pats and tres, al of which have equal dans to Be "onal presentation —a view mos arena argued inthe sony tiled "Tie Garden of Forking Path —tat har become one of the major premises of postmodern narrative experentallsn ow POSTMODERNISM so [the name of another great writer who “problemaszes” repre sentation, Samuel Becket, has ala figured inthe dicusion of ppostmoderism,alttowgh Becket crc a wel as proponents of fosters (Aan Wilde, fr instance) have sometunes ro- tested hit inclusion within the corpus of postnoderist writing Since [rear thi corp as hyptbet, think that onsderse tion of Becket pote of impart (a poetic that works with impos, with the impotence ofthe word and with fale cis hat sates one must wie Beers is mpossble to waite) ould eaare the postmern hypothesis by stewing that ts char teterite “possion” alo comprises the neption of posi. ‘Tos, among the “pose works” of postmodernism, L woud u- tat there shouldbe a place forthe rigorously “Impossible” ones that Becht sts out t explore Once Borges, Nabokov, and Beckett wore Scena credible ex amples of potas wing the wy tthe nternationaiatin “ihe concept was clearly open)The word puttin ofthe three ow Anerican aster of pottnadersm ws bout increase the Cavity fo this abel and. overtime, to emlane ts cclation shoud. Te may abo be ue tht, ona deeper level, the American ‘Conception ofthe postmader, nebulous thoughts, ised ‘crtain questions abut erature that were elng asked, in diferent Formulations, ll over the Western wor. Atay rate, postmodem- ism fered convenient frame for discovering 0 nventing more or lem interesting lites among great any contemporary writes ay the iteration cpus of pontmoders wring. elles, besides the already mentioned nares, writers cha uo Corte, Cae Mingo, Carlos Fuentes, Cabrera Infinte, and perhaps Manuel Pugin Lain Aree) Thomas Behar, Peter ane, and Botho Stain Germany a Aust Hal Calvino tnd Unierta Eco in Tal) Asale Gray and Christine Brooke se, but alo Is Mordoc, Jon Fowes, Tom Stoppard, and D.M. Thorns (in Grest Brita: Michel Butor, Albin Robke- Gillet ar Claude Simos Gn France; andsochottanding “eta terior” a Mil Kundera, What remarkable aout this inma FIVE PACES OF MopERNity complet lst that t groups authors who rarely resemble each ster her characteristic mods, weld views poles Gacodng otitis), and styles may dr widely, and satay ther ape some of them being hihly dial, esters, and rowel thers write trughtorwardly for «ge popolar sears ‘Wat then jsties rouping them fogtir? The fe thik, that hr works, even when they spear to have lit in common, an serve a erie examples of postmodern Onto pat erent, he fet that a erte who would want to consider hen toguter would be likely to come up with fae of reese hcl cesembling ane o another ofthe major models ofereen Aerism. Once sca mada sled or asembed the works ‘lsat this central convention work by Ge, Lar, Thom ss Mann, Ter Brat, and other ow rostMoDERNISM 26 Go such expansive “modernist hypotheses” the postmodern wrters (Borges, Bartelme, and Robbe-Crilet among them) op Ds, aconing to Folders thelr impose” anda pervasive feos of radical, unsurpasae ncetalty, aero epstemologsel tiem, ae Two el ik he potnderist view, here singly ino “vealiy” tht mig validate such Iypotbeses, even under ‘deal condiont. The moderast pay of hypothesis and cou teriypuess, wth is parelar drama tensions and anti tons anaes ad joys sont ts ns. "Rely” beng thing ‘ta compost of onstral and tins, Fokkema argues that te ‘ostmderists cas no longer writ from hypothesis; they