[1] Gergen, Saturated Self p. 118)
[2] All mentioned Jameson, "Postmodernism," p. 111
[4] See Jameson, "Postmodernism," p. 116 on "new nostalgia films" , and Gergen, p. 111.
[5] Cited in Gergen, p. 117 and Jameson, p. 111.
[7] Linda Hutcheon, Hutcheon, Linda, 1947- A Politics of postmodernism : history, theory, fiction (New York : Routledge, 1988.), p. 111, drawing on Brian McHale, Postmodernist Fiction get at many varieties: Barth (literature of replenishment); Newman (literature of an inflationary economy); Lyotard (condition of knowledge in the contemporary informational regime; Hassan (stage on road to unification of humanity); Jameson (cultural logic); Baudrillard (where "the simulacrum gloats over the body of the deceased referent;" etc.
[8] For discussion of these early definitions, see Margaret Rose, "Defining the Postmodern," Jencks, pp. 119ff. Another early use was that of Arnold Toynbee who employed "postmodern" to describe the rise of an industrial, urban working class , and hence demise of an older "middle class. " Rose also cites number of other 1960s uses: Fiedler, C.W. Mills etc
[9] Howe, Harry Levin, Harry, 1912-, Contexts of criticism [1957] S McCabePN511 .L36
[10] On this early phase see Jencks, "Preface," Jencks, Charles ed. The Post-Modern reader (London : Academy Editions; New York : St. Martin's Press, 1992.) , pp. 18-21;
[11] Sontag, "Notes on Camp,' Against interpretation,c1966). On Sontag's relation to postmodernism see Liam Kennedy,"Precocious archaeology: Susan Sontag and the criticism of culture, Journal of American Studies v. 24 (Apr. '90) p. 23-39. Marx, Leo, 1919-, "Susan Sontag's "New Left" pastoral: notes on revolutionary pastoralism in America, in The pilot and the passenger (Oxford Univ. Press, 1988) pp. 291-314; McRobbie, Angela, "The modernist style of Susan Sontag", Feminist Review v. no38 (Summer '91) p. 1-19; and Gergen, Saturated, p. 120 who describes Sontag as a Modernist "peering into the emerging miasma of the postmodern."
[12]Fiedler, "Death Avant Garde." On Fiedler's role in the development of postmodernism see Capozzi, Rocco. "An interview with Leslie A. Fiedler: let's revisit postmodernism., University of Toronto Quarterly v. 60 (Spring '91) p. 331-6
[13] Jencks notes that McLuhan had tie to origins of pop art in that sometimes joined groups of "English intellectuals and artists" in late 1950s who looked at way new media shaped consciousness (Jencks,. p. 18). Jencks sees as mid-1950s in England, and then developing independently in U.S. in late 1950s (p. 19)
[14] See various works on Henry James, e.g;, A world elsewhere; the place of style in American literature. (New York, Oxford University Press, 1966)[ McCabe PS88 .P6
[15]Jencks, "Preface,"p. 21. Arac, p. 284 describes with Fiedler, Sontag ,and Poirier as giving "more complex attention to new modes of mass media."
[16] For example, Robert Venturi , Learning from Las Vegas; Jencks, See also Raban, Jonathan., Soft city (London, Hamilton, 1974) McCabe HT133 .R3 1974 which Harvey, Condition of Postmodernism p. sees as "suffused' with spirit of postmodernism.
[17] Huyssen cited in Jencks, "Preface,"p. 24
[18] Arac, Critical genealogies: historical situations for postmodern literary studies ( Columbia Univ. Press, 1987) , p. 281 refers to the "dialogue between postmodern criticism and the Anglo-American revival of Marxism." Also describes the "unsettling confluence" of postmodernism and poststructuralism" in the 1970s. (p. 281). Harvey, Condition notes that the intermingling of post-Marxist and poststructuralist thinking with American pragmatism after 1968 produced (Bernstein, 1985), a "rage against humanism and the Enlightenment legacy."
[19] Habermas, Jurgen "Modernity versus Post Modernity," in The Anti-aesthetic : essays on postmodern culture , edited by Hal Foster. (Port Townsend, Wash. : Bay Press, 1983.) . This talk was originally Sept 1980 in Frankfurt for Adorno prize. Repeated NYU in March 1981. Lyotard "What is Postmodernism" in Jencks seems to echo in suggesting that one reading of the Habermas critique of a return to a "sociocultural unity within which all the elements of daily life and of thought would take their places as in an organic whole." (p. 143) [although he seems to concede that this is a demand to combat, not reinforce , postmodernism]
[20] 1982. Berman, Marshall All that is Solid Melts into Air (1982) ;1983 Baudrillard, Jean. , Simulations ( New York : Semiotext(e), Inc., c1983; 1983. Baudrillard, Jean., In the shadow of the silent majorities--or the end of the social, and other essays translated by Paul Foss, Paul Patton and John Johnston. ( New York, N.Y. : Semiotext(e), c1983.) ;1984. Anderson, Perry, In the tracks of historical materialism (Chicago : University of Chicago Press, 1984.) [1 > S McCabe B809.8 .A599 1984; 1984. Jameson, Frederic "The Cultural Logic of late Capitalism (1984), reprinted in Postmodernism [1991]); 1985. Eagleton, "Capitalism, Modernism, and Postmodernism," New Left review 152 (July -August, 1985) 1989.
