What are the different concepts between modernism and postmodernism?

Modernism is a concept of literature and art. Don't just look at the word "modernity" as its name implies. Although it covers a wide range, it has little to do with our lives.

————————————————————————

Modernist movement rose at the end of19th century. Modernism believes that those "traditional" forms of art, literature, social organization and daily life are out of date, so we should sweep away these outdated things and re-create culture. Modernism encourages people to re-examine every aspect of these existing things, from business activities to philosophy, find out what "hinders" their progress, and replace those things with new and better things to achieve the same goals that those old things originally hoped to achieve. In essence, the modernist movement believes that the brand-new status quo in the 20th century is eternal and internal, so everyone must adjust their world outlook and accept these new and beautiful things.

————————————————————

A pioneer of modernism

/kloc-A series of wars and revolutions took place in Europe in the first half of the 0/9th century, which led to the formation of some ideological trends. Now we call it romanticism. Romanticism attaches importance to personal subjective experience and advocates "nature" as the standard artistic theme, revolutionary and radical expression and personal freedom. However, by the middle of19th century, a synthesis of these thoughts appeared, and those "real" things dominated the subjective experience. This thought can be found in Bismarck's concept of realistic political philosophy "positivism" and the cultural norms later called "Victorian period".

——————————————————

/kloc-from the end of 0/9 to the 20th century, the word "modernism" was often used to talk about literature and art. It marks a kind of literary spirit or "modernity" different from any previous period, and is the general name of symbolism, futurism, imagism, expressionism, stream of consciousness and surrealism. Similar to the evolution of many literary terms, the earliest "modernism" is also a derogatory term with criticism and ridicule. According to Kalinescu's research, in 1755, samuel johnson included modernism as a new word created by Swift in the English language dictionary. In a letter to Pope, Swift said, "Poor literati have brought us this rubbish written in prose and poetry with their poor frugality and eccentric modernism." By the end of 19, the usage of this word changed from derogatory to neutral, and it was not until the1920s that it was widely accepted and gained legitimacy. Ruben Dario was the first person who used "modernism" as a commendatory term to refer to the modern aesthetic revolution. As early as 1888, he praised the Mexican writer Carido Gonzalez with "complete modernism in expression". [1] In modern western literary theory and criticism, the word modernism has roughly five uses: ① an aesthetic tendency; (2) innovative spirit; (3) the literary movement; ④ The floorboard of prose style; ⑤ Creative principles or methods. These usages have their own emphases, but the similarities define the meaning of modernism as reactionary realism. As Peter Faulkner said, "Modernism is a part of the historical process in which art got rid of various assumptions in the19th century, and those assumptions seem to have become a rigid routine over time." [2]

In the history of China literature in the 20th century, there were four climaxes of introducing and developing modernist literature: May 4th period, 1930s, 40s, 1950s and 1960s, Taiwan Province Province period and 1980s. There was no word "modernism" during the May 4th Movement, and even the word "modernity" was rare. People generally use the word "new" to express the demands of modernity, such as "new youth", "new trend" or "new literature" and "new culture". Modernism first entered the vision and discourse of China's literary theory in the name of "neo-romanticism". Zhou Zuoren, Mao Dun, Guo Moruo, Tian Han and Hu Shi all called/kloc-0' s symbolism, expressionism and mysticism at the end of the 9th century and the beginning of the 20th century "new romanticism". There are three points worthy of attention in this naming: ① It is obviously the product of the May 4th evolutionist literary history view. In Zhou Zuoren's History of European Literature (19 18), the history of European literature since the Renaissance is described as follows: from the first romanticism that emphasized emotion to the first classicism); Emphasize rationality. From the revival of romanticism at the beginning of19th century to the reaction of realism, from the end of19th century to the beginning of 20th century, anti-realism "neo-romanticism" naturally appeared. Mao Dun also summarized the history of western literature as: the change of classicism-romanticism-realism-neo-romanticism. Mao Dun found the position of "neo-romanticism" in the framework of literary evolution theory in "Opinions on Introducing Western Literature": "Western classical literature was not broken until Rousseau, romanticism ended in Ibsen, naturalism began from the left, and new expressionism began from Madeleine. Today, neo-romanticism has changed from subjective to objective, from objective to subjective, but it is no longer subjective. The evolutionary order during this period is not in one step. " In his view, all new things are good progress, so "the literature that can help the new trend of thought should be neo-romantic literature, and the literature that can guide us to the real outlook on life should be neo-romantic literature." [3] (2) The May 4th literary theory regards modernism as a modern variation of romanticism, and thinks that both are subjective, but people have no deep understanding of the "newness" of neo-romanticism. Tian Han said vaguely: "Neo-Romantic literature is literature that does not depend on reality but cannot be divorced from it." Compared with the old romanticism, it is "not in the sky, but on the ground;" Not in dreams, but in reality. " [4] ③ Pay attention to neo-romanticism from the enlightenment context of individualism and human liberation. In Lu Xun's early literary theory, the combination of romanticism such as Byron and Shelley with neo-romanticism such as Nietzsche, Schopenhauer, Stayner and kyrk Goethe was regarded as an important ideological support for revitalizing social vitality, establishing people and building the country. In short, in the May 4th literary theory, modernism is generally understood and explained in the framework of enlightening modernity. At the same time, symbolism, expressionism, aestheticism, psychoanalysis and other modernist schools and methods of expression have been fully concerned. But it ignores the anti-enlightenment modernity and abstract transcendence of modernism. People are also wary of the mystery, emptiness and divorce from social reality of "new romanticism". Hu Shi once reminded people that only after the baptism of realism can western neo-romanticism produce "the disadvantages of emptiness"; Lu Xun also thought Nietzsche was too vague in Hot Wind. In fact, in China in the 1920s, all schools of modernism gained the status of some method or technology. " [5]