wl wre, ri wee, iors) ‘Acknowledging the inportance of Foon’ choee of an epis= teoclogal pant of view, Brian MeHlal changes the tems of his ‘stintion, Instead of opposing “epistemological doubt” a etyst for the moderns imagination fhypathesh 3 portmodern ep temolgial inpousbllm, MeHlale prefer te speak of an “eps temolgial dominant” nthe eae of moderation and an “on ‘og doinunt nthe cateof postmodernism. Boor examining “Melts central argument, some quick termiologilelrfition is meee, “The notion "domiset omes rom Roman akobson. Literary ‘vation, aeordingf Jakobon, cule seen ashi from one Period’ primary or dominant system of poetic noms to 2 ew tne, which wl be dominant nthe net ered. Sommaiing the ‘ostion ofthe Rassian Formals, of whom he war one ofthe most ‘Prominent, akobuon ates hat wht was reondary inthe a per- (0 becomes primary inthe new one and, symmetrical, wha was ‘heat nthe oll herarchy of conventions becomes sls ot ‘optional inthe nw irate. Ie aoeworthy thet i adopting te oberon concept of dint, McHale ees om oily month amplatons Like the “rate” notion of period, te ation of dooiant can make no clams to beg unique. Tere i ot one bt many posible theories of moderne and pstnadern- im, defined by the sttepe sbjetves of those who artilte200 FIVE FACES OF MoDERNiTy them, Likewise, one an conceive of many dominant in ober, ‘depending on one's point of view. en wat one wisest sad a om the purposes of such sty. The way Melle us the word “entlogy” may confuse those who ae more faa th the le ‘age of German metaphysis eng Heeger] than with the Inge of post Witgenstenin aati phony To dpe otental mitundertandings, Melle eps that his “ontology comes “trom the use of the term i pti, abowe al by Ronen Ingarden «snd by Thomas Pvel and others who have alte terms fom modal logic pose welds) tothe description eff tonal works...» For a working definition, let meee Pavel an ‘tly i theoretal description of universe And now to Mefale's argument. He surtout by formating ‘0 theses, whose claimed vay i imited to an hse poe ics of twentieth century Htion." The fit thesis The domingo Moderns writing is epistemological. Tha, Modernist wtog designed ors such questions whats there to be knew? whe ows how do they know iad with what degree of erat? ow ic kaowiedge transmit from one knowert anther ad with what dezee of relabity? ete The second thesis seade “The oman of Postmederist writing ional That Postnad. emit writings designed to rae such questions as what is work? ‘what hinds of workdare ther, how are they constituted and ow do ‘hey die? what the mode of existence ati, and what the md of rence ofthe word wei pret eto ‘expan the pase fom one dominant tn another MeHale aor to ‘8 inmasent model of change: when the nner lage af mest ‘westioning 6 pused tothe extreme, brings bout postmedersat ‘westoning nd vice versa. McHale writes: “Path eistemoleia questions far enough and they ip ever ita onto questions the progression is not Uncar and omeway, but cela tad reversible ‘To support his theses, MeHale discusses works by Willan Faller, Samuel Becket, Alin Rabbe-Crile, Cater Prone, Vlaimir Nabolow, and Robert Caover atest show tht the ‘moderism/ postmodernism distintion my be prota empleyed ‘in dealing with the covere of one writer, and sometes ah a "le work, Ths, for instance, Rebe- Grilles The Jealouny woul) exemplify the epistemologieal (oder) dominant, whe the same authors Inthe Labyrinth would be eharateritealy on ‘oll or postmodern: afr Willam Faulkner» Able, Ady salon! tsa