This document discusses modernism and postmodernism in literature. It provides definitions of both terms and notes that modernism occurred between the 1860s-1940s, emphasizing individual experience and rejecting tradition. Postmodernism emerged after 1960 and is more complex, characterized by mixing styles and media without absolute truths. Thinking became more irrational and texts were questioned rather than learning from the past.

2.  NAME : DAVE KHUSHALI K
 SEMESTER: 3
 PAPER NO : 9, THE MODERNIST LITERATURE
 ROLL NO : 12
 EMAIL ID : khushalidave8@gmail.com
 ENROLMENT NO :2069108420170006
 COURSE: M.A ENGLISH
 BATCH NO : 2016- 2018
 SUBMITTED BY: SMT.S.B.GARDI DEPARTMENT OF
ENGLISH

3.  MODERNISM WAS A MOVEMENT IN THE
ARTS IN THE FIRST HALF OF THE
TWENTIETH CENTURY THAT REJECTED
TRADITIONAL VALUES AND TECHNIQUES,
AND EMPHASIZED THE IMPORTANCE OF
INDIVIDUAL EXPERIENCE.
 THE MOVEMENT AT THE END OF THE 19th
AND BEGINNING OF THE 20th CENTURIES
THAT SOUGHT TO ADAPT DOCTRINE TO
THE SUPPOSED REQUIREMENTS OF MODERN
THOUGHT.

4.  MODERNISM RELATES TO A SERIES OF
CULTURAL MOVMENTS THAT TOOK PLACE IN THE
LATE 19th AND 20th CENTURIES.THESE
MOVEMENTS INCLUDE REFORMING MOVEMENTS
IN ARCHITECTURE,ART, MUSIC,LITERATURE, AND
APPLIED ARTS. MODERNISM FLOURISHED
BETWEEN 1860s AND 1940s; PREFERABLY TILL
1945 WHEN WORLD WAR -2 ENDED. DURING
THAT PERIOD, MUCH IMPORTANCE WAS GIVEN
TO LITERARY WORKS. ALSO, MODERNISM PAID A
LOT OF ATTENTION TO ORIGINAL WORKS.
THESE WORKS INCLUDE PAINTINGS,
SCULPTURE, ARCHITECTURE, AND PORTRY. IN
FACT, DURING THE PERIOD OF MODERNISM
ORIGINAL ART WAS CONSIDERED PRIMARY
CREATIONS.

5.  MODERNISM BELIEVED IN LEARNING FROM
THE EXPERIENCES OF THE PAST. WHEN IT
COMES TO THINKING DURING MODERNISM,
MODERN THINKERS EXCELLED IN LOGICAL
THINKING. THERE WAS A GREAT INPUT OF
LOGIC IN THE THINKING OF THE PERIOD
OF MODERNISM . THINKERS AND ARTIST
THAT BELONGED TO THE MODERNIST
PERIOD SEARCHED FOR THE ABSTRACT
TRUTH OF LIFE . THEY WERE IN SEARCH OF
THE REAL MEANING OF LIFE.

7.  A LATE 20th – CENTURY STAYLE AND CONCEPT
IN THE ARTS, ARCHITECTURE, AND
CRITICISM , LITERATURE WHICH REPRESENTS
A DEPARATURE FROM MODERNISM AND IS
CHARECTERIZED BY THE SELF – CONCIOUS
USE OF EARLIER STAYLES AND
CONVENTIONS , A MIXING OF DIFFERENT
ARTISTIC STAYLES AND MEDIA , AND A
GENERAL DISTRICT OF THEORIES.

8.  THE POST-MODERNISM REFERS TO THE CONFUSED STATE OF CULTURAL
DEVELOPMENTS THAT CAME INTO AFTER MODERNISM. AS A MATTER
OF FACT.
 THE PERIOD AFTER 1960s IS GENERALLY CONSIDERED POSTMORDEN IN
NATURE. TO BE PRECISE , POST-MODERNISM IS CONSTRUCTED
AS BEGUN AFTER 1968.
* THERE IS STRONG BELIFE THAT MODERNISM PAVED THE WAY FOR POST-
MODERNISM.
• IN OTHER WORDS, IT CAN BE SAID THAT POST-MODERNISM WAS
TRIGGERED BY THE DEVELOPMENTS MADE IN MODERNISM AND ITS
ADVOCATES.
• HOWEVER POST- MODERNISM , WHEN COMPARED TO MODERNISM , IS
MORE COMPLEX TO UNDERSTAND AND APPRECIATE. IT IS INTERESTING
TO NOTE THAT PERIOD
• AFTER THE WORLD WAR -2 IS NORMALLY CONSIDERED POST-
MODERNISM ORIENTED IN THE SENSE THAT THERE WERE COMPLEX
DEVELOPMENTS IN THE ECONOMIC , CULTURAL AND SOCIAL CONDITIONS
AROUND THE GLOB

9.  THINKING, DURING THE POST – MODERNISM
CONSIDERED IRRATIONAL AND UNSCIENTIFIC
IN ITS APPROACH . ON THE OTHER HAND ,
POST-MODERNISM DID NOT BELIEVE IN ANY
ABSTRACT TRUTH ABOUT LIFE .
 MOREOVER POST-MODERNISM DID NOT
FIRMLY BELIEVE IN BENEFITING FROM THE
EXPERIENCES OF THE PAST . IN FACT ,
THEY QUESTIONED THE AUTHORITY OF
TEXUAL READING.