The word "modern" appeared in the 1920s and was popular in the 1930s and 40s. Such as Modern Review edited by Chen Xiying, Modern Novel edited by Ye Lingfeng and Mu Shiying, Modern Literature and Art edited by Shi Zhecun, Modern Magazine, etc. The advertisement in Chen Yuan's Gossip said, "In Xueguang, Mr. Xu Danfu said:' Beijing studies are the birthplace of new literature, deeply rooted, and vaguely hold the position of the national literary and art circles.' What is Beijing's literary and art circles like? In short, the literary and art circles in Beijing in the previous year or two were places where modernism and Silk Road School fought. Mr. Lu Xun (the leader of the Yusi School) must know his fighting righteousness and strategy, and so must anyone who has read The Collection of Gai Hua. However, we still don't understand the modern banner of righteousness and the strategy of its main commander, Mr. Xiying. Now, we have specially discussed with teacher Xiying to select the gossip and print it into a special book. Anyone who pays attention to the anecdotes in the literary and art circles will surely get a sneak peek. Lu Xun wrote "The Leader of the Revolution" and responded: "I have never paid attention to modernist literature and art, so where can I mention it in" Gai Hua Collection "? It's just that a lady stole Mr. and Mrs. Pia Ci's paintings. Someone said a few words in Yusi (probably a supplement to Beijing Daily), and then looked at the' modernist' tone, as if I had written these words. " [6] In the debate between Chen Yuan and Lu Xun, the word "modernism" has officially appeared.

When it comes to modern poems, Shi Zhecun said: "They are modern emotions that modern people feel in modern life, and modern poems are arranged in modern words. The so-called modern life, bread contains various unique forms here: a harbor with large ships moored, a noisy workshop, a deep underground mine, a dance floor with jazz music, a department store in a skyscraper, ... even the natural scenery is different from the previous generation. " [7] The change of words from "new" to "modern" shows people's further understanding of the concept of modernism: ① Modernism is regarded as a symbol of "modern emotion", "modern excitement" and "urban sensibility", which is related to modern people's subjective experience of modern urban life and material civilization; ② Have a deeper understanding of the spiritual characteristics and social background of western modernism. Modernism "gradually becomes suspicious of science and tends to seek all solutions in a subjective sense." "At the end of the century, the general petty bourgeoisie was increasingly threatened by developed capitalism and urban development, which induced extreme tension in their lives. This uneasy neuroticism imagines that there is another irresistible force behind it, which makes them unable to get rid of it ... "So a new romantic school with a different tone from naturalism came into being; [8] (3) Shi Zhecun's modern poetic style, Mu's theory of artistic conception, Liang's pure poetry, Mu Shiying's urban montage and Xu's aestheticism all explain the concept of modernity from all levels. Sun Zuoyun's On Modernist Poetry 1935 divides the development of new poetry into three stages: Guo Moruo's era, Wen Yiduo's era and Dai Wangshu's era. He called the poems of Modern magazine "modernist poems": Dai Wangshu, Shi Zhecun and others represented that "the poems of this school are still growing, with only the same tendency, but no obvious banner, so they have to be named" modernist poems "because most of them are published in Modern magazine." [9]