largely madras nove, but wth intriping pated ser elements Inthe concluding part of his paper Mlle rtung ‘othe idea tat the two dominant are revere and weitere rssover fom Modernist to Postioderistpoctin i not tnecers thle, nota ste that sings one way ony. Its pale to “Tete fom Postmodernism to Modeens, or tae o ela Teton the fw All through his essay Metale appears to be reluctant tos: ‘rowledge that ireveribity (thot witch no properly hisopeal ‘esearch or thought is posse) may have anything to do with the ‘modem/postmoder duality. Ths is surprising, gen MelHaes ecaration that his work es td in historical pot, The doce one eft out in his scout are ofthe tp Te ners hanes ‘model of modernism we chaos) a distinct moment i a never, ible sequence of, as some contemporiy “textual” eres hare ‘intained, essen urge ofall utenti) Iterator a al times? And ts potmoderniam whatever modelo prtnodemion wwe choose) a tinct moment i such u sequence or treet sity sven within the Inner lagi of ranstonicd ood ‘certain lingering structural bias agus historcl reves lity prevents Metis fom entertaining such questions, een though histories anwer would nt have been inompaise wth the gear thrst of hr ers Ihave modify seepton he view tht the posimserist have, among others, the epic te retun to moderns types of epistemological questioning of oa ae between the eistemolopea and theological darnina. Bes 's nt the very aval of sack an option the result store ‘cess? Dil ear modernist, bee the otoogeal dominanteo FIVE FACES OF MODERNITY wu filly articulated, have similar choice? A Fle in Abualom, Absalon, which McHale analyes with sublets, may well hive been confonted with ontlogil puzzles (indeed were on ine ‘of novels starting perhaps wth Cervantes) but can we relly sy that he was in ponitian to choore between an epistemolgseal lteative and an ontloieal one? Such a choice, I weal ape, ‘xn emerge only frm an ireversible historical cultural develop tment At the tine when Faullner wrote Abnalom, Absalom! the pstmoderist option was ot ely aval tn, But McHale Fig that» Becket or » Robe Cellet can fel tt bak sc Eth between modersian and postoderain, "The “posible words or “ontlogal” dominant of postmodern Acton ent witout ts own version of-inposslsn, Ths what ld bse artemps to state tm ber esay "From Hypothesis to Korretur®by wy ofa contrat analy of Robert Mus Der ‘Mann ohne Eigenschafen (190-1) apd Thomas Bernhard’: Kor- reltur (675) Io Thal view, Ulich, or "the man without ‘qt the hero of Mails great novel, sa modernist embed ‘heat of Nictsch’s penpectivt epistemology, an eptemoloy, ‘we reall that opposes with equal ee the esti and the mate lst theories of kaowledge In het mor forms Mus “novel aes," as twee, the phiosophicl and cultural pois oferty that Nictzche brovat soto frat. ‘Thus, Muss era a big pardoned ince “raisonnent”" constantly confronted with {host of characters ambiguous moral. poe, and li utc sitanins, which incite bin to ees eral sped selFat ‘eal hypothesizing Though Ulich, Mus faaishes one ofthe wast. facinating examples of modernist se ofthe “poste device of pothesis," to repeat Folkers phrase, In contrast with Ulich, the hero of Thos Berahard's Correction, the intrguoely Wize ‘eli Rothanmer intent on demystihing hypothesis, on sho {ng the inherent imprecion, shabines, and weaines of hypo (hetca thoudst Tiss argument is one about «historia mutation of hypatess int eitatio: the presentation of various tentative pints of ew in Mu, which gestion he dogmatic ua on PosTMODEANISM oo