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Post-Modernism, Post-War Critical Theory and Marxism, 2003.
A comparative analysis of post-modernist theories with post-war critical theory.
3,148 words (approx. 12.6 pages), 12 sources, MLA, $ 91.95
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Abstract
This paper embarks on an examination of the work of post-war critical theorists Adorno, Horkheimer and Marcuse who capture the dominant themes of post-war Critical Theory well. It proceeds to show how many parallels are evident between post-war Critical Theory and the more recently formulated postmodernist theories. An examination of postmodernist theories then ensues, taking as exemplars the work of Baudrillard, Jameson and Harvey. It concludes by arguing that postmodernist theories do indeed revisit the critique of modern culture, which post-war Critical Theory began and they do so without the political commitment to Marxism. An explanation for this follows, discussing the events which ?shattered a whole generation of French intellectual?s beliefs in the moral supremacy of Marxism? and sheds light on the climate which ultimately paved way for the emergence of postmodernism.
From the Paper
"Advertising encourages individuals to view themselves primarily as consumers, and under the guise of entertainment, audiences are manipulated into accepting and conforming to existing society. Kellner captures this sentiment well claiming ?advertising progressively fuses in style and technique with the entertainment of the culture industry, which in turn can be read as a series of advertisements for existing society and the established way of life? (1989:33). The culture industry is designed to discourage individuals from challenging the given order, to think critically and indeed, think for themselves. ?The need, which might resist control, has already been suppressed by the control of individual consciousness? (1995: 121). Adorno and Horkheimer show how the products of the culture industry are similar to those produced in a factory, sharing their belief that ?under monopoly all mass culture is identical?. (1995: 121)."
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Architecture: Modernism, Pre-Modernism and Post-Modernism, 2002.
A discussion of the different movements - pre-modernism, modernism and post-modernism - in architectural history and how each one differs from the other.
2,550 words (approx. 10.2 pages), 10 sources, MLA, $ 77.95
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Abstract
A paper which discusses the different movements in architectural history and compares the differences between them. The paper shows how among these movements, modernism is the most popular and how it has influenced art and architecture in the United States and Europe. It shows, on the other hand, that pre-modernism is a less popular era in which architecture was influenced by the industrial age and its need for order and precision, and that Post-modernism was the movement that followed modernism and contains elements of both classicism and modernism.
From the Paper
"During the modernism movement, architects started using steel and iron more in their designs and they also started focusing on functional designs. Apart from the use of steel and iron, concrete was also brought back to the architectural world. It is important to know here that concrete is one thing that sets late 19th century buildings from pre-modernism architectural designs. While concrete was first used by the Romans in 5 B.C., it was later taken over by other materials such as marble, stone, brick etc. Modernists are responsible for the revival of concrete in architecture."
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Modernism and Post-Modernism, 2002.
A discussion of the the study of film as a post-modern event.
1,125 words (approx. 4.5 pages), 4 sources, $ 39.95
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Abstract
Discusses the study of film as a post-modern event. Defines the aesthetic values & dynamics of modernism and post-modernism. Post-Modernism as a cultural, aesthetic & historical issue. Structuralist thinking. Development of post-modern material and fragmented surface style in film. Examples: CONTEMPT, RESEVOIR DOGS, PULP FICTION.
From the Paper
"Movements in artistic expression often occur spontaneously and are then given a name to identify a perceived trend. This is clearly the case with reference to both modernism and postmodernism, and the very fact that we have seen a need to find a name for the changed environment after 1960 shows that postmodernism exists in some degree--it exists because we have named it, but that does not make it any more a coherent or "intentional" movement than was modernism. In film terms, postmodernism primarily shows a certain weariness with modernism rather than a drive to something clearly new. The elevation of film to a subject for study is itself a postmodern event, signaling as it does the end of the modernist division into High and Low culture. The increasingly self-reflexive nature of modern film along with the elevation of style over substance are..."
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Post-Modernism, 2004.
This paper discusses the philosophy of post-modernism, a complicated set of ideas, which are a reaction against failed modern thought without a clear goal for future direction.
