The Relationship between Postmodernism and Anti-intellectualism

Hello everyone, Xiao Yao answers the above questions for everyone. What is post-modern movement and what is post-modernism? Many people don't know yet. Now let's have a look!

1. Postmodernism is an artistic, social, cultural and philosophical trend of thought that occurred in Europe and America in the 1960s and became popular in the West in the 1970s and 1980s.

2. Its purpose is to abandon the basic premise and normative content of modernity.

3. In post-modern art, this abandonment is manifested in rejecting modernist art as an independent value to divide cultural fields, and rejecting the principle of formal restriction and partisan principle of modernism.

4. Its essence is an intellectual's anti-rationalism, moral cynicism and emotional hedonism.

5. Characteristics of Postmodernism Although open postmodernists despise theory or just despise theory, some people's thoughts, such as Robert Vincelli's thoughts on architecture, are aimed at modernism and avant-garde art theory. Therefore, it is helpful to solve the basic traces of this new change.

6. Jencks has also dabbled in the theoretical field in a similar way, with a wider scope.

Another leading figure is Oliwa, who advocated the theory of "super avant-garde" in Europe in the early 1980s and China in the early 1990s.

8. There are also many self-critical and interviewed artists, such as Sherman, jeffries and Steinbach.

9. They publicly announced their post-modernism position.

10, if people pay attention to what they say, if people can examine the diversity of artistic activities in all these fields, people can explain what they call postmodernism.

1 1, Moravski pointed out the following two basic characteristics of postmodernism.

12, first of all, it is undoubtedly anti-avant-garde.

13. Postmodernism's meditation on artistic status is extremely indifferent, if not invincible.

At this point, it can be said that postmodernism is an anti-rationalism of intellectuals, even anti-intellectualism.

15, postmodernism often advocates tolerance; But we must not tolerate any ideological contribution or eschatology (utopia or blueprint for liberation).

16, questioning the pursuit of continuous innovation and breaking the belief that the best art knight is a hero of media, expression and image.

On the contrary, it recognizes that art is not a profession, but one of many professions.

18, its legitimacy is that the goods it produces are very popular.

19, it will not wait for rebellion or transcendence.

20. It insists on the closest contact with ordinary members of society.

2 1, the aesthetic dimension must be restated, either in the form of dazzling fakes (which reminds us of the stylized design art required by the market) or in the form of spontaneous expression by artists (these artists use colors, sounds and words to deny the possibility of perfection and just want to present a familiar imitation of reality).

In a world without axis and in a value vacuum, the fundamental goal is to "create" freely for happiness.

23. Imitation and drama have become the most appropriate means to witness the current cultural rubbish.

24, and its guest card is shameless eclecticism.

25. Secondly, the post-modern approach is the degradation of high-level culture, but this is intentional degradation, deliberately lowering itself to the level of low-level culture.

26, it wants to find a feeling of going home, because it is more expensive, so it uses narrative, familiar symbols, simple forms and so on.

27, its main form is the diversity of attitudes and values, people can choose at will.

28. Social reality is regarded as heterogeneous, fragmentary and accidental at all levels.

29. Postmodernists insist that nothing can have the power to judge today, so art has no mission, but is just a pastime.

All the principles of avant-garde art have been questioned.

3 1, painting only points to fleeting things, and does not make an assertion whether it can be remembered.

Portraits are usually old-fashioned, or only related to the nightmare of human masochism.

It has no frame of reference, so it can't remember anything.

34. The audience's demand for pictures can be met either by ignoring the hasty explosion of aesthetic quality or by imitating the classical predecessors.

35, straightforward eclecticism leads to distrust of artistic dignity, thinking that everything is just a commercial exhibition.

36. The image of R. Longo is often borrowed from magazines, newspapers and movie stills.

37. Painting should always be an operation with proper craftsmanship, so as to unite the painter and the naive audience who are indifferent to any serious thoughts.

38, should be as easy to understand as a gift, should be like Oliwa said, cheer for "happy nihilism".

39. Sherrie Levine's repeated photo reproduction, Mark Kostabi's repeated operation on Legge, Sikong's reproduction of all market icons, the fashionable and stylized image of the prince, etc.

40, all belong to this category.

4 1. These artists are not without differences.

However, these works are all off-the-shelf products of parasitic plagiarism.

43. Postmodernism and Cultural Theory Professor Fredric Jameson, an American scholar, summed up four basic aesthetic characteristics of postmodern literature and art: 1.

44. The subject disappears.

45. In the post-modern cultural atmosphere, traditional values and hierarchical concepts have been subverted, the individuality and style in modernism have been completely eliminated, and the subject has become a broken illusion.

46, 2. Depth disappears.

47. Modern art always takes the pursuit of utopian ideals and the expression of the ultimate truth as its theme, while post-modern art abandons the deep mode of works, gives no thought, provides no explanation, refuses to explore any meaning, and only pursues language pleasure.

48, 3. The sense of history has disappeared.

49. History is always something in memory, and memory always carries the feelings and experiences of the memory subject.

50. Modern art is obsessed with historical consciousness because of its pursuit of depth, while in post-modern art, history only means nostalgia, and it appears as an image catering to commercial purposes.

5 1, 4. The distance has disappeared.

52. In the view of modernist art, distance is not only the boundary between art and life, but also the boundary between creative subject and object.

53. Making readers think about their own works is a conscious means of control.

54. In post-modern art, due to the disappearance of the subject, works lose their depth and sense of history, and are only stimulated by human senses, without inspiration and encouragement.

In other words, it only emphasizes desire itself.

56. It should be noted that due to political and cultural reasons, the influence of postmodernism on oriental culture is more of an enlightenment of ideas.

57. In literature, postmodern culture, as a narrative discourse and narrative style, is characterized by no clever choice, no central meaning and no complete structure.

58. The narrative process diverges, the meaning center dissolves and diverges to the edge of the text.

59. Influenced by it, new writing represented by Sun Ganlu appeared around us.

60. The novel also produced consumer literature and its representative "Wang Shuo phenomenon".

6 1. At present, it is still too early to judge whether postmodernism can become the mainstream of oriental culture, but it should be noted that it has gradually become a fashion to completely cancel the spiritual measurement index and the dimension of existence and dispel historical consciousness.