CFP: The guiding statements: After postmodernism in educational theory?
Deadline: Nov 30, 2017
An aesthetic of cognitive mapping – a pedagogical political culture which seeks to endow the individual subject with some new heightened sense of its place in the global system – will necessarily have to respect this now enormously complex representational dialectic and invent radically new forms in order to do it justice. This is not then, clearly, a call for a return to some older kind of machinery, some older and more transparent national space, or some more traditional and reassuring perspectival or mimetic enclave: the new political art (if it is possible at all) will have to hold to the truth of postmodernism, that is to say, to its fundamental object – the world space of multinational capital – at the same time at which it achieves a breakthrough to some as yet unimaginable new mode of representing this last, in which we may again begin to grasp our positioning as individual and collective subjects and regain a capacity to act and struggle which is at present neutralised by our spatial as well as our social confusion. The political form of postmodernism, if there ever is any, will have as its vocation the invention and projection of a global cognitive mapping, on a social as well as a spatial scale.
--Fredric Jameson (1991), Postmodernism, or, The Cultural Logic of Late Capitalism, https://www.marxists.org/reference/subject/philosophy/works/us/jameson.htm
As we know, postmodernism, as a literary and cultural movement, came to an end some time ago not only in the West but also in China, although it has permeated in a fragmentary way nearly all aspects of contemporary culture and thought. Today, we readily think about the duality of something without falling back on the traditional idea of “center” or “totality.” In the field of critical theory, there is no longer any dominant theoretical school or literary current that plays a role like the one played by postmodernism and poststructuralism in the latter part of the twentieth century.
--Wang Ning, A Reflection on Postmodernist Fiction in China: Avant-Garde Narrative Experimentation, Narrative, Vol 21, No. 3 (October 2013), https://muse.jhu.edu/article/522142
It is not that postmodernism’s impact is diminished or disappearing. Not at all; we can’t unlearn a great idea. But rather, postmodernism is itself being replaced as the dominant discourse and is now taking its place on the artistic and intellectual palette alongside all the other great ideas and movements. In the same way as we are all a little Victorian at times, a little modernist, a little Romantic, so we are all, and will forever be, children of postmodernism. (This in itself is, of course, a postmodern idea.)
--Edward Doxc (2011), Postmodernism is dead, Prospect, https://www.prospectmagazine.co.uk/magazine/postmodernism-is-dead-va-exhibition-age-of-authenticism
It seems then, that a new dominant cultural logic is emerging; the world – or in any case, the literary cosmos – is rearranging itself. This process is still in flux and must be approached strictly in the present tense. To understand the situation, we have to pose a number of questions. The first, and most dramatic, is “Is postmodernism dead?”; quickly followed by “If so, when did it die?”. Critics – such as Christian Moraru, Josh Toth, Neil Brooks, Robin van den Akker and Timotheus Vermeulen – repeatedly point to the fall of the Berlin Wall in 1989, the new millennium, the 9/11 attacks, the so-called “War on Terror” and the wars in the Middle East, the financial crisis and the ensuing global revolutions. Taken together, these events signify the failure and unevenness of global capitalism as an enterprise, leading to an ensuing disillusionment with the project of neo-liberal postmodernity and the recent political splintering into extreme Left and extreme Right. The cumulative effect of these events – and the accompanying hyper-anxiety brought about by twenty-four hour news – has made the Western world feel like a more precarious and volatile place, in which we can no longer be nonchalant about our safety or our future.
--Alison Gibbons (2017), Postmodernism is Dead. What Comes Next? TLS, June12 2017, https://www.the-tls.co.uk/articles/public/postmodernism-dead-comes-next/
As to whether postmodern discourse is still dominant these days, I’d say it’s much less so. Since 9/11, we’ve witnessed the unfolding of a new and rather alarming grand narrative, at just the point when grand narratives were complacently said to be finished. One grand narrative—the Cold War—was indeed over, but, for reasons connected with the West’s victory in that struggle, it had no sooner ended than another got off the ground. Postmodernism, which had judged history to be now post-metaphysical, post-ideological, even post-historical, was thus caught off-guard. And I don’t believe it has ever really recovered.