3,465 words (approx. 13.9 pages), 9 sources, APA, $ 97.95
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Abstract
This paper explains that post-modern sociology and culture has arisen from the after-effects of modern thought; just as values clarification and situational ethics were watch words of the 1980s, post-modernism has become the self-identification moniker of the 21st century. The author believes that the individual is now defined in terms that are important to the individual, rather than in terms of his relationship to the surrounding culture. The paper points out that the term 'post-modernism' has its origins in architecture and art; the post-modern artist grew tired of the traditional means and, in the case of the extreme post-modern artists, accepted the premise that life itself was meaningless.
Table of Contents
Introduction and Post-Modern Definition
Post-Modern Sociology and the Resulting Contradictions
The Self as Social Construction in the Post-Modern World
Post-Modern Individualism as Products of Self-Construction
Power and the Post-Modern Self
Post-Modernism and Responsibility
Conclusion
From the Paper
"Previous generations have sought to bring order and organization to the understanding of self, individualism and personal identify. The postmodernist revels in disorder, and a lack of consistent structure. The postmodern thought system has tired of looking for consistency and meaning in everyday life. Through disappointments with society, and with self, postmodern critical thinkers look to self for guidelines for life. No longer is the goal of a unified culture held as a workable or even desirable goal. Because too many people groups have varied desires and experiences of that same culture, the idea of a homogeneous self identify within the larger social order has been disguarded. The upper middle class business person can never have the same experiences of life as the inner city child growing up on welfare."
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Modernism versus Post-modernism, 2005.
A discussion on the effects on design today.
900 words (approx. 3.6 pages), 0 sources, $ 35.95
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Abstract
This paper discusses the affects of the eras of modernism and postmodernism on design today. First the terms are defined and explained and an example is given for each period of design. The affect each era will continue to have on design today is also discussed.
From the Paper
"Modernism has had a great and lasting effect on design today. Because it's height spanned the 1920's through the 1960's there are many examples of modernist architecture still in place today. Modernism is defined by the Wikipedia Encyclopedia as "an artistic an cultural movement that generally includes progressive art and architecture, music and literature emerging in the decades before 1914, as artist rebelled against late 19th century academic and historic traditions" (Wikipedia). The modernism movement started in the mid-1900's and was sparked by the belief that the traditional style of doing things had outlived its time. Throughout the 20th century modernists looked for a better way of doing things so that they could bring architectural design up to date with the times. Many believe that the 20th century can be divided into modernism and post-modernism periods."
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Post-Modernism, 2004.
An analysis of the theory of post-modernism, as seen in film.
7,876 words (approx. 31.5 pages), 18 sources, MLA, $ 170.95
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Abstract
This paper examines the roots, evolution, and apparent direction of post-modern thought as it appears in cinema presentations of the city and its citizens. Post-modernism guided the late 20th century and now shapes our understanding of the 21st. The culture, people, literature, and arts all carry the post-modern constructs, which shape our future through chaos and find direction from a lack of boundaries. Americanism has drifted into post-modern culture through the evolution of our collective goals, dreams, and our realizations and disappointments in reaching toward the same. The post-modern mind is finding freedom in its new paradigm, but is this freedom to become greater than itself, or is post-modern thinking an attempt to cast off past failures without taking ownership of the future?
Contents
Setting the Stage
Tarnished Tales from the Silver Screen
Characters
Settings
Scenes
The Setting
Scenes
Conclusion
From the Paper
"Postmodernism is also a reaction to modernity, and hence derives its name from the same. The modern era, ushered into the American dream through the scientific process and critical thinking constructs of the 60?s and 70?s, carried with it the promise of a better life. Through breaking down problems into their basic components, and engineering those pieces, culture, the economy, and business could be improved. The advances in business through this understanding brought success and economic expansion which the country had never before experiences. Theorem proposed ? theory supported. Because of the economic progress, culture was able to expand and grow. We traveled, dined out, and created an entire entertainment industry through the economic expansion, and the increase in disposable income."
