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A portmanteau of pomo, short for postmodernism, and sexual, used as a noun—a person who shuns labels (e.g., heterosexual and homosexual, which define people by their sexual preferences)—and as an adjective, referring to such a person or to the philosophy of pomosexuality
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References in periodicals archive ?
Furthermore, Kramer indicates that it is futile to label a work as exclusively postmodern or otherwise.
To this end, today's postmodern ERP solution is a combination of loosely coupled components--the more connected, the more value and the greater the ability to deliver on the promise.
(1) tune to epiphanies in order to make the invisible visible, (2) maintain self-reflexivity via a perpetual awareness of the contradictory conditions of postmodern culture, and (3) transform bits and pieces of information into coherent (albeit fragmented) cinematic stories.
This second section of the book is remarkably ordered, with each of its three chapters modeling a postmodern instance of the unnatural--character, time, and space--and then reconnecting that instance to its predecessor in literary history.
Chapter seven turns to the Vietnam War and Going after Cacciato, where Brett leans on the similarity between magical realism and O'Brien's work to demonstrate the postmodern shift toward blurring fantasy, reality, and possibility; the following chapter continues this type of exploration through another work of O'Brien's, The Things They Carried.
In the first chapter, apparently intended as the aperture for his postmodern lens, Slethaug quickly moves through interconnecting theories of Lyotard, Benjamin, Derrida, Jameson, Barthes, Foucault and Bakhtin to establish that in a postmodern interpretation, there is no 'originality', and that everything is taken or absorbed from the culture(s) around us (p.
From the vantage of the twenty-first-century's second decade...one can advance the argument that younger writers have continued to "make it new" without needing to dismantle the postmodern aesthetic crafted by a parental generation.
However, three of them are particularly important in understanding the First Postmodern World War.
While Stoppard's early work (R&G and Inspector Hound, for instance) is postmodern, the remainder of his career essentially tracks backward from the way that McHale traces the literary chronological history of twentieth-century fiction, becoming "late modernist" through the mid-seventies (most notably in Travesties) and, finally, "modernist" in the 80s and 90s (in The Real Thing and Arcadia).
Here, Hassan (1983: 14), one of the most influential figures in postmodern thinking, asserts that the anti-postmodern Habermas develops another Marxist-modernist perspective when he defines the postmodern as "regressive" and "conservative".
The novel takes place in a saturated postmodern environment with an abundance of damaged characters who are eccentric or simply seeking a new opportunity in life, such as Sandra, the ashtanga yoga and Tibetan kung-fu instructor who lives in Mexico illegally; Tony, the ex-drug addict who builds sound systems for the hotel aquariums with help from computers; Mario, the manager, who sees himself as a New Age guru; and Ginger, an American diver who is the member of an extreme-sport dub named Cruci/Fiction.
The subjects of postmodern ironic appreciation have little value, other than novelty.