tin of one perspective, replaced by an unrelenting attempt at feftation in Bernharde"®” Ths Ultehs epistemological skp ‘cm and eeative nae of conjectare gives way, in Bernards Rothaminer, to 2 pathos of "orecson” orection of correction, ods rth vl he her's fl sii o (elfeorecton out of ‘Coing beyond bch’ analysis of this patiular novel, wold ‘be interesting to consider the extent to wiih ther pstnaernist Urrters Ge use not only of refitation or corectin, ut more neal of figures nd deve hat belong, would suet, der the anger category of paliode, The Greek etymological meaning of ‘he word palinode” (e., taing back what one has si ina "ode tor sng of pa) ht ag been extended to comprise any expt svithdawal of statement (be retain, an admin of inbeen mistake, ofhaving been a dupe, ora recognition of having Ted fom whatever motive, serious o lyf. Cold we speak of tera ection wii postmoderase, whose oustanding hare erste unl be the natn! moa etricef pli or retrae~ ‘ona shetre that exer odes of wetig hid sed only maren- 1)? This question cannot be answered here, But aquick example of how such etre anton inthe works ofa major contemporary ster might establish ts relevance, "Tam thinking of eshte tategy, 8 intereltes wid the slit textual and terest patterns of his pre, a Ti ans trilogy of the 1950 (Molly, Melon Dis, and The Oe namabl The question f plies to dominate the reader's Toran of expectations eal on Azone ofthe commentators of te ‘slg Blan Fitch, pints om, the attentive rade soon lems that "each turn of phrase cold annul all he seatences that pre feded it Qualifeatony and revisions intervene ceasless that was jos side tmmeditlycontraited and then epee Tain and 50 on™ The sense of unsleable woertany i: com ‘Meny renforsed by the arator's hesttons aed selfconsions Inconsistencies (ned, among oles, on amnesia, cofision, and Inability to separate Tat Bom “fetion). Typilly, the Hechettan10 FIVE FACES OF MODERNITY narrator will ell the reader: “Fer I cannot stop, nether can nee, bese of my infirmity, and ever stoop forgetting who 1 ‘tm, of knee, make no mia, wil nt be me, bot anater 2 Or, even more teasing: "This woman has ever spoken to me, thebestof my koonedge fy emphasis] 1F have said wything {he contrary Twas mistaken fT anything tothe eontary aps 1 shall be mistaken agin. Unless Lam mistaken now." On the lve ‘ofthe tutu ofthe whole rgy, the technigu freatng ei tend) puzles takes the form of larger successive revsonry ‘moves of retroactive dscmer. Inthe fist novel the nara ice, however indeterminate, seems to be Molly's or, ater, hat ‘of Molloy’s double, Jacques Maran. But the native vie of the ‘second novel, Malone's suggests that the fest novel had in Sct ‘ben writen by Malone hinsl, so that Molloy and Moran are uting bo the product o Malone's adnan, I the id novel this revision itself revised and Malone's exstonce beste, ‘5 dvb as that of Malloy and Moran. As forthe ancora ‘ameles lundering narative vole of The Uanamaie the reader ‘atalos tosay whether le one broken vie or Several etc ‘in stil the main echaigue, bt who i cetracting wh imp stl to determine CONCLUSION At the end ofthis say, in which have tried to are ia vor of 8 istorkahypotheteal concept of postmodernism, the rest Why Ihave eschewed a conventional defiiton of such «concept shouldbe stressed aun, nthe forn ofa more general sunt “A concept in which an ent proce is semintially once tated clude definto,” Nictache once observed, ding “Only ‘hat which has no istry is deisable "In hi suit tatement oy