| Modernism/Modernity | Postmodern/Postmodernity |
| Master Narratives and Metanarratives of history, culture and national identity; myths of cultural and ethnic orgin. | Suspicion and rejection of Master Narratives; local narratives, ironic deconstruction of master narratives: counter-myths of origin. |
| Faith in "Grand Theory" (totalizing explantions in history, science and culture) to represent all knowledge and explain everything. | Rejection of totalizing theories; pursuit of localizing and contingent theories. |
| Faith in, and myths of, social and cultural unity, hierarchies of social-class and ethnic/national values, seemingly clear bases for unity. | Social and cultural pluralism, disunity, unclear bases for social/national/ethnic unity. |
| Master narrative of progress through science and technology. | Skepticism of progress, anti-technology reactions, neo-Luddism; new age religions. |
| Sense of unified, centered self; "individualism," unified identity. | Sense of fragmentation and decentered self; multiple, conflicting identities. |
| Idea of "the family" as central unit of social order: model of the middle-class, nuclear family. | Alternative family units, alternatives to middle-class marriage model, multiple identities for couplings and childraising. |
| Hierarchy, order, centralized control. | Subverted order, loss of centralized control, fragmentation. |
| Faith and personal investment in big politics (Nation-State, party). | Trust and investment in micropolitics, identity politics, local politics, institutional power struggles. |
| Root/Depth tropes. Faith in "Depth" (meaning, value, content, the signified) over "Surface" (appearances, the superficial, the signifier). | Rhizome/surface tropes. Attention to play of surfaces, images, signifiers without concern for "Depth". |
| Faith in the "real" beyond media and representations; authenticity of "originals" | 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. |
| Dichotomy of high and low culture (official vs. popular culture); imposed consensus that high or official culture is normative and authoritative | 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. |
| Mass culture, mass consumption, mass marketing. | Demassified culture; niche products and marketing, smaller group identities. |
| Art as unique object and finished work authenticated by artist and validated by agreed upon standards. | Art as process, performance, production, intertextuality. Art as recycling of culture authenticated by audience and validated in subcultures sharing identity with the artist. |
| Knowledge mastery, attempts to embrace a totality. The encyclopedia. | Navigation, information management, just-in-time knowledge. The Web. |
| Broadcast media, centralized one- to-many communications. | Interactive, client-server, distributed, many- to-many media (the Net and Web). |
| Centering/centeredness, centralized knowledge. | Dispersal, dissemination, networked, distributed knowledge |
| Determinancy | Indeterminancy, contingency. |
| Seriousness of intention and purpose, middle-class earnestness. | Play, irony, challenge to official seriousness, subversion of earnestness. |
| Sense of clear generic boundaries and wholeness (art, music, and literature). | Hybridity, promiscuous genres, recombinant culture, intertextuality, pastiche. |
| Design and architecture of New York and Boston. | Design and architecture of LA and Las Vegas |
| Clear dichotomy between organic and inorganic, human and machine | cyborgian mixing of organic and inorganic, human and machine and electronic |
| Phallic ordering of sexual difference, unified sexualities, exclusion/bracketing of pornography | androgyny, queer sexual identities, polymorphous sexuality, mass marketing of pornography |
| the book as sufficient bearer of the word; the library as system for printed knowledge | hypermedia as transcendence of physical limits of print media; the Web or Net as information system |
Chart Created by Martin Irvine,
Postcolonialism or postcolonial studies is an academic discipline featuring methods of intellectual discourse that analyze, explain, and respond to the cultural legacies of colonialism and imperialism, to the human consequences of controlling a country and establishing settlers for the economic exploitation of the native people and their land. Drawing from postmodern schools of thought, postcolonial studies analyse the politics of knowledge (creation, control, and distribution) by analyzing the functional relations of social and political power that sustain colonialism and neocolonialism—the how and the why of an imperial regime's representations (social, political, cultural) of the imperial colonizer and of the colonized people.
