Quotes of All Topics . Occasions . Authors
Don't call me a Postmodern!
Plastic surgery is a postmodern veil.
I'm a contemporary playwright in a postmodern world.
Fast and the Furious' is really a postmodern Western.
Simplifying to the extreme, I define postmodern as incredulity toward metanarratives.
I don't love the postmodern statement: "You shouldn't be spiritual if you are the artist."
We live in the postmodern world, where everything is possible and almost nothing is certain.
In the end, postmodern art is obscene not because it is offensive, but because it is boring.
Mystery Science Theater is really a postmodern show, it's really derived of many influences.
In much postmodern theatre ... the line between theatre and non-theatre is deliberately erased.
I spent four years doing a doctorate in postmodern American literature. I can recognize it when I see it.
The Spirit is a kind of postmodern loner hero. He comes from nowhere; he has no real relationship to anything.
Postmodern comedy doesn't work well with very old audiences, because it's making fun of the comedy they enjoy.
I like to blur the line between fact and fiction, but not to condescend to the reader by enmeshing her/him into some sort of a postmodern coop.
I grew up in the heat of '70s postmodern fiction and post-Godard films, and there was this idea that what mattered was the theory or meta in art.
The Chavez-Obama pictures will join a postmodern photo array that includes Donald Rumsfeld gifting Saddam Hussein with spurs from President Reagan.
One of the stated goals of the postmodern movement in architecture was a greater sensitivity to the people who live in or use newly designed buildings.
I'm really into architecture, I'm a member of the Brutalist Appreciation Society; I'm a member of the Postmodern Society. I write letters to save buildings.
This might be one way to start talking about differences between the early postmodern writers of the fifties and sixties and their contemporary descendants.
A work can become modern only if it is first postmodern. Postmodernism thus understood is not modernism at its end but in the nascent state, and this state is constant.
Our working hypothesis is that the status of knowledge is altered as societies enter what is known as the postindustrial age and cultures enter what is known as the postmodern age.
I understand that postmodern literature probably means people like DeLillo, The Fiction Collective, but I don't get it that those writers are really influenced by postmodern theorists.
That stupid postmodern emphasis on image over content has slammed us right into a dramaturgy that willfully leaves the audience behind and then resents the fact that they don't 'get it.'
The book has many different characteristics: some are extremely old-fashioned storytelling traits, but there are also a fair number of postmodern traits, and the self-consciousness is one.
The deconstructed, postmodern pizza has been with us for ages, and the fact is that pretty much every ingredient in the world has been used as a pizza topping and liked by somebody, somewhere.
Many of the contradictions in Postmodern art come from the fact that we're trying to be artists in a democratic society. This is because in a democracy, the ideal is compromise. In art, it isn't.
The films I grew up loving, and the art that I love, is not generally the kind of postmodern ironic winking stuff. What lasts is the stuff in which the artists are totally in league with the subject.
I've purposely stayed away from reading much about postmodern theory, and most everything I have read just bored me to tears. I don't think anybody's written about it, or very few have, with any verve.
I thought I'd write a massive postmodern novel about Richard the Lionheart and Robin Hood, but it turns out they couldn't have met because the first mention of Robin Hood appears 60 years after Richard died.
I realized that my truest passion was for helping people change through faith in a higher power. That meant, for me, belonging to the church. Using my abilities to bring Christian doctrine to a postmodern world.
Los Angeles is a true postmodern city. Here, we celebrate with equal aplomb the high and the low. I am just as influenced by the punk rock attitude of local skate and surf cultures as I am by old-school glamour and stardust.
The body of work I create combines traditional storylines and postmodern narrative strategies to approach themes such as belonging, identity politics and conflict, as well as the push towards - and resistance against - modernization.
What is Southern California but an ever-changing dreamscape backdrop for the postmodern ideal? The psychology of the postmodern world is the continual state of change as we live in its idealist manufactured dream, built by developers.
Thomas Pynchon surely inaugurated or crystallized a new genre in 1963 when he published 'V.' The seriocomic mystery or thriller with one foot set in the present and one in various historical eras received its postmodern baptism from Pynchon.
I'm a postmodern commentator, and so, in a cheeky parallel to James Joyce or James Kelman, I get to places, verbally, that are a little unusual - when I talk about Jocky Wilson and end up sounding like a Jackson Pollock of the commentary box.
There are some beautiful books out there. But the ones that leave me cold are the ones where I feel - it's that postmodern thing - it's more experimentation with language than it is a deep compassionate falling into another human being's experience.
Does art have to have high foot traffic to get funded in a recession? A lot of people, I am sure, would say absolutely not. And those postmodern art-loving loners surely would argue that even if one person likes a piece of art, that would make a museum worthwhile.
I am just postmodern enough not to trust 'postmodern' as a description of our times, for it privileges the practices and intellectual formations of modernity. Calling this a postmodern age reproduces the modernist assumption that history must be policed by periods.
The legacy of the fairy story in my brain is that everything will work out. In fiction it would be very hard for me, as a writer, to give a bad ending to a good character, or give a good ending to a bad character. That's probably not a very postmodern thing to say.
We sometimes forget that human invention can also be a subject of human invention: that might seem a modern notion, or a postmodern one, but novelists have taken time - sometimes time out from their realist fixations - to source and satirise the speech and power we rely on.
I'm not a twentieth-century novelist, I'm not modern, and certainly not postmodern. I follow the form of the nineteenth-century novel; that was the century that produced the models of the form. I'm old-fashioned, a storyteller. I'm not an analyst, and I'm not an intellectual.
Some years ago, I was invited to speak in Houston, Texas. They said I was a founder of 'postmodern theatre'. So I said to my office, 'This is ridiculous for me to go and speak about postmodern theatre when I don't know what it means, but... they're paying me a lot of money, so I'll go.'
British culture is very cynical sometimes of overt displays of sentimentality, and I think that becomes almost a suspicion of emotion, or a suspicion of someone making a grand statement. It is always easier to be ironic, or 'meta', or coolly