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Post-Modern Rebellion Against Modernism, 2004.
A comparison of Jackson Pollock's and Andy Warhol's art.
1,494 words (approx. 6.0 pages), 7 sources, APA, $ 49.95
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Abstract
This paper talks about, not only the significance of modernism and postmodernism, but also characteristics of both artists, Pollock and Warhol, along with their artworks.
From the Paper
"An art-historical comparison of Jackson Pollock and Andy Warhol, two of the most celebrated artists of the mid to late twentieth century, is significant in demonstrating a shift from modernism to postmodernism. Pollock is represented as an ultimate expression of modernism and the embodiment of ambition for liberation in the 1950's. His drip paintings, which eliminated subject matter as essential , paved the way for modernist artists to take apart the foundations of all that was special in previous art making and abandon beauty as an ideal. Because of the significance of his work, modernism couldn't have gone as far without Pollock. The era of modernism, however, came to an end in 1964 according to Arthur Danto who stated that Warhol's art, especially his Brillo Boxes, marked its end. At the same time, as this work also implies the beginning of postmodernism, which is derived from modernist beliefs and attitudes, it is the art world with diverse aesthetic forms that broke with modernism. As a postmodernist and the enigmatic homosexual superstar of Pop Art, Warhol, adopted media, popular culture, and reproduction to rebel against the characteristics of modernism which Pollock's work and attitude toward art represented. By looking at two particular paintings, Pollock's Lucifer (1947) and Warhol's Triple Elvis (1961), we are able to bring out not only the differentiation of their personas and attitudes toward their art, but also the issues of Warhol's rebellion against modernist including Pollock."
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Post-Modernism, 2002.
An analysis of post-modernism.
3,400 words (approx. 13.6 pages), 7 sources, $ 124.95
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Abstract
This paper discusses post-modernism in terms of space, new social movement and identity, analyzes the ideas of cultural observers such as Stuart Hall and compares all of these ideas with various examples of post-Cold War popular culture.
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Post-Modernism and Self Reflexivity, 2003.
An exploration of post-modernism in literature through a review of "Slaughterhouse 5" by Kurt Vonnegut and "The Crying of Lot 49" by Thomas Pynchon.
2,038 words (approx. 8.2 pages), 9 sources, APA, $ 64.95
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Abstract
This paper examines how ?post-modernism? is the term given to an aesthetic current or cultural phase of the latter half of the twentieth century which followed and was derived from modernism. It looks at how, while bringing new techniques, styles and philosophies, post-modernists also continued some techniques that were offered by modernist experimenters (such as fragmentation and parody) and extended on them. It analyzes Kurt Vonnegut?s "Slaughterhouse-Five" and also considers "The Crying of Lot 49" by Thomas Pynchon, both of which are clear examples of American postmodern texts. It also discusses how both texts show the use of a technique called ?self-reflexivity?.
From the Paper
"Metafiction is the term given to ?the exploration by literary texts of their own nature and status as fiction? , and also their attempts to expose all social, political and religious theories as constructs, by posing ?questions about the relationship between fiction and reality? . An example of this is in Chapter 3 where a German photographer takes photos of Billy and the American Army: ?The photographer wanted something more lively?a picture of an actual capture. So the guards staged one for him. They threw Billy into the shrubbery? (p.42). The photographer, being German, wanted a photo of a captured American, but staged one instead to use as propaganda. This is an example of historiography; history being exposed as fiction, or more accurately ?historiographic metafiction? , as Hutcheon describes it."
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Post Modernism in Literature, 2002.
This paper argues that post-modernism is a movement that tries to resolve the conflict that has developed among different theories of literature.
3,400 words (approx. 13.6 pages), 10 sources, $ 124.95
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Abstract
This paper combines the theories and criticisms of the post-modernist and brings them together to state that the post-modern movement helped to resolve the conflict created in the modern era and allowed a sense of unity to be arise within the literary community and created a new form of culture.
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Post-modern America, 1991.
This paper argues that American society, politics and economy can be thoroughly classified as post-modern, defines the post-modern sensibility and analyzes contemporary socio-cultural conditions.
