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Postmodernism, or The Cultural Logic of Late Capitalism
The last few years have been marked by an inverted millennarianism, in which premonitions of the future, catastrophic or redemptive, have been replaced by senses of the end of this or that (the end of ideology, art, or social class; the ‘crisis’ of Leninism, social democracy, or the welfare state, etc., etc.): taken together, all of these perhaps constitute what is increasingly called postmodernism. The case for its existence depends on the hypothesis of some radical break or coupure, generally traced back to the end of the 1950s or the early 1960s. As the word itself suggests, this break is most often related to notions of the waning or extinction of the hundred-year-old modern movement (or to its ideological or aesthetic repudiation). Thus, abstract expressionism in painting, existentialism in philosophy, the final forms of representation in the novel, the films of the great auteurs, or the modernist school of poetry (as institutionalized and canonized in the works of Wallace Stevens): all these are now seen as the final, extraordinary flowering of a high modernist impulse which is spent and exhausted with them. The enumeration of what follows then at once becomes empirical, chaotic, and heterogeneous: Andy Warhol and pop art, but also photorealism, and beyond it, the ‘new expressionism’; the moment, in music, of John Cage, but also the synthesis of classical and ‘popular’ styles found in composers like Phil Glass and Terry Riley, and also punk and new wave rock (the Beatles and the Stones now standing as the high-modernist moment of that more recent and rapidly evolving tradition); in film, Godard, post-Godard and experimental cinema and video, but also a whole new type of commercial film (about which more below); Burroughs, Pynchon, or Ishmael Reed, on the one hand, and the French nouveau roman and its succession on the other, along with alarming new kinds of literary criticism, based on some new aesthetic of textuality or écriture . . . The list might be extended indefinitely; but does it imply any more fundamental change or break than the periodic style- and fashion-changes determined by an older high-modernist imperative of stylistic innovation? [*] The present essay draws on lectures and on material previously published in The Anti-Aesthetic, edited by Hal Foster, (Port Townsend, Washington: Bay Press 1983) and in Amerika Studien/American Studies 29/1 (1984)..
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