In the 1940s, the "Nine Leaves Poetry School" called itself "a group of conscious modernists". Chen said that "at present, China's new poetry is still picking up the dross of romanticism and symbolism", which obviously expresses the poet's self-expectation of transcending symbolism and moving towards mature modernism. Yuan Kejia, a kuya poetry theorist, put forward the idea of "modernization of new poetry" and explained the connotation of poetry modernism from the aspects of poetry ontology, organic synthesis theory and drama science. Later, he understood the history of China's new poetry in this way: from romanticism to symbolism, and then to "China Modernism". [10] Indeed, modernism in this period should be closer to the reality in China and incorporate more traditional factors in China, such as Fortress Besieged by Qian Zhongshu and Zhang Ailing's novels.

However, after 1950s, this beneficial exploration stopped completely, and modernism was denounced as "bourgeois decadence". It is generally believed that modernism is the scourge of the bourgeoisie. Yuan Kejia's Political Negation of Modernism published in 1960 is one of them. Mao Dun's Reading Occasionally at Night not only established the absolute authority of realism, but also completely put modernism into the cold palace. In his view, the form of modernism is "abstract formalism" and the philosophical basis is irrational "subjective idealism", which is the most reactionary school of "subjective idealism" since the end of 19. This represents the basic attitude of people towards the concept of modernism in that period. However, "Modernism" has been fully developed on the other side of the Taiwan Province Strait. Louis, one of the poets in Modern magazine, changed his name to Ji Xian, bringing the seeds of modernism from the mainland. In 1950s, he founded the Society of Modern Poetry and Modernist Poetry in Taiwan Province Province, put forward the "six creeds" of modernism, and declared: "We are one of the modernists who sublated and carried forward all the spirits and elements of the New Poetry School since Baudelaire." [1 1] Compared with the "horizontal transplantation" and intellectualism of the modern poetry school, the "Blue Star" led by Qin Zihao absorbed the milder side of modernism and merged the more lyrical crescent school style in Chinese mainland at that time. From Ji Xian's westernized modernism to the combination of surrealism and Zen aesthetics in Genesis, and the great China's view of poetry after 1980s, the concept of "modernism" has been further practiced in the field of modern poetry. In the field of novels, the modern literature founded by 1960 emphasizes artistic experiment and innovation, arguing that the old artistic forms and styles are not enough to express the artistic feelings of modern people, and it is necessary to experiment, explore and create new artistic forms and styles. Bai Xianyong and Wang Wenxing promoted the modernization of China's novels. The former continues Zhang Ailing's tradition of combining classicality with modernity, while the latter is an artistic cosmopolitan, pushing the experimental spirit of modernism to a certain extreme.

In the rural literature debate in the middle and late 1970s, the concept of modernism across the Taiwan Strait was also widely questioned and criticized. Many people think that modernism is divorced from reality and national tradition, and it is an imitation of western modernism. Chen Yingzhen even smells the meaning of western cultural colonialism. After 1980s, the concept of modernism gradually faded in the diversified literary thoughts, but reappeared in mainland literature in the new period, and gained aesthetic legitimacy in the fierce debate. After years of isolation, people are eager to re-examine world literature, especially western modernist literature, and many writers have begun to introduce some new forms of expression. These attempts to open up will inevitably touch the whole aesthetic ideology and trigger a debate about modernism. Xu Chi's Literature and Modernization (1978) and Modernization and Modernism (1982) put forward the concept of "literary modernization" which is suitable for modernization, and held that modernism is the road for the development of literature in the new period: "In the near future, China will inevitably have socialist modernization, which will eventually bring us revolutionary realism and revolutionary romanticism. [12] This is the first attempt to legalize "modernism", which puts the question "Does China want modernism" in front of people. The "rise" of Xie Mian and Sun Shaozhen has effectively challenged the long-term dominant realistic poetics; Gao Xingjian's Discussion on Modern Novel Skills and Feng Jicai's, Li Tuo's and Liu's correspondence on modernism agree that "modernism is a reflection of history and a product of the times" and "China literature needs modernism", which is of great significance to literary revolution. Although these concepts are fiercely resisted by realistic aesthetic ideology, the concept of modernism is still presented to people in the practice of "misty poetry" and stream-of-consciousness novels. Subsequent debates, such as whether the techniques and contents of modernism can be separated or not, and the debate about "pseudo-modernism" are lingering and deepening in the early 1980s. When Liu Suola was called "real modernist novel" by some people and You have no choice, Can Xue pushed irrational surrealism to the extreme and began to play a "narrative trap", and the concept of modernism was completely legalized and normalized. This has become "a tradition of China's new literature"

