FEDERMAN'S BLOG [the laugh that laughs at the laugh...]: the death of postmodernism was sealed in 1960, the same year it was born: 20 reasons in french and english why postmodernism died...

August 28, 2005

the death of postmodernism was sealed in 1960, the same year it was born: 20 reasons in french and english why postmodernism died...

VINGT RAISONS POUR LA MORT DU POSTMODERNE
1. Le postmodernisme était un exercice de discontinuité, de rupture, de mutation, de transformation, donc, il était condamné d’avance...
2. Comme toutes les nouveautés, une fois récupéré par l’économie, le postmodernisme était fini...
3. Maintenant que les effets du postmodernisme sont évidents dans des secteurs aussi variés que l’habillement, la nourriture, le logement, et sont acceptés et compris dans ces formes, la fin n’est pas loin...
4. Le postmodernisme a commencé comme un mouvement littéraire authentique quoique insaisissable et a fini comme une curiosité de magasin...
5. Quand l’Académie est divisée et se met à chicaner sur le postmodernisme, elle a vite fait de tuer ce dont elle discute...
6. Le jour où il gagne, le postmodernisme, évidemment est le grand perdant...
7. Le postmodernisme était à la fois un mouvement et un parfum, une tournure d’esprit et une coupe de fruits : il n’avait donc aucune chance de survivre...
8. Le postmodernisme en tant que notion littéraire a été inventé pour faire face à l’holocauste. La scission entre forme et contenu d’avant la guerre était incapable de venir à bout de la crise morale déclenchée par l’holocauste et donc des écrivains tels que Beckett, Walter Abish, Ronald Sukenick, Primo Levi, Raymond Federman, Jerzy Kosinski et bien d’autres ont inventé le postmodernisme pour chercher parmi les morts, fouiller les fosses communes, afin de ranimer le sang gaspillé et les larmes perdues....ou peut-être tout simplement pour créer quelque chose de plus intéressant que la mort (comme Claude Lanzman l’a fait avec SHOAH par exemple, l’un des grands films postmodernes).
9. Quand un objet a fini son voyage intellectuel et moral, il est enfermé dans une châsse bien scellée dans une quelconque sorbonne, comme les reliques d’un saint et vénéré de la même manière avec la même absence de résultats. Il en est ainsi du postmodernisme...
10. Quand parmi les critiques le ton passe de l’intellectuel au moral, alors on sait que le postmodernisme est mort...
11. La mort de quoi que ce soit est évidemment une trope non de sa mort mais de son utilité, de son applicabilité. Le postmodernisme n’a plus de sens maintenant, il ne sert plus à rien.
12. Quand un mouvement cesse d’être un nécessité pour devenir un choix comme c’est le cas du postmodernisme, il a signé son arrêt de mort. Mais comme on ne peut jamais dire sa mort au présent–la mort d’un chacun ne peut qu’être prononcée par d’autres après qu’elle est survenue— la mort du postmodernisme est maintenant décrétée partout par tout le monde...
13. Les textes littéraires fondamentaux du postmodernisme : Texts for Nothing, The Library of Babel, Cosmicomics, Lost in the Funhouse, The Voice in the Closet, ces textes ont annoncé et perpétré la mort du postmodernisme tout en prétendant servir à le lancer...
14. Actuellement, le climat littéraire réactionnaire dominé par des œuvres inscrites dans des formes reçues n’indique pas tant la mort du postmodernisme que la persistence du pouvoir de l’économie de marché dans la définition de l’art...
15. Les modes littéraires ont plus à voir avec la réception de la littérature qu’avec sa création et donc avec sa fin plutôt que son commencement...
16. S’il est vrai que le paysage littéraire actuel, vu d’un certain angle, semble stérile, il est encore plus vrai qu’il est en jachère, prêt à se soumettre, à se compromettre, frémissant de promesses. Le postmodernisme est mort faute d’avoir accepté le compromis...
17. Quand les grands peintres de New York (Stella Johns Rauchenberg etc..) sont allés travailler pour Women’s Wear Daily, comme ce fut le cas en 1960, la fin était proche (les arts visuels sont toujours en tête, les arts littéraires suivent). La mort du postmodernisme est survenue en 1960, l’année même de sa naissance...
18. Les grandes œuvres de tous les temps répondent toujours à une nécessité personnelle qui par la suite est transformée en théorie simplement pour faire la publicité des dites œuvres. La théorie a tué le postmodernisme, mais la grande ironie est que la théorie, c’était aussi le postmodernisme...
19. Le postmodernisme répondait à une fin – la fin de l’Europe après la Deuxième Guerre mondiale. Tout comme le modernisme, un peu plus tôt, avait répondu à l’effondrement de vérités soi-disant immuables (la cohérence de la vérité, en quelque sorte) élaborées au XIXe siècle, le postmodernisme a décrié à pleins poumons le néant, le nonsens et la mort et ce faisant à décrié son propre néant, son absurdité et sa mort...
20. Ce n’est pas que le postmodernisme soit mort, mais comme tout phénomène valable et identifiable – comme l’impressionisme, le dadaïsme, le surréalisme, le modernisme, l’expressionisme abstrait, le New criticism, le féminisme– après une période de succès bouillonnant, il s’enfonce dans les profondeurs et se recombine avec d’autres éléments pour émerger de nouveau, véritable bouillon de culture artistique et le moment où il était guetté par le pourrissement s’appelle la mort du mouvement.