rosrMopEaNisM an ‘f method in The Protstont Ethic andthe Spirit of Captain, Nt Weber repeats the Nitschean thesis about the undefnablity of Instore categories, but goes further to speciy why, whem, tad ow such categories, though undefined canbe leiimatly ed In regard this own “somewhat pretentious” phrase “the pet of ‘aitalinm,” Weber nots thet ean only have an derstandabe meaning it refers to" complex of elements ssocaed in historical ‘realty which we une in concept whole It is emphateally ‘te who select the elements and contr er pat tgether or make up this whole, as Weber insists na ey passage, which deserves 0 be quoted at ent An iri cone. aot be defined aod to th tla eas pron, diferent pn bt oat rly ‘st tother ot tends pr ih hen oso. elit tomaettup We mat, moter words nr st the cure athe cussion, atest rer the ft ‘enc frmaation et wat we es yt spi a Eaton that te bt onthe jet ew hh tree ere Tis pit of view rth, by mo ears the aly tel i ital rigs Ing be ane. Other stp wou rh a vey ‘kor phenomenon, yell ober aceite wth eel ct = Ths ra tec ea to mau ef iene 8 which stomp rte metho pepe a fw ro oval ety nt grr ema, but in conceeseck ats frelon whch se ney es pce enge ad ‘bd charter ‘The importance of point of view and methodological purpose is amount As made clear at several unctre in the eure of hit ssa, my acount of postmodernism ha set ul three large goal a) teint the areas and the main wae in which postmodernism hasbeen conceptalized rom the Ie othe 18602) rng ot the hypothetical nature af the tet, which shou be seems an cplinatory and operational constrict sigan, the eption ot ‘ejection of posiademis valves a reconceptaistion of ether ‘kor period constructs, sich as modernism and the avant gd)is FIVE FACES OF MODERNITY and () to suguet, from a metateoretial vantage pot the base "requirements that a good theory of postinadertn should fll (Among these requirements Ihave gen parla attention toby tet selfconsiousnes especialy rare in historical studies, hich ae traditionally predaposd tothe “realistic” and "ile- logic” ilies), spect of apleation, sn, in the st two ‘sections ofthis chipter, postmderaisns bit to produce sits that arene, even and fot realy texte arpuble als fa (he sense of worth anguing [My own theory or etter, understanding of poston ‘nsins Irely metaphorical and ean best be stated terms the Dysiognomicl “family resemblances” to which have refered eat ler. Postmadernim a feof modernity. I reveals some sting lkeoeses with maderism (whose name continves toc witha is own) particularly nts opposition to the rincpe fet, ‘sn postion that now exten to ath the wopian reason and the ‘pian uneasoa tht some moderists worshipped, Postmodern Isms refined ecectesn, 1 questioning of nity and it valuation ‘the pr against che whol this in de sl rny remind one a the "deutent euphor ofthe 1850s. Bt the papa code that It onspicwously uses ean ao make postnodernisn look very much lke kitsch or camp, wi which ts adversaries deliberately ently 1 And finally, pestmaderisn can on ocesion bear the resem bance ofa twin tothe avantgarde, especial tos nonin versions, fom the metaphyseal soa! of De Chien tothe sur realist Be perceive thee varied Ice treated because of tele commen aston with + Lager modernity sod with its sii ‘Were i not or this ager modernity, the part satis ad he expressive diferencer among these faces would met avy and be tome meaningdes. We would no lange be attracted to compare and contra them. We may theo assume hata ong at we compare sd contrast them, modernity survives, at Teast a6 the name of ‘altura family resemblance tn which, fr beter or for worse, 8 ont a eecognie urala NOTES FOR PAGES 254-208 ara de Canoon, “Vang © tk” Aten rot de pro ‘ie. Sr Pale Etre Pepe, 18, pp. 19-20, 6. renter hanged oad wg uel iPr tn Revo 5 a ited hie nd Car as econ Pew 8p. 3 Mando. 