10.  UNLIKE MODERNISM , POST-MODERNISM DID
NOT PAY ANY KIND OF ATTENTION WHAT SO
EVER TO ORIGINAL WORKS . THEY WOULD DUB
THEM AS PIECES THAT GAINED POPULARITY
DUE TO PROPAGATION . MOREVER , DUE TO THE
ADVANCEMENTS MADE IN THE FIELD OF
SCIENCE AND TECHNOLOGY AND OTHER ALLIED
FIELDS , THE PERIOD OF POST-MODERNISM SAW
NO ABSOLUTE TRUTH IN ORIGINAL WORKS . IT
BELIEVED MORE IN THE CREATION OF APPLIED
ART AND INTER- DISCIPLINARY STUDIES .
DIGITAL MEDIA WERE USED EXTENSIVELY TO
COPY THE ORIGINAL WORKS OF THE
MODERNIST PERIOD DURING THE POST-
MODERNISM PERIOD.

12.  SUSPICION AND REJECTION OF MASTER
NARRATIVES ; LOCAL NARRATIVES, IRONIC
DECONSTRUCTION OF MASTER NARRATIVES:
COUNTER – MYTHS OF ORIGIN.
* REJECTION OF TOTALIZING THEORIES ;
PURSUIT OF LOCALIZING AND CONTINGENT
THEORIES.
* SOCIAL AND CULTURAL PLURALISM,
DISUNITY, UNCLEAR BASES FOR SOCIAL/
NATIONAL/ ETTHNIC UNITY.

13.  SKEPTICISM OF PROGRESS, ANTI-
TECHNOLOGY REACTIONS, NEO – LUDDISM;
NEW AGE RELIGIONS
 SENSE OF FRAGMENTATION AND
DECENTERED SELF; MULTIPLE IDENTITIES
FOR COUPLINGS AND CHILDRAISING.
 SUBVERTED ORDER , LOSS OF CENTRALIZED
CONTROL , FRAGMENTION.
 TRUST AND INVESTMENT IN MICROPOLITICS
, IDENTITY POLITICS , LOCAL POLITICS ,
INSTITUTIONAL POWER STRUGGLES.

14.  RHIZOME/ SURFACE TROPES. ATTENTION TO
PLAY OF SURFACES , IMAGES, SIGNIFIERS
WITHOUT CONCERN FOR “ DEPTH”
 -HYPER-REALITY, IMAGE SATURATION,
SIMULACRA SEEM MORE POWERFUL THAN
THE “REAL” IMAGES AND TEXTS WITH NO
PRIOR “ORIGINAL”.
 “ AS SEEN ON TV “ AND “AS SEEN ON MTV”
ARE MORE POWERFUL THAN UNMEDIATED
EXPERIENCE.

15.  DISRUPTION OF THE DOMINANCE OF HIGH
CULTURE BY POPULAR CULTURE; MIXING OF
POPULAR AND HIGH CULTURES, NEW
VALUATION OF POP CULTURE , HYBRID
CULTURAL FORMS CANCEL “HIGH”/ “LOW”
CATEGORIES
 DEMASSIFIED CULTURE; NICHE PRODUCTS
AND MARKETING , SMALLER GROUP
IDENTITIES

16.  ART AS PROCESS, PERFORMANCE,
PRODUCTION , INTERTEXUALITY . ART AS
RECYCLING OF CULTURE AUTHENTICATED BY
AUDIENCE AND VALIDATED IN SUBCULTURES
SHARING IDENTITY WITH THE ARTIST.
 NAVIGATION , INFORMATION MANAGEMENT ,
JUST- IN – TIME KNOWLEDGE.THE WEB
 INTERACTIVE , CLIENT –SERVER ,
DISTRIBUTED, MANY TO MANY MEDIA (THE
NET AND WEB)

17.  DISPERSAL , DISSEMINATION , NETWORKED,
DISTRBUTED KNOWLEDGE
 INDETERMINANCY, CONTINGENCY
 PLAY, IRONY, CHALLENGED TO OFFICIAL
SERIOUSNESS, SUBVERSION OF EARNESTNESS
 HYBRIDITY , PROMISCUOUS GENRES ,
RECOMBINANT CULTURE, INTERTEXUALITY,
PASTICHE
 DESIGN AND ARCHITECTURE OF LA AND
LASVEGAS

18.  CYBORGIAN MIXING OF ORGANIC AND
INORGANIC, HUMAN AND MACHINE AND
ELECTRONIC
 ANDROGYNY, QUEER SEXUAL IDENTITIES,
POLYMORPHOUS SEXUALITY, MASS
MARKETING OF PORNOGRAPHY
 HYPERMEDIA AS TRANSCENDENCE OF
PHYSICAL LIMITS OF PRINT MEDIA; THE
WEB OR NET AS INFORMATION SYSTEM