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Archaeology
Postmodernism in archaeology appears in post-processual archaeology, sometimes called the interpretative archaeologies,[1][2] a movement in archaeological theory that emphasizes the subjectivity of archaeological interpretations. Despite having a vague series of similarities, post-processualism consists of "very diverse strands of thought coalesced into a loose cluster of traditions".[3] Within the post-processualist movement, a wide variety of theoretical viewpoints have been embraced, including structuralism and Neo-Marxism, as have a variety of different archaeological techniques, such as phenomenology.
The post-processual movement originated in the United Kingdom during the late 1970s and early 1980s, pioneered by archaeologists such as Ian Hodder, Daniel Miller, Christopher Tilley and Peter Ucko, who were influenced by French Marxist anthropology,[clarification needed] postmodernism and similar trends in sociocultural anthropology. Parallel developments soon followed in the US. Initially, post-processualism was primarily a reaction to and critique of processual archaeology, a paradigm developed in the 1960s by "New Archaeologists" which had become dominant in Anglophone archaeology by the 1970s, and whose proponents claimed that the rigorous use of the scientific method made it possible to get past the limits of the archaeological record. The processual approach was itself a critique of the former period in archaeology, the cultural-history phase in which archaeologists thought that information artifacts contained about past culture would be lost once the items became included in the archaeological record. Post-processualism was heavily critical of a key tenet of processualism, namely its assertion that archaeological interpretations could, if the scientific method was applied, come to completely objective conclusions.
In the US, archaeologists widely see post-processualism as an accompaniment to the processual movement, while in the UK, they remain largely thought of as separate and opposing theoretical movements. In other parts of the world, post-processualism has made less of an impact on archaeological thought.[4]
[5]Hodder, I. (2018). Post-processual Archaeology. In: Encyclopedia of Global Archaeology. Springer, Cham
[7] The Oxford international encyclopedia of legal history "postmodernism and law"
salvage archaeology
North American term for the kind of systematic investigations, often partial, precipitated by development pressure or the need to rescue remains prior to their destruction. Based on the premiss that some work is better than none, salvage archaeology is the main source of archaeological information in areas where remains are constantly under threat. Because salvage archaeology is threat‐led, it is only rarely possible to be selective about what is examined, and time constraints often mean that many of the more refined techniques of data recovery cannot be deployed. Known as rescue archaeology in Britain.[6]
rescue archaeology
A term coined in the 1960s in Britain for field archaeology carried out on sites under threat of destruction; synonymous with the American salvage archaeology. In Britain the term is closely associated with the large increase in the loss of archaeological sites as a result of increased development in the 1960s and 1970s, especially the motorway construction programme and urban regeneration.[6]
The pace of development, especially in towns and cities, where the deep foundations of modern buildings obliterate archaeological levels, has necessitated urgent excavations, which since the 1980s have been largely funded by the developer. This has had a huge impact, especially on urban archaeology. Sites that are not under threat are now rarely excavated.[9]
- ^ Johnson 1999, pp. 98–99.
- ^ Johnson 2010. p. 105.
- ^ Johnson 1999, p. 101.
- ^ Trigger 2007, pp. 477–478.
- ^ Hodder, Ian (2018). "Post-processual Archaeology". In Smith, Claire (ed.). Encyclopedia of Global Archaeology. New York: Springer Reference. ISBN 978-1-4419-0426-3.
- ^ a b c Darvill, Timothy (2021). The Concise Oxford Dictionary of Archaeology (3 ed.). Oxford University Press. doi:10.1093/acref/9780191842788.001.0001. ISBN 978-0-19-184278-8.
- ^ Katz, Stanley Nider, ed. (2009). The Oxford international encyclopedia of legal history. Oxford, [UK] ; New York: Oxford University Press. ISBN 978-0-19-513405-6. OCLC 244246695.
- ^ And some text, any text!
- ^ Hey, David, ed. (2008). The Oxford companion to family and local history (2. ed ed.). Oxford: Oxford Univ. Press. ISBN 978-0-19-953298-8.
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Television
TELEVISION citations
The Simpsons is widely considered one of the most exemplary postmodern texts because of its self-reflexive irony and intertextuality.[1]
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- ^ Nicol, Bran (2009). "Introduction: postmodernism and postmodernity". The Cambridge introduction to postmodern fiction. Cambridge introductions to literature. Cambridge, UK ; New York: Cambridge University Press. pp. 1–16. ISBN 978-0-521-86157-1. OCLC 429227131.