20, The Calcio Ey of Lis Fadler (New Yk Sten ad Dy, twit wa thy so ‘6. Mae, ‘0 Dorp. EE paw Bn 5. Rcd Fane. The Doeration of ht, Eg vrn ich seaman ge Prin ep. 8 Te ie otha canter orcs ih oto ping ‘sbsftomn Catto an ating mat Soden clone rapist the movement ote Raton, ‘lune Ginga wt mh bs Le idee de art a Lane: lay Cars Vda ny “Nomman ba te moe Sn de ‘ej vu pau meng eu corn st want ‘tgs bene bere de pre ete bebe fri ota des parecer plagues tn fo tal ‘che ate yeux pa semen party pou ani prs, she Seta opt dea, ieigee et dean 1A he ser not we the term ach, Cr the ahr of rot the Bat ‘Lip uo th bjt Rs notin oro ey ‘pena witch nd orc gen tb erie tor revs, mat bord, nes yng dh ‘Shen oh Rl the Foch Retin nd he or a ‘rtm, ont nny ede he cep sone ‘im thawte ea “rade ha pc moar pleco ‘Tae ret between eer and th cfd once aa gisbok wo ep o D ns pery Pol ha Pe Che at (ON POSTMODERN (1986) 1, See Gord Gl. “The Mh fhe Retna Beach ucratar Apna (Cheap Usivesy of Coe Press NOTES FOR PAGES 266-268 ot 2 Soe Chases Noman, The ot Moder ur The ct of Fon in x Ag of lfation wth pee by Cond Gr Esaron Nr ‘Stor Ulery Pre, 1088) Cane nents ent vet on Job Aster, “A Pet a the Foinnra Payound pened nines Literary Sapient Joly op {Carell vevew of Lard Woon Cane by Lowel, oily be do 1G, sep Rana Jal, Poetry ad he Ae Sew ors Kop 195} The uso on p 26. In he Panam Aner fon Poy (Uitana Unters Fr, 1980), Jere Mare Steet rela the bt were erm pstrs are > ‘eran ty nd stato os, 4, Jo Berryman sme in mig eh "Somers trent of vl I-b foal Toye’ Study far cep 1888 by Os Unieay Bes hve sed ‘he Det eine Yok: Dl, 15, The “Poe Mole ae appear {ete the forth mao perl ef Wester story, afr Western 1 (Dark ‘Now Worn (Mie Age) ad Western IE Moder) 187. osm, canes Don, Adina! Poe ed GoargeF. Bate (lim Fo Sone Fanny 70 1. The wl age ede an {roel orig And he ig ae wh nd er vpn the ‘enn ab re) om omer uk new on ee om ‘Purcell ons’ Detar. Rimi, Lawrence, Tes athe Imam ho peed wt wear hw ei wo roe the {pel They pt heen red nthe pede te pat mc {he pts, hrs ine preset be Bemed Thne Foes wore eters Ist fhe ast vou, drown fu one prema ne, Lae Findley sp the tet ar itl pesenton ofthe rw tin ad tee cha scree of tht fh 80 ace tab Hasan, Pra ‘hme Seen Modan ofthe Tier (Ueda Unies of as Pres. 15, “Fors deta hry of the tm postmadrnon 8 exer ses, oe Mie Keer “Posteo begBhtoraher ‘Dhrtia” Ameriatuden 22, oT [UT 17 A woe een od ‘mre comprebenie erase yess bn hab Hass Ps Ett ost mada Cane Postnoderim, in The Domlerowat of ‘Ome 2 (aon, Unerty of Woon Pres, 18, pp. 2 ‘Athens empl rey af he emigre ef ste ‘i de Hans Bete, “The Ptr Webuscasng so ek ith Modern Approaching Povtmodai cl. Dewe W.8 NOTES FoR PAGES 269-279, oben and Hae Berens (Amsterdam And hide: Jbn Ben jimi 198), po. 10. Sep Fs, “The Canara of Reality: Citic in Mader tnd Postnolern Saunas” Te Pos of Inrpetaon ek WT. T Mitel (Cc: Uaiersty of Cheng Pes, 183, yp. wT sha Pre md Intl Senger Oder Ox of Cha Mons Ne Diane wth Nore, wits xed by Ain Tole Nw York Bintan Bas 186 For the nod gut and comet ons face, se pp. 4a 4 1 Tha, p a 1S. See thd Ray, Philp ond the Miro of Nature (Price on Prncton Unies Pes, 19, ep pte "From Ep teal te Homeneates” yp. 315-38 1 his county the iw