As a genre of contemporary history, postcolonialism questions and reinvents the modes of cultural perception—the ways of viewing and of being viewed. As anthropology, postcolonialism records human relations among the colonial nations and the subaltern peoples exploited by colonial rule.[1] As critical theory, postcolonialism presents, explains, and illustrates the ideology and the praxis of neocolonialism, with examples drawn from the humanities—history and political science, philosophy and Marxist theory, sociology, anthropology, and human geography; the cinema, religion, and theology; feminism, linguistics, and postcolonial literature, of which the anti-conquest narrative genre presents the stories of colonial subjugation of the subaltern man and woman.
Colonialism was presented as "the extension of Civilization", which ideologically justified the self-ascribed superiority (racial and cultural) of the European Western World over the non-Western world. This concept was espoused by Joseph-Ernest Renan in La Réforme intellectuelle et morale (1871), whereby imperial stewardship was thought to effect the intellectual and moral reformation of the coloured peoples of the lesser cultures of the world. That such a divinely established, natural harmony among the human races of the world would be possible, because everyone—colonizer and colonized—has an assigned cultural identity, a social place, and an economic role within an imperial colony; thus From the mid- to the late-nineteenth century, such racialist group-identity language was the cultural common-currency justifying geopolitical competition, among the European and American empires, meant to protect their over-extended economies. Especially in the colonisation of the Far East and in the Scramble for Africa (1870–1914), the representation of a homogeneous European identity justified colonisation. Hence, Belgium and Britain, and France and Germany proffered theories of national superiority that justified colonialism as delivering the light of civilisation to benighted peoples. Notably, La mission civilisatrice, the self-ascribed 'civilising mission' of the French Empire, proposed that some races and cultures have a higher purpose in life, whereby the more powerful, more developed, and more civilised races have the right to colonise other peoples, in service to the noble idea of "civilisation" and its economic benefits.
Romanticism -Romanticism (also the Romantic era or the Romantic period) was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1850. It was partly a reaction to the Industrial Revolution,[1] the aristocratic social and political norms of the Age of Enlightenment, and the scientific rationalizationof nature.[2] It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[3] education,[4] and the natural sciences.[5] It had a significant and complex effect on politics, and while for much of the Romantic period it was associated with liberalism and radicalism, its long-term effect on the growth of nationalism was perhaps more significant.
The movement emphasized intense emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as apprehension, horror and terror, and awe—especially that which is experienced in confronting the new aesthetic categories of the sublimity and beauty of nature. It considered folk art and ancient custom to be noble statuses, but also valued spontaneity, as in the musicalimpromptu. In contrast to the rational and Classicist ideal models, Romanticism revived medievalism[6] and elements of art and narrative perceived to be authentically medieval in an attempt to escape population growth, urban sprawl, and industrialism.
Although the movement was rooted in the German Sturm und Drang movement, which preferred intuition and emotion to the rationalism of the Enlightenment, the events and ideologies of the French Revolution were also proximate factors. Romanticism assigned a high value to the achievements of "heroic" individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art. There was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas. In the second half of the 19th century, Realism was offered as a polar opposite to Romanticism.[7] The decline of Romanticism during this time was associated with multiple processes, including social and political changes and the spread of nationalism.[8]
realism vs. surrealism -What is Realism ? What is Surrealism? What are the differences and the similarities to each other? What makes them unique? Which is the best? ( Personal Opinion )
What is Realism? Realism is cultural and intellectual movement, of the 19-th century, that include some areas of social life as art, politics, music, literature, science, moral etc. We cannot say in music that we have less or more realistic music because is more their plots rather than music that makes them classified towards realistic movement. (Brian, Pauls, Realism and Naturalism) .Realism today is being dominant in television and TV shows. We have various of reality shows now days that have over populated the TV programs. Realism in art was the movement against romanticism and they believed in the philosophy of “objective reality” and were against the exaggerated emotionalism of Romanticism.