[21] Charles Jencks, ed. The Post-Modern reader (1992); A Postmodern reader, edited by Joseph Natoli and Linda Hutcheon (1993);Smart, Barry. , Modern conditions : postmodern controversies (London; New York : Routledge, 1992.
[22] This same division can be traced, according to Huyssen, Andreas, After the great divide : modernism, mass culture, postmodernism (Bloomington : Indiana University Press, c1986) to difference between Adorno/Marcuse, on the one hand, and Walter Benjamin on the other. Huyseens writes: Adorno "Culture Industry reconsidered," New German Critique 6 (Fall 1975)m 12-19, argued that under modern capitalism culture loses its autonomy and critical potential Summed up again in 1963 radio lecture. "CULTURE INDUSTRY IS THE PURPOSEFUL INTEGRATION OF ITS CONSUMERS FROM ABOVE. IT ALSO FORCES A RECONCILIATION OF HIGH AND LOW ART, WHICH HAVE BEEN SEPARATED FOR THOUSANDS OF YEARS, A RECONCILIATION WHICH DAMAGES BOTH. HIGH ART IF DEPRIVED IF ITS SERIOUSNESS BECAUSE ITS EFFECT IS PROGRAMMED; LOW ART IS PUT IN CHAINS AND DEPRIVED OF THE UNRULY RESISTANCE INHERENT IN IT WHEN SOCIAL CONTROL WAS NOT YET TOTAL."; Marcuse "The Affirmative Character Of Culture," origin 1937 but translated and reprinted in Negations; essays in critical theory. With translations from the German by Jeremy J. Shapiro. (Boston, Beacon Press [1968])" believed that the Utopia of a better life expressed in bourgeois art need only be taken at its word. (i.e. art expresses "fantasy" freed on obligation. Cf. argument of One Dimensional Man. Since both suggested that change in superstructure (art) might occur without change in underlying system of production the Left in the 1960s began more interested in the "materialist aesthetics" of of Walter Benjamin below), articulated as early as 1934, when Benjamin noted that "the bourgeois apparatus of production and publication is capable of assimilating , indeed of propagating, an astonishing amount of revolutionary themes without ever seriously putting into question its own continued existence or that of the class which owns it." (quoted p. 152). Thus looked to two benjamin essays of the 1930s. See Benjamin, "The Author as Producer" in Understanding Brecht, trans. Anna Bostock (London, 1973)and "The work of Art in the age of mechanical Reproduction" Illuminations , edited and with an introduction by Hannah Arendt; translated by Harry Zohn. (New York : Schocken Books, [1986?], c1968.)
[23] in Charles Jencks, ed. The Post-Modern reader (1992)
[24] For summary of this position see following excerpt from Kalaidjian, Walter B., 1952- , American culture between the wars : revisionary modernism & postmodern critique(Columbia University Press, c1993). pp. 116-22.. Appendix III.
[25] Harvey notes that since 1972 there are strong apriori grounds of seeing some connection between "the rise of postmodernist cultural forms, the emergence of more flexible modes of capitalist accumulation, and a new round of "time--space compression" [i.e. new perception of space /time] in the organization of capitalism." However he argues that these are surface changes "when set against the basic rules of capitalist accumulation." (p. vii).