hat portmodeain gos oko Hee rts upd y Win Vpn and Rahn Per See ptr Marin Heeger nd the Question of tert: Toad «Fader erary Homes, Wis Spore omnes Indians Un ‘eray Pres 197 The ema cote ttt vcune by Nebard Palmer, "The Postmodern f Hts” pp. 71-9, cn tam ropa for tr apa the gestion af posted TST qt fom the Engh tans of Vato “Bt, Net ‘rth, Resltion, Teor, Php.” Dene Quarterly 1 (Wit 18 367. For Vines mar seemente om plop Psmoderom, sce hi Al del get: Nuc Hesse Fo- Ivete ln Feltil,15), nd La fw te a arma. Ne [imo ad erect nel cur potmadr it: Cara 198 ‘hedelate on "wea ugh war rte by peter dee, Ca tin nd Pe Ale Rona lan: Garant 18 Far le Sion of postmodern in, se Stato Tenn “ostoder ty Nott onthe ‘Cis of Reson Weak Timi a The Nan of the ‘owe ExlringPoxinoaenimMa ccs and ok ‘ema (Amsterdam and hilo: ain Beas, oem 1. aren Habermas. Mery vert Prsory” New Gor sna Grae 22 Wine 981) 1, 12 Th 9.13 Ts. See fen Habermas, “Quetns and Cooterqeriong” a eras Most, ihr Bers Camis, ‘ros 15,» 196 an. 2m. 6 Habermas ep hat a coin owl nd Der othe "Young Curate” the Wet Res Puli (Armld Cals, Mart Hedge Col Schmit and Ere ingore, he wane on “ht hy al tie en Ne te ea NOTES FOR PAGES 273-376 = ste of ak with woderty ad a ssltioty neal af thar erin st les rechng ek Yo aca iLike ay ‘Spat thi ts wes, bt a the Geman cote eds tt ntl aes hott he oll ey 2 to sem bom the ator o Neth 29, Tn ster sy, "The enh ath to Posmay: Bale between Erté Ce ‘rl Economic” New Garman Crue (Fal 5805-1 Habermas {nt again to Neth mln tthe ago cera dco Iodide ated a Fri by Cores Bal. 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(pea, ok Monique Chellor, Bearo Quinones, end Abert Wake {GehnaViveraty los ros 188), pp. 7-4 "Fred Janeen, “Primera sn Cons Solty.” n The Anite aon Por Cert, Hal Foster (at Tos a, Wik Bay rene 1959, pp. 18-25. 0 a 9.1 Bh Tia more eat peo, “Te Pole of Tea: Vlg atime the Postman Dla,” Now Geman Cie 29 all ‘Son, 33-, json cues tnd ges with elias sd seecc te spponces to pester of among the, Jee ERG, Nitsa and fan emer Me pers to sages ‘atmo tingid mds by Dol,” y cr cements ef ato ope ctr "Wo te pant wereoe NOTES FOR PAGES 295-201 ‘ey of ou oder ee nd euaatv agai undo rece on {eradicate ne nto bathe ons nt his rine th ee," ems let pol tht what wea the mand math geste pe ‘en the varus primers appr sed mse i ele tere refs sd aye fsb re moma el mio Inch wht wed tobe sigmatel a man econ trem ‘sted nthe preci fan eng ater rel p69 {eaten af he ler aii at lately nate poston SE Mate es, The Por of termina Rind to Cage (Pasco Peon Unrerty Prt 8h pe ‘SS thd "Uared Cen yp 3 HL Vint Nao Ad Rew ode Mero, 160, yp. 262— 5, Chrituper Bur, Afr the Wake: An Bay on he Contemp ‘ary Avan-Garde On Chrno Prom 1860. 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Fehon, Literary Hato Modern, and Pino enon Amster abn Bean, 18H sd The Sete Se ‘SO Onemanom of omer ett Apponehing Posto nm een pp. 81-38 Falken erry History, Bt Brin Mee “Chang of Doan foo Moderato ent Wing" Approelng Foemodaru ee noth . 7. (@ thdp ‘thd. p th 1S Td.» , 7 “ 6. Eid ach, “Fo HypotetoKeretr Heaton Con ment of Posinoerit Bure Apposching meas me pp. 1bs Tip 12, 5 Bri Fitch, Dine, stactare: enti dne lege de Becket Pa: Lets Moders—Mi, 7 2 (3 Sumecl Heche, Moly, Wane Pati Boi ed toe (New York Grove Pe, 1S ps “Suse Becket, The Unnanahl, tan iar (New Yrk Grove rae 1959p Fach Neuse, “Om the Geely of Moa” end “tse ome” tee Waker aaa and. loge NewYork. Vtg, 1s p30 72 Max Wer, The Fret Eth nd th Spit of Capitan, tra: Tkt Pans (Loon: Uni, 185 9p 8