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A work can become modern only if it is first postmodern. Postmodernism thus understood is not modernism at its end but in the nascent state, and this state is constant.
Postmodernism was a reaction to modernism. Where modernism was about objectivity, postmodernism was about subjectivity. Where modernism sought a singular truth, postmodernism sought the multiplicity of truths.
Postmodernism surely requires an even greater grasp of symbolism, as it's increasingly an art of gesture alone.
Can postmodernism hold the perpetrators of genocide accountable?
I confess I take perverse delight as a theologian in the controversies surrounding postmodernism.
In Modernism, reality used to validate media. In Postmodernism, the media validate reality. If you don't believe this, just think how many times you've described some real event as being 'just like a movie.'
Postmodernism is an academic theory, originating in academia with an academic elite, not in the world of women and men, where feminist theory is rooted.
In 1979, postmodernism lost its understanding of the meaning of ornament. It degenerated into kitsch applique.
There's this expression called postmodernism, which is kind of silly, and destroys a perfectly good word called modern, which now no longer means anything.
From my perspective, 'postmodernism' merely names an interesting set of developments in the social order that is based on the presumption that God does not matter.
Postmodernism is among other things a sick joke at the expense of revolutionary avant-gardism.
Postmodernism cost literature its audience.
By 1970, the first stirrings of the revolt against Modernist orthodoxy in architecture had been felt, although it would be several years more until Postmodernism was widely accepted and made classical motifs permissible in high-style building design for the first time in decades.
Postmodernism came nowhere close in quality to Modernism at its apogee, not least because that later style wholly lacked the social impetus that animated the designs most emblematic of the Modern Movement.
What postmodernism gives us instead is a multicultural defense for male violence - a defense for it wherever it is, which in effect is a pretty universal defense.
Japanese horror films take the business of being frightening seriously. There is no attempt at postmodernism or humour. They are incredibly melancholy, with a strong emotional core, while remaining absolutely terrifying.
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