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Modernism
"Given the historical intensity and complexity of the period, it is helpful to abstract several general values that characterize most manifestations of modernism. Such values are not specifically substantive or thematic, but dynamic and structural. They are the dominant qualities that sustain and distinguish the most advanced intellectual activity from the 1880s to the Second World War.
The most readily apparent of these values is that of epistemic trauma. This formulation signifies a kind of primary or initial difficulty, strangeness or opacity in modernist works; a violation of common sense, of laboriously achieved intuitions of reality; and an immediate, counter-intuitive refusal to provide the reassuring conclusiveness of the positivist realism that preceded modernism. This traumatic otherness stems in part from a conscious refusal by modernist artists and other thinkers to give their audiences the kind of spatial and temporal orientation that art and literature had been providing since the Renaissance and that had reached a high finish in the mid-nineteenth century, when novelists took pains to provide their ‘dear Reader’ with temporal and spatial coordinates and when the subject matter of most paintings was generally accessible. In a surprising and historically sudden contrast to this traditional solicitude, the cutting-edge artistic culture of modernism – and much contemporary social and scientific thinking – offered this quality of trauma everywhere. In the painting of Picasso and Braque, in the music of Stravinsky and Schoenberg, in the fiction of Kafka and Faulkner, in the poetry of Yeats and Eliot, the immediate difficulty, the epistemic trauma, is a given of the modernist aesthetic.
The kind of difficulty we find in modernist artistic culture resembles the kind of difficulty contemporaneous advances in mathematics and the natural sciences presented to the scientific establishment. In both spheres, the difficulty arises not so much from developments and complications of traditional techniques (what might be called baroque difficulty), but more often from what is left out. Relativity Theory (viewed as a vehicle for cultural values, like works of art and literature) provides a notorious example. For many physicists, the initial difficulty of the Special Theory lay in the fact that Einstein found the nineteenth-century hypothesis of an ether ‘superfluous’, thus radically pruning physics of a laborious but comfortably familiar hypothesis. In all manifestations of the modernist breakthrough, thinking people missed those qualities or techniques on which they had customarily relied for meaning, such as single-point perspective in painting, tonality in music, neutral and uniform time in narrative, and unvarying temporal and spatial reference frames in physics.
Out of this fundamental value of epistemic trauma a number of cognate characteristics emerged. Modernism quickly developed an affinity to what seemed (when viewed from the tradition of realism) an addiction to gratuitous difficulty and distortion, either for their own sakes or for the sake of being avant-garde. In fact, discussions of modernism regularly equate it with the avant-garde; and while this equation ignores functional distinctions between the two terms, modernism’s commitment to being at the cutting edge, to being shocking and difficult, quickly became a major value. In early modernism, when Cézanne began to depart from single-point perspective in the interest of greater truth to our visual experience of Nature, when Henry James began to introduce ambiguities of motive intolerable to the realist tradition, or when Max Planck introduced energy quanta, the apparent distortions and difficulties, the elitist value of being avant-garde, was not a principal motive or effect. But in a very short period, by the time Picasso had re-represented the human figure in Les Demoiselles d’Avignon and Kafka had transformed his protagonist into an insect in The Metamorphosis and Einstein had employed obscure mathematics to model a finite but unbounded universe in his General Theory, the antagonistic relation of modernism to popular culture was irreversible: it gradually led to the almost complete bifurcation of serious and popular culture. ‘Modern [that is, modernist] art’, wrote Ortega y Gasset in 1925 (1968: 5), ‘will always have the masses against it. It is essentially unpopular; moreover, it is anti-popular’ (see Ortega y Gasset, J.)."
"One of the most prominent and lasting achievements of modernism in all its manifestations is the devaluation of the premise that we occupy an ‘objective’ reality, accessible to but independent of human perception. In traditional realism, artists and critics, social thinkers and scientists were thought to make direct statements about this reality, whether it be natural, social or psychological. Modernism essentially turns away from this realist enterprise and towards discussion and analysis of human measurement or observation. ... [W]hat is of greatest significance here is the liberating nature of this change in values. The practitioners of modernism felt themselves no longer locked into the limiting dichotomies of object and representation, world and observer. They began to move from one side to the other, to explore without interruption the unceasing interaction between the object and its space, or the event and its temporality. The old categories lost their integrity and the artist and subject, or observer and object, came to inhabit a middle ground of observation itself. In this sense of liberation, the modernist model for reality becomes the field (as in scientific field models), where observers are also participants (as in cubist painting or quantum theory), where readers help to create the text (as in Kafka’s The Castle or Faulkner’s Absalom, Absalom!), or in the many other modernist constructions in which all constituents are interdependent and in which all participate and interrelate without privilege."