What is Surrealism? Surrealism is also a cultural and intellectual movement but of 20-th century. The word Surrealism comes from sur-realite, translated means “beyond reality”. As Realism, this movement includes a various types of social areas but the most popular one was art. “The surrealists were bored with the real world, with the normal means of expression.” (Salvador Dali, The Great Hispanic Heritage; McNeese, Tim: 11). So they decided to express the world in a strange way. To express their philosophy and feeling they were based on Sigmund Freud psycho-analysis of the unconscious and they also strongly believed in interpretations of dreams and exploring the darkest corners of the mind. I want to mention here Salvador Dali, who is “the most famous and enduringly influential painter of all the surrealists, but also the one who did most to reduce the movement to a cliché” (Daoust, Phil. “ The Guardian” Tuesday 18 September 2001)
What are the differences and similarities to each other? Realism, as I mentioned before is the kind of art that “copies” the reality as it is, without expression and being honest this is kind of boring. Just capturing a moment and drawing it as more as realistic you can gets you closer to photography, but of course that needs more skills than photography. On the other hand Surrealism is more expressing one. Surrealism tries to understand and explain the everyday reality of the world in a very mystic and bizarre way, as drawing the unconscious , and tries to take us to different world of mysticism that our mind have never imagined before. Surrealists used a very high technique of drawing so they can make their dream world as real as they can. “Salvador Dali used highly realistic technique to create what he called, hand-painted dream photographs” Even though this two kind of arts seems so opposites essentially they are somehow the same, because both kind of art tries to express our concerns of daily life, they try to express reality, even though in different ways. Another similarity is that both try to create an object that is close to perception of human eye and mind. Surrealists don’t paint abstract shapes, they paint weird ones, but obeying to laws of perspective, light and shadow like Realists also do.
Surrealism and Realism are two kind of movements that have over populated television and fashion. Realism dominates in Television as Surrealism dominates in fashion. Why Realism in TV-shows and Surrealism in fashion? “Modernism challenged realism’s dominance in literature and the fine arts nearly a century ago, but in popular fiction, film, and television, realism continues to be the dominant narrative form”. Today we have a lot of TV-shows called reality show. I would like to mention some of this shows like: “Big Brother”, “Extreme Makeover”, “Kafazi I Arte”, “Albanian’s Next Top Model”, “Dancing with the stars” , “ The voice of Albania” and many more. Realism is dominant in television because in this programs characters chose their behavior and their actions, so this bring people closer to preferred character and they share various kind of emotions with the character such as love, fear, hope and even lust. (Booker, 2002). Meanwhile, Surrealism dominates in fashion world. Fashion historian Richard Martin said “Surrealism remains fashion’s favorite art” ( Wood Ghislaine, “Surreal Things”, 2007). Surrealism has been and it is an influential art in fashion because of its ideas of recreating a dream and weird expression. Surrealists have a very creative mind and this kind of art need a lot of imagination and that’s what one good fashion designer need, imagination.
Which is the best? In my opinion Surrealism wins this match because to me Surrealism is more beautiful, expressive, interesting and mystical than realism. For example if you are in a gallery of an excellent realistic painter, you go through the first painting and the first thing that comes to mind is how beautiful and real the painting look and you move very fast to the other painting and so on. If you are looking to an excellent surrealist painter you will go at the first picture and the first impression is “ ? ”. From “ ? ” you start to think “What the painter meant with that?” and “What this mean ?” so the painting absorb you to her message, that is hidden to symbols, and you start to think, you start to think what painter was thinking on the moment he painted that and you briefly feel the same way, so the painting feeds your imagination and your way of understanding and interpreting world and reality around you. That’s why I vote for Surrealism.
my opinion - is that an artist should not only be good at one form of art but should know at least some of the mentioned forms o be able to other non-mentioned forms of art. as an artist, you should be able to be creative in the sense of increasing art as well as creative talent.
my opinion - is that an artist should not only be good at one form of art but should know at least some of the mentioned forms o be able to other non-mentioned forms of art. as an artist, you should be able to be creative in the sense of increasing art as well as creative talent.
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