Modernism & Postmodernism

Levin agrees as well that postmodernism has derived from the ability of artists to produce works in a mass quantity, so to speak, because of new processes and products involving mass production: "By the time men were traveling to the moon, art was being assembled in factories from blueprints" (Levin 5). While the postmodernist may see the modernist era as more scientifically oriented, it is clear that postmodernism is also influenced by scientific developments and possibilities. Levin says that modernism was highly optimistic, while postmodernism is more cynical. This came about as the result of new social forces that challenged the assumptions of mod

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dernism is related to the general aesthetic changes that have occurred in society, and these in turn are related to economic and cultural shifts, as well as technological changes. In this sense, postmodernism is not just a cultural response but an economic one, fulfilling a perceived need for a certain type of art produced in a certain way--art as commodity, and commodity as art. Both Jameson and Madan Sarup discuss postmodernism in terms of its linguistic roots and the nature of the term used to describe it. Sarup sees the term as part of a "family" of terms, modernity and postmodernity, modernization, modernism and postmodernism. She also notes that the words are often used in confusing and interchangeable ways, harking back once more to the question raised by Jameson: does the term actually describe anything? Is there such a things as postmodernism or is there only the name, empty of meaning? Syrup sees the relationship between postmodernism and capitalist culture and notes that the term was taken up by French theorist Jean-Frantois Lyotard. Sarup defines post-structuralism as an effort to deconstruct the conceptions by which we so far have understood the human, and to do this the post-structuralists want to dissolve the
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Some common words found in the essay are:
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Approximate Word count = 1571
Approximate Pages = 6 (250 words per page)

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