--Terry Eagleton (2016), What’s Next After Postmodernism? http://www.leftvoice.org/What-s-Next-After-Postmodernism
Postmodern philosophy emphasizes the elusiveness of meaning and knowledge. This is often expressed in postmodern art as a concern with representation and an ironic self-awareness…. The only place where the postmodern is extant is in children’s cartoons like Shrek and The Incredibles, as a sop to parents obliged to sit through them with their toddlers. This is the level to which postmodernism has sunk; a source of marginal gags in pop culture aimed at the under-eights.
--Alan Kirby (2017), The Death of Postmodernism and Beyond, Philosophy Now, Issue 121, https://philosophynow.org/issues/58/The_Death_of_Postmodernism_And_Beyond
In considering the names that might possibly be used to designate the new era following "postmodernism," one finds that the prefix "trans" stands out in a special way. The last third of the 20th century developed under the sign of "post," which signalled the demise of such concepts of modernity as "truth" and "objectivity," "soul" and "subjectivity," "utopia" and "ideality," "primary origin" and "originality," "sincerity" and "sentimentality." All of these concepts are now being reborn in the form of "trans-subjectivity," "trans-idealism," "trans-utopianism," "trans-originality," "trans-lyricism," "trans-sentimentality" etc.
--Mikhail Epstein, http://www.focusing.org/apm_papers/epstein.html
Postmodernism as a literary movement in the United States is now in its final phase of decadence…. American culture moves into an era of postliterature” (29) …As postmodernism fades into the past, there is no evidence that any meaningful literary movement will follow it…. American culture generally is becoming increasingly postliterate… and in the end of postmodernism we may also be witnessing the end of literature as a mode of culture.” (41)
--Sloan de Villa (1987) “The Decline of American Postmodernism” SubStance, Vol. 16, No. 3, Issue 54:pp. 29-43, https://www.jstor.org/stable/3685195?seq=1#page_scan_tab_contents
‘The Ends of Postmodernism?’ The question mark acts to recoil upon a set of discourses and cultural phenomenon that, at least in the popular imaginary, proclaims in apocalyptic tones “the end”: the end of modernism, the end of metaphysics, the end of humanism, the end of Man, the death of God, the end of value. It resonates with its modernist Hegelian sibling discourses, both rightist and leftist, that still carry some theoretical weight: the end of ideology; the end of history, the end of the welfare state, the end of communism or capitalism. And, at the same time, it shares the same kind of popular expectation of something that follows “the end”: whether it be “the new”, “the beginning”, or “a return”, historically speaking. In one sense these eschatological narratives of endings (and beginnings), …. are endemic to Western culture and help define both its cultural specificity and its sources of renewal. "Postmodernism", like a host of other similar terms christened with the same prefix, such as “Post-Impressionism” and “Post-Expressionism”, employs a reactive rhetorical device or strategy, betraying what I call a “naming anxiety”. Reading the signs of exhaustion – an end or completion – the users of this device, following many precedents, lacked the confidence to name “the new” and fell back upon the strategy of naming what it is not. This process of negative definition is, intellectually, both less risky and less ambitious. Charles Jencks (1996: 14–15) has recorded seventy such related uses, including “post-industrial”, “postminimalism”, “post-Marxism” and “post-liberal era”, and charted a genealogy of “postmodernism” in terms of its pre-history (1870–1950), its positive definition (1950–1980), and its final phase (after 1981) characterized by attacks upon it and its anthologisation
--Michael A. Peters, (2008) “Apocalyptic Thinking Now: The Ends of Postmodernism” Review of Contemporary Philosophy, https://www.addletonacademicpublishers.com/contents-rcp/113-volume-7-2008/494-apocalyptic-thinking-now-the-ends-of-postmodernism