The concept of post-modernism: generally speaking, it is a cultural trend of thought, which originated in the late 1950s and early 1960s.

This is fully reflected in religion, architecture and literature. It is essentially different from modernism.

The emergence of postmodern literature naturally has its historical and cultural background. It is generally believed that the direct cause of the rise of postmodern literature is the Second World War and the turbulent social life in the West after the war. The appalling atrocities of fascism and the atomic bombing in the Second World War gave people a great shock, which made people have fundamental doubts about the social moral standards and values that they have been following in the past. After the war, the internal contradictions in capitalist society further intensified. Take the United States as an example The black people's struggle against violence, the women's liberation movement, the student movement against the Vietnam War, and the assassination of President Kennedy ... The society is becoming more and more turbulent and people's spirit is becoming more and more confused. "We have a rich society, and we also have chaotic values. The United States we are facing is not the early United States." This society is "a relatively comfortable, semi-welfare and semi-barracks society"; "All residents become passive, indifferent and split into atoms"; "Traditional loyalty, ties of mutual relations and communication are all relaxed or even decomposed"; When a person becomes a consumer, he is mass-produced just like the products, entertainment and values he enjoys, ingests and absorbs.

The emergence of such an dehumanized society is inseparable from the rapid development of western social science and technology. The development of science and technology makes the society informationized, stylized and computerized, and the society is more and more like a sophisticated big machine, turning everyone into a pinion and a small screw in a fixed position. In the past, the excessively intensified contradiction between labor and capital has been transformed into a contradiction between technology and management. Since the 20th century, the development of mass media, transportation and communication has made the whole mankind more and more closely linked, the barriers of space have been quickly crossed, the world has become smaller and smaller, and human beings live together in the "global village". The great development of modern publishing, news, film and television has increased mutual understanding between people. An unprecedented large-scale international cultural exchange era has begun in human history, which is the so-called "information age". This era is no longer "knowledge is power", but "information is benefit" and "benefit is purpose". With the rapid development of the modern world and modern knowledge, people are more and more aware that the existence of knowledge and things is not determined by the eternal essence, but by their own styles and relationships.

The development of high technology will inevitably bring about large-scale mechanical replication and digital replication. Since then, there has been no truth and original work, and everything has become simulacra and falsehood. Large-scale industrial production eventually makes culture a product of mechanical reproduction, and these products then enter the circulation field as commodities. Videos, recordings, books, CDs, floppy disks and other products are copied endlessly, which makes us lose our personality, style and even private life. Manuscripts and originals no longer exist, everything is like images, and the whole world is floating on the surface, with no sense of reality. Intertextuality and hypertext are everywhere. People suddenly and sadly find themselves living in a false world.

The rise of postmodern literature is also closely related to the prosperity of structuralism, especially post-structuralism. Post-structuralism exposes the prejudice and contradiction of western traditional metaphysics, breaks the established literary standards, and attributes meaning and value to bigger problems such as language, system and relationship. Post-structuralism holds that the text is not a fixed place where the author and the reader meet, but an ideographic relationship. Meaning is uncertain, and all meanings are changing in "extension". Influenced by post-structuralism, cultural thoughts such as feminism, new historicism and western Marxism further extend this spirit of deconstruction center and authority to all aspects of literary creation and literary research.

Obviously, the above post-modern philosophy provides a theoretical basis for post-modern literature. Postmodern literature is the image expression of postmodern spirit. Generally speaking, the basic characteristics of postmodern literature can be summarized into three aspects: the uncertainty of creative principles, the diversity of creative methods, language experiments and discourse games. Let's talk separately:

1. The creative principle of uncertainty

Donald barthelme, an American writer known as "the father of a new generation of postmodern writers", declared: "The song in my song is the principle of uncertainty." The indeterminacy of postmodern literature is reflected in the following four aspects: the indeterminacy of theme, image, plot and language.