"The major literary and artistic movements most often cited as major manifestations of modernism include Post-Impressionism, Fauvism, Cubism, Expressionism, Futurism, Symbolism, Imagism, Vorticism, Dadaism and Surrealism. But such a list will be regarded as necessarily incomplete, and by definition it omits many modernist developments in architecture, philosophy, social science, psychology and the natural sciences." [1]
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Poetry
Yesterday I wanted to
speak of it, that sense above
the others to me
important because allthat I know derives
from what it teaches me.
Today, what is it that
is finally so helpless, ...
excerpt from Poetry (May 1961)
Robert Creelymodernism is characterized by self-consicousness, a focus on the self, and an abiding belief in human's ability to use rationality and science to shape the world and arrive at the meaning of everything, a relentless belief in progress, and reshaping every obstacle to that progress. modernism is characterized by self-consicousness, a focus on the self, and an abiding belief in human's ability to use rationality and science to shape the world and arrive at the meaning of everything, a relentless belief in progress, and reshaping every obstacle to that progress.modernism is characterized by self-consicousness, a focus on the self, and an abiding belief in human's ability to use rationality and science to shape the world and arrive at the meaning of everything, a relentless belief in progress, and reshaping every obstacle to that progress.
References
- ^ Vargish, Thomas (2016), "Modernism", Routledge Encyclopedia of Philosophy (1 ed.), London: Routledge, doi:10.4324/9780415249126-n033-1, ISBN 978-0-415-25069-6, retrieved 2024-11-18
pomo
More scholarly disagreement surrounds the distinction, if any, between the terms postmodernity, postmodernism, and postmodern.
Yet there is no agreement about what constitutes the terrain of the postmodern, the construction of a postmodern condition, society, or culture, or a properly postmodern theory and politics. The post-modern is thus a contested terrain and a force-field of struggle between those who would define and occupy it, and those who would discredit or demolish it.[1]
In fact, there is a tremendous variety of postmodern theories that are optimistic and pessimist, and that neither deny history nor exhibit a "fundamental irrationalism." Surely Foucault, Deleuze and Guattari, Harvey, Jameson, Rorty, and some of the major texts of even Baudrillard and Lyotard engage history, and there are a wealth of contributions to understanding contemporary society and history from the emerging postmodern tradition; and while these thinkers carry out differentiated critiques of various forms of Western reason and rationalism, to say that postmodern theory exhibits a "fundamental irrationalism" is a crude burlesque.[1]
- ^ a b Kellner, Douglas (1999). "Theorizing the Present Moment: Debates between Modern and Postmodern Theory". Theory and Society. 28 (4): 639. ISSN 0304-2421.
Misc possibly useful sources
[1] bertens history
[2] Postmodern culture
What Has Become of Postmodern Dance? Answers and Other Questions by Marcia B. Siegel, Anna Halprin, Janice Ross, Cynthia J. Novack, Deborah Hay, Sally Banes, Senta Driver, Roger Copeland, and Susan L. Foster GOOD[3]
References
- ^ Bertens, Johannes Willem (1996). The idea of the postmodern: a history (Reprinted ed.). London: Routledge. ISBN 978-0-415-06012-7.
- ^ Taylor, Victor E. (2007-02-15). "Postmodern Culture". In Ritzer, George (ed.). The Blackwell Encyclopedia of Sociology (1 ed.). Wiley. doi:10.1002/9781405165518.wbeosp066.pub2. ISBN 978-1-4051-2433-1.
- ^ Daly, Ann; Siegel, Marcia B.; Halprin, Anna; Ross, Janice; Novack, Cynthia J.; Hay, Deborah; Banes, Sally; Driver, Senta; Copeland, Roger; Foster, Susan L. (1992). "What Has Become of Postmodern Dance? Answers and Other Questions by Marcia B. Siegel, Anna Halprin, Janice Ross, Cynthia J. Novack, Deborah Hay, Sally Banes, Senta Driver, Roger Copeland, and Susan L. Foster". TDR. 36 (1): 48–69. doi:10.2307/1146179. ISSN 1054-2043.