[26] Hutcheon,Politics, p. 2 notes that debate carried on largely in "negative terms, citing neo-conservatives Hilton Kramer, "Postmodern Art and Culture in the 1980s," New Criterion 1 (1982), 36-42; and Charles Newman, The Post-Modern Aura: The Act of Fiction in an Age of Inflation (1985) .Also ne0Marxists below
[27] Commenators differ as to whether Jameson is pro-or con. Hutcheon, Politics sees as one of negative critics. Arac characterizes him as one who "revitalized Marxist cultural studies" in context of debate over deconstruction. Although sees strengths and weaknesses, sees as appropriate term, which to opponents (says Arac, "can seem no more than disguised advocacy." (p. 285)
[28] Hutcheon. Politics describes the varieties of postmodernism as :
[29] E.g. Hutcheon, Politics describes the "complex relation to modernism: "its retention of modernism's initial oppositional impulses, both ideological and aesthetic, and its equally strong rejection of its founding notion of formalist autonomy." (p. 26)
[30] This tension between the Enlightenment project sense of "modernism" (modernity, modernization) and the "cultural modernism" may be seen in David Harvey , Condition of Postmodernity , wherein extremes of "productivism" and "modernity" in Bauhaus, and Le Corbusier are "modernist" as well as those that reflect modern ambivalence toward science and progress. Likewise Bradbury and McFarlane (1976)Modernism, 1890-1930 / edited by Malcolm Bradbury and James McFarlane. (Hassocks, Sussex : Harvester Press; Atlantic Highlands, N.J. Humanities Press, 1978)describe the "extraordinary compound of the futuristic and the nihilistic..." (quoted Harvey p. 24) Examples of what occurred in both directions between 1910 and 1915 include Duchamp et al on the one hand, and Frederick Winslow Taylor on the other. Other works making a similar distinction are: Gaggi, Silvio, Modern/postmodern : a study in twentieth-century arts and ideas (Philadelphia : University of Pennsylvania Press, c1989) who not only distinguishes between "modernism" as 20th c. and as western civilization since Renaissance., but also, within "modernism" of early 20th distinguishes "later romantic" (Cubists, Fauves, Expressionists" from the "classicism" of Corbusier, Mondrian etc.
[31] For explicit discussion see Rose, "Defining,"p. 126 who relies on Koehler, "Postmodernisius," in New Literary History vol. 3 no 1. E.g. see Lyotard, "What is Postmodernism" in Jencks, p,.138 who sees the distinguishing characteristic of "modernism" to be the metanarrative," for example the Enlightenment "narrative in which the hero of knowledge works towards a good ethico-political end--universal peace." Jencks, "Preface," ibid distinguished "modernity as a condition" growing from Renaissance from "cultural modernism" that took shape in the 19th c. (p. 6). Harvey Condition, pp 12-13 repeats Habermas on "enlightenment" project as an aspect of the of "modern" and implicitly contrasts it with the 19th century sense from Bauldelaire though Yeats et. al.
[33] Arac (p. 284) characterizes as "a philosopher and former independent social activist, long involved with the critique of Stalinism."
[34] Craig Owens, "The Discourse of Others" and Alice Jardine, Gynesis (Cornell Press, 1985) in different ways argue that postmodernism and feminism should ally. Others argue or caution against such an alliance. Linda Hutcheon, Ch. 8 "Postmodernism and Feminism, Politics; notes that the crux of the ferminist objection derives from the fact that women are interested in constructing an "identity" not deconstructing the self. Creed, Barbara "From Here to Modernity: Feminism and Postmodernism," Screen 28 (1927), 47-67. (also in A Postmodern Reader, arguing against both Owens and Jardine, makes five points: (1) attempts to unite the three had led to confusions of terms, whereby Leotard's "grand narrative" is reduced to "master narrative," obscuring the fact that the "other" (the thing opposed) is "grand narratives (progress etc.) for pomo, and "patriarchy" for feminists) (2) pomo theorists such as Jameson have ignored the gender dimension e.g. in "nostalgia" films, hence providing inadequate analysis; (3) by treating feminism as "guest" coming to host of "postmodernism" Owens and others give feminism a secondary position; (40 not clear whether end of "master narratives" is of benefit to women; and (5) possibility that pomo is more indebted to feminism than realized by those proposing alliance. In fact, historically, periods in which there have been crises in "the West's system of knowledge" have been periods in which women assumed new roles and positions:(a) transition between Middle ages and renaissance (querelle des femmes); (b) French Revolution and St. Simonians; and (c) post-1968 period with events in Paris and rise of women's movement.
[35] Warren Montag, "What is at Stake in the debate on Postmodernism,"in Postmodernism and Its Discontents, ed. E. Ann Kaplan (London, 1988) argues that for all its attack on "totalizing" theory and "grand narratives," postmodernism is itself a totalizing narrative:"In its totalizing, transcendental pretensions, this concept [of postmodernism] precisely forecloses progress in thought by denying the possibility that fissures, disjunctions, breaks in contemporary social reality are symptoms of an impending crisis. For the signal feature of postmodernism most inimical to historical materialism is its claim to be the end of all crises, the end of all narratives, the end of resistance and revolutionary transformation." (p. 102).
[36] This process has various dimensions. See article of Cowley as one example. Arac, Critical Genealogies, p. 310 also suggests that in reaction against Stain, the "independent group, later NY intellectual conservatives, made a specialty of addressing, not the nitty gritty of politics, but great historical issues.. In the 1950s this made them hot items on the anti-Communist intellectual circuit.