A Quote by Stanley Hauerwas
I am just postmodern enough not to trust 'postmodern' as a description of our times, for it privileges the practices and intellectual formations of modernity. Calling this a postmodern age reproduces the modernist assumption that history must be policed by periods.
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I understand that postmodern literature probably means people like DeLillo, The Fiction Collective, but I don't get it that those writers are really influenced by postmodern theorists.
What is Southern California but an ever-changing dreamscape backdrop for the postmodern ideal? The psychology of the postmodern world is the continual state of change as we live in its idealist manufactured dream, built by developers.
Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. ... The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years.
Some years ago, I was invited to speak in Houston, Texas. They said I was a founder of 'postmodern theatre'. So I said to my office, 'This is ridiculous for me to go and speak about postmodern theatre when I don't know what it means, but... they're paying me a lot of money, so I'll go.'
Whereas modern cynicism brought despair about the ability of the human species to realize laudable ideals, postmodern cynicism doesn't — not because it's optimistic, but because it can't take ideals seriously in the first place. The prevailing attitude is Absurdism. A postmodern magazine may be irreverent, but not bitterly irreverent, for it's not purposefully irreverent; its aim is indiscriminate, because everyone is equally ridiculous. And anyway, there's no moral basis for passing judgment. Just sit back and enjoy the show.
I love the fact that I can go to a museum now that tells me I'm in the postmodern age.
The postmodern reply to the modern consists of recognizing that the past, since it cannot really be destroyed, because its destruction leads to silence, must be revisited: but with irony, not innocently. I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows he cannot say to her, I love you madly, because he knows that she knows (and that she knows that he knows) that these words have already been written by Barbara Cartland. Still, there is a solution. He can say, As Barbara Cartland would put it, I love you madly.
Our working hypothesis is that the status of knowledge is altered as societies enter what is known as the postindustrial age and cultures enter what is known as the postmodern age.
I try to teach a modernist and postmodernist position. On one hand, if you're a painter, you need to know the history of painting. But I'm also interested in the moment we live in. I love television, and movies, and books, and music. So I also think of art as this cultural production along with all this other stuff that's happening. So that's a kind of postmodern, not media-specific, but the times, what is your art relevant to this moment we live in versus media specificity? That's my teaching philosophy, both of those things are important.
It's impossible in our postmodern era for anyone to be original - for anybody to do what Jackson Pollock did.
Los Angeles is a true postmodern city. Here, we celebrate with equal aplomb the high and the low. I am just as influenced by the punk rock attitude of local skate and surf cultures as I am by old-school glamour and stardust.
Don't call me a Postmodern!
Plastic surgery is a postmodern veil.
I'm a contemporary playwright in a postmodern world.
I am a postmodern romantic. I try to use their way to photograph, and at the same time, incorporate the problems that I feel in a country like Guatemala.
Fast and the Furious' is really a postmodern Western.
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