(1) The uncertainty of the subject. If we say that in realism, the theme is basically determined, and the author emphasizes highlighting the theme; In modernism, the author opposes the theme of realism. They are not opposed to the theme itself. On the contrary, they often take pains to construct their own themes. In postmodernism, the theme does not exist at all, because it has no meaning, no center and no quality. "Everything is scattered." Everything is on the same plane, without a theme, a subtitle or even a topic. In this way, postmodern writers emphasize the randomness, improvisation and patchwork of creation, and attach importance to readers' participation and creation of literary works.

The uncertainty of this theme is closely related to the crisis and loss of postmodernism's rationality, belief, morality and daily life norms. For example, the "beat generation" is a complete collapse from spirit to body. George Mandel pointed out that at that time, "the people of the whole country temporarily lost consciousness in their own way: in churches, cinemas, televisions, bars and books ... the whole world was trying to find its anesthetic ... philosophers, prostitutes and poets, artists and thieves, lovers, dreamers, dereliction of duty, and all kinds of homeless people in the United States ... whether they climbed up step by step in prayer. The "beat generation" is deeply influenced by existentialism, but they highlight the weakness and despair of existentialism-the absurdity of the material world and the indifference and loneliness between people-and abandon the progressive factors of existentialism that focus on action and choice. In addition, under the influence of psychoanalysis and Zen, they emphasized the irrationality and subconscious activities of human spiritual activities, and used nihilism to counter the crisis of existence. Therefore, the "Beat Generation" shows two characteristics in ideological tendency: one is to look at everything with nihilistic eyes, which leads to a complete "collapse" of outlook on life and indifference to politics, society, ideals, future, people's destiny and human future. Secondly, they grasp the world with sensualism, which leads to the complete "collapse" of the middle class lifestyle. They are keen on the dissolute life of drinking, taking drugs, living in groups and roaming. After the "Beat Generation" was "beat", they frankly expressed their most intimate and profound feelings in their works, without shame and scruples. They call their creation "spontaneous creation", and they want to express themselves at will and improvise. On the Road, the representative writer of the "Beat Generation", is such an autobiographical novel, which is written according to the author's own personal experience. The novel shows the mental state of "beat" molecules "on the road": criss-crossing, erratic. On the one hand, they abandoned the old social morality and value standards, on the other hand, they were at a loss in the face of complicated social thoughts. The author believes that life is a never-ending road. Although people stop and go, they are always on the road. In order to express this idea best, the author put a long roll of white paper into the typewriter, wrote down his wandering life and his partner conversation record without thinking, and scribbled this novel with more than 200,000 words in three weeks.

(2) the uncertainty of image. If in realism, people are people, in modernism, people are personality, then in postmodernism, people are characters and people are images. When postmodernism declares the subject and the author dead, the characters in literature also die naturally. Federman, a contemporary theorist, said: "The characters in the novel are fictional beings, and he (she) is no longer a person with flesh and blood and a fixed ontology. This fixed noumenon is a set of stable social psychological qualities-a name, a situation, a profession, a condition and so on. The creatures in the new novel will become changeable, illusory, nameless, nameless, deceitful and unpredictable, just like the words that make up these creatures. But that doesn't mean they are puppets. On the contrary, their existence will actually be more real, more complicated and more faithful to life, because they are not just superficial; They are what they really are: the existence of words. " Some people summarize this feature of postmodernism as "unreasonable, rootless, egoless, rootless, unpainted and metaphorical", in which "unpainted" means that there is no description code for the characters and no portrait of them; "No metaphor" means no metaphor and metonymy code, because in postmodern literature, there is no "meaning" hidden behind the phenomenon to explore. It is this "six nothingness" that completely dismembers the certainty of the post-modern literary image.

