PostmodernismFirst published Fri Se

Postmodernism
First published Fri Sep 30, 2005
That postmodernism is indefinable is a truism. However, it can be described as a set of critical, strategic and rhetorical practices employing concepts such as difference, repetition, the trace, the simulacrum, and hyperreality to destabilize other concepts such as presence, identity, historical progress, epistemic certainty, and the univocity of meaning.

The term “postmodernism” first entered the philosophical lexicon in 1979, with the publication of The Postmodern Condition by Jean-François Lyotard. I therefore give Lyotard pride of place in the sections that follow. An economy of selection dictated the choice of other figures for this entry. I have selected only those most commonly cited in discussions of philosophical postmodernism, five French and two Italian, although individually they may resist common affiliation. Ordering them by nationality might duplicate a modernist schema they would question, but there are strong differences among them, and these tend to divide along linguistic and cultural lines. The French, for example, work with concepts developed during the structuralist revolution in Paris in the 1950s and early 1960s, including structuralist readings of Marx and Freud. For this reason they are often called “poststructuralists.” They also cite the events of May 1968 as a watershed moment for modern thought and its institutions, especially the universities. The Italians, by contrast, draw upon a tradition of aesthetics and rhetoric including figures such as Giambattista Vico and Benedetto Croce. Their emphasis is strongly historical, and they exhibit no fascination with a revolutionary moment. Instead, they emphasize continuity, narrative, and difference within continuity, rather than counter-strategies and discursive gaps. Neither side, however, suggests that postmodernism is an attack upon modernity or a complete departure from it. Rather, its differences lie within modernity itself, and postmodernism is a continuation of modern thinking in another mode.

Finally, I have included a summary of Habermas's critique of postmodernism, representing the main lines of discussion on both sides of the Atlantic. Habermas argues that postmodernism contradicts itself through self-reference, and notes that postmodernists presuppose concepts they otherwise seek to undermine, e.g., freedom, subjectivity, or creativity. He sees in this a rhetorical application of strategies employed by the artistic avant-garde of the nineteenth and twentieth centuries, an avant-garde that is possible only because modernity separates artistic values from science and politics in the first place. On his view, postmodernism is an illicit aestheticization of knowledge and public discourse. Against this, Habermas seeks to rehabilitate modern reason as a system of procedural rules for achieving consensus and agreement among communicating subjects. Insofar as postmodernism introduces aesthetic playfulness and subversion into science and politics, he resists it in the name of a modernity moving toward completion rather than self-transformation.