TWENTY REASONS FOR THE DEATH OF POSTMODERNISM
1. Postmodernism was an exercise in discontinuity, rupture, break, mutation, transformation, therefore doomed from the beginning ...
2. As with all new things, once absorbed by the economy postmodernism was finished ...
3. Now that the effects of Postmodernism are evident in sectors as diverse as dress, food and lodging, and are in those forms understood, the end is not far ...
4. Postmodernism began as a genuine if loose literary movement and ended as a department store curiosity ...
5. When the cacademy starts to take sides & quibbles about postmodernism, it quickly kills what it discusses ...
6. In winning the day, Postmodernism, of course, loses ...
7. Because Postmodernism was viewed both as a movement and a perfume, and both as an intellectual disposition and a bowl of fruit, it had no chance to survive ...
8. Postmodernism as a literary notion was invented to deal with the Holocaust. The prewar split between form and content was incapable of dealing with the moral crisis provoked by the Holocaust, and therefore writers like Beckett, Walter Abish, Ronald Sukenick, Primo Levi, Raymond Federman, Jerzy Kosinski, George Chambers, and many others, invented Postmodernism to search among the dead, to dig into the communal grave, in order to re-animate wasted blood and wasted tears ..... or perhaps simply in order to create something more interesting than death (as Claude Lanzmann did in Shoah, for instance -- one of the great Postmodern films).
9. When something completes its intellectual and moral journey it is enshrined within sealed cases in the various Sorbonnes, like the relics of saints, and is venerated in much the same way and with the same use-less result, and so it is with Posmodernism ...
10. When among critics the tone of the debate shifts from intellectual to moral, then we know for sure that Posmodernism is dead ...
11. The death of anything is, of course, a trope not for its death but for its utility, its applicability. Now Postmodernism no longer avails, no longer applies ...
12. When a movement becomes a choice and not a necessity, as Postmodernism has now become, it signifies its death. But since one can never speak one's death in the present -- one's death can only be spoken by others after it happens -- the death of Postmodernism is now being spoken by everyone, everywhere ...
13. The central, fundamental literary texts of Postmodernism: Texts For Nothing, The Library of Babel, Cosmicomics, Lost in the Funhouse, The Double or Nothing, Death of the Novel and Other Stories. These texts announced and performed the end of Postmodernism while pretending to serve as its beginning ...
14. The current reactionary literary climate dominated by works inreceived forms does not indicate the death of Postmodernism as much as the persistence of the power of market economies to define the arts ...
15. Literary fashions have more to do with the reception of literature than with its creation, and therefore more to do with its end than its beginning, that’s for sure ...
16. While it is true that the current literary scene viewed from a certain perspective looks sterile, it is more true that it is extraordinarily fallow, ready to submit, ready to compromise, in a quiveringly receptive mode. Post- modernism died because it refused to compromise ...
17. When the great painters of New York City (Stella, Johns, Rauchenberg, etc.) went to work for Women's Wear Daily, as they did en masse in 1960, the end was at hand (the visual arts always lead, the literary arts follow). The death of Postmodernism was sealed in 1960, the same year it was born ...
18. The great works of any age always spring from a personal necessity that is only subsequently elaborated into this or that theory and chiefly as a means of publicizing said great works. Theory killed Postmodernism, but the irony is that theory was also Postmodernism ...
19. Postmodernism was responding to the end -- the end of Europe, after World War Two. Just as Modernism, earlier, responded to the breakdown of self-evident truths (the consistency of truth, one might say) elaborated during the l9th Century, Postmodernism cried and decried nothingness, nonsense, and death, and in so doing cried and decried its own nothingness, nonsense & death ...
20. It isn't, to say it again, that Posmodernism is dead but like any other identifiable phenomenon of a certain value -- such as impressionism, dadaism, surrealism, modernism, abstract expressionism, new criticism, feminism -- after a fixed period of bubbling at the surface, it sinks and recombines with other like elements to form again a part of the generative stew of art and culture, and that moment of rot is called the death of a movement ...

# posted by blogmaster @ 8/28/2005 09:13:00 AM

Comments:

I love this entry, Moinous! Postmodernism somewhat D.O.A. - most interesting...

*L*

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It came and went and I never found out what is was?

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Starcherone Books

To Remain Always Misunderstood

Triptych: Hypertext, Surfiction, Storyworlds (Mark Amerika)

The Twilight Of The Bums (With George Chambers)

THE RAYMOND FEDERMAN MEMORIAL FUND FOR INNOVATIVE FICTION

Starcherone Books, Inc., has set up a memorial fund in Raymond's memory. Books published by Starcherone Books subsidized with money from the fund will bear the inscription, "This publication was made possible with funds from the Raymond Federman Memorial Fund for Innovative Fiction."

Starcherone Books is a 501(c)(3) non-profit and all contributions are tax deductible. Designate this fund and make checks payable to:

Dr. Ted Pelton
Starcherone Books
P.O. Box 303
Buffalo, NY 14201-0303

www.starcherone.com

SURFICTION CHAT
FIRST LIVE SURFICTION CHAT WITH FEDERMAN (September 6, 2005)
SECOND LIVE SURFICTION CHAT WITH FEDERMAN (October 25, 2005)

FEDERMAN'S BLOG [the laugh that laughs at the laugh...]

August 28, 2005

the death of postmodernism was sealed in 1960, the same year it was born: 20 reasons in french and english why postmodernism died...

RAYMOND FEDERMAN, 1928-2009

About Me

BOOKS BY RAYMOND FEDERMAN

Writings: Raymond Federman

Federman's Play in Avignon

Federman's Audio Clips

RAIN TAXIInner-View

Federman's Blog Technician:

FEDERMAN IS ON MYSPACE...

Federman's Links...

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