3,150 words (approx. 12.6 pages), 11 sources, $ 111.95
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From the Paper
"The question of whether we live in a post-modern culture will be examined through an analysis of contemporary political, economic and cultural conditions in the U.S. The discussion will first begin with a description of postmodern sensibility. Key portions of this sensibility (particularly the importance of image) will then be presented, through a overview of the predominate role of television, media consultants and the relative absence of active citizens in modern political campaigns. The paper will go on to argue that the American economy itself can be classified as post-modern, characterized by flexible accumulation and personal insecurity. The analysis will conclude with a discussion of how Adorno and his supporters might respond to the claims of post-modern theory, taken the ... "
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Game Theory-The New Marxism, 2006.
An analysis of Marxist economics with regards to foreign relations and how this perspective compares to modern game theory.
2,700 words (approx. 10.8 pages), 7 sources, $ 106.95
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Abstract
This paper analyzes Marxist economics from the perspective of foreign relations and how foreign relations is conducted based on the benefits that one nation can receive in relations at the expense of other nations. This Marxist perspective is compared to modern game theory and its sub-component, coalition theory in that game theory's basic assumption of zero-sum outcomes is a Marxist interpretation of capitalism in acceptable guise.
From the Paper
"Marxist economics has suffered in stature chiefly due to its being co-opted by the various communist political regimes that relied on its basic assumption upon which to construct their derivative economic models; most commonly of which was the Soviet economic model with its central planning and misconstrued allocation of resources (Wood, 2004). However, Marxist economics were never fully understood by these communist regimes and certainly not faithfully applied. At its core, Marxist economics accurately reflects the innate shortcomings of free market capitalism and the political structure that arise from them. One of the key differences that Marxist economics points out between itself and that of capitalist economics is the valuation of labor or the labor theory of value (Wood, 2004, pp.136-39)."
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Rational Choice Theory and Post-Modernism, 2002.
Discussion of the Rational Choice Theory and the Post-Modernist Theory, and how these two different theories can, to some degree, be reconciled.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
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Abstract
The development of Rational Choice Theory in the 20th century arose out of economic theory. Through such thinkers as Homans, Blau and Coleman it has emerged as an important school of thought. The theory focuses upon the rational calculations carried out by individuals guided by self-interest. Post-modernism, another contemporary theory, is in many ways in friction with rational choice theory, for the fundamental capitalist drive espoused by rational choice is seen as nothing but a social construct by the post-modern tradition. Alfred Schutz, a twentieth century phenomenologist, reconciles these two strains of thought to some degree by bringing up the notion of individual perception which encompasses both the social constructs and the drive for self-interest.
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Post-Modern Literature, 2004.
An examination of three authors - Jorge Luis Borges, Zadie Smith, and Nuala Ni Dhomhnaill - and a discussion of whether their works can be considered post-modern.
2,108 words (approx. 8.4 pages), 6 sources, MLA, $ 66.95
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Abstract
To consider what makes a work post-modern, a definition of post-modernity is provided. This is followed with an analysis of the works of three post-modern authors, one an author of short stories, one a novelist, and the third a poet. By analyzing these three authors, the aspects that make a work post-modern are highlighted, while also showing the variation that occurs within the category.
From the Paper
"This definition highlights three common features of postmodernism. The first is the lack of clear meaning in texts, with postmodernist writers often creating works that do not have a clear theme, nor clear resolutions, or even plots. In many cases, postmodern writers do not focus on communicating a specific point. Instead, they may be content just to present a story and allow the reader to determine what it means for themselves. The second common feature of postmodernism relates to the structure of the works created. The main element is not a specific type of structure, but rather a lack of structure. Works not classed as postmodern generally have specific common elements. For example, a short story generally has a plot, characters, a climax and a resolution. In the postmodern work, these features may or may not be present. The main element that is apparent in postmodern works is often a lack of the structural elements expected in literature. The final common feature is that a sense of confusion or a search for meaning is often apparent in postmodern works."
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