This "image uncertainty" is also reflected in the fact that the protagonist of post-modern literature has changed from "non-hero" to "anti-hero". Donald barthelme, an American contemporary writer, is a typical postmodern writer, and his short story Simberta is a classic postmodern text. There are two protagonists in the novel: one is Simberta, a sailor with rich romantic sailing adventures; The other is the American teacher "I" in the 1980s. I live in poverty and am in rags. I was looked down upon by the students in class during the day, but the poetic language full of romantic passion still touched the students. "Be like Simberta! Against the wind and waves! ..... I tell you, to be integrated with the sea! " The students said there was nothing outside. "I" said, you are completely wrong. There are "waltzes, swords and sticks and dazzling floating seaweed." The waltz here refers to the sailor Simberta mentioned earlier in the novel, who walked to the Woods where the waltz sounded after the eighth shipwreck. Here, it is difficult for people to tell whether the speaker is Sailor Sinbad or the university teacher "I", or whether Sailor Sinbad and "I" were originally the same person. How many heroes are there in the novel, two or one? Maybe Simberta, a former sailor, is now a university teacher "I"? All this is uncertain. This specious, or this or that character image completely frustrated any attempt to capture the accurate meaning, and the rest can only be "anything will do" in postmodernism, which is what you understand.

(3) the uncertainty of the plot. Postmodern writers oppose the logic, coherence and closure of stories. They believe that the coherence of pre-modernism, the logic of characters' actions and the complete unity of plots are a closed structure, which is the wishful imagination of writers and is not based on real life. So this closed body must be broken and replaced by an open plot structure full of dislocation. In this way, postmodern writers stop the logic and coherence of plots, randomly reverse real time, historical time and future time, randomly replace present, past and future, and constantly cut off the real space, making the plots of literary works present various or infinite possibilities.

The new novel contradicts the certainty of the plot of the traditional novel and carefully constructs a labyrinth plot structure. The new novel opposes the planned arrangement of the fate and experience of the characters, writes the life in a coherent, concentrated and thrilling way, and depicts typical characters. Therefore, most new novels break the traditional concept of time, confuse the past, the future and the present, and interweave reality, illusion and memory, thus forming some chaotic scenes that seem completely different from traditional novels, which are actually carefully arranged by the author. Bouthors once said when talking about his novel, "It is not only a maze of space, but also a maze of time". New novelists regard form as above all else, and think that what is important for writers to construct a novel is not what to write, but how to write it. Therefore, they try their best to arrange the plot structure of their works intricately and creatively. For example, Bouthors' diary novel Timetable is divided into five parts, five months (May-September) in the diary. The diary written by the protagonist in this labyrinthine city is not in normal chronological order, but interweaves the present, past, future, reality, history and fantasy. The chronological order in the book is overlapping and staggered, but there are certain rules, just like a progressive multiplication formula table or a price list on the railway. Five months are written in a straight line order of 5, 6, 7, 8 and 9, and then in a diagonal line order from May to February; Secondly, things written every month are increasing, so one month's account is added to the diary every month. In this way, although only five months have been written, the events of 12 months are all included in these five months. This year symbolizes a person's life and the whole era. This criss-crossing time is intertwined with the maze-like space, which makes the structure of the novel more complex and exquisite. If readers read Balzac's novels with their reason, they will be confused and think that the author is "insane"; If readers read new novels in the form of new novels and analyze the structure carefully designed by the author layer by layer, they will have a sense of pleasure and pleasure of getting out of the maze step by step, and they have to admire the author's uniqueness.

(4) Language uncertainty. Language is the most important factor of postmodernism, and it even rises to the position of subject. In a sense, the uncertainty of postmodernism is the uncertainty of language. We will discuss this later.

2. Diversity of creative methods

The uncertain creative principles of postmodern literature will inevitably lead to the diversity of its creative methods. Diversification is another basic feature of post-modern literature. Gibbs, an international scholar of comparative literature, once pointed out at an academic conference that "the opposite of absolutism is relativism. Relativism is based on the existence of diversity of different standards. " Diversity means the interaction of diversity. The main advantage of this concept is that it allows practitioners of different interpretation frameworks to communicate with each other, so that they can participate in different frameworks and avoid isolation from each other. "Since the 1990s, due to the great changes in the world situation, cultural absolutism represented by Eurocentrism and Westernization has become the target of public criticism, and thinkers and scholars all over the world have begun to think about and pay attention to the latest topic of how to establish new international cultural relations. After losing the center and absolute, the global human beings are at the same level, and the world culture presents a diversified development trend. What people attach importance to is cultural exchange and dialogue in the true sense. The meta-suspicion of the diversification of postmodern literary creation is not unrelated to the diversification tendency of this culture. This pluralistic feature of postmodern literature is mainly reflected in the integration of postmodernism and modernism, realism and romanticism.

(1) Postmodernism and Realism. Although the spirit of postmodernism is far from realism, there are many similarities in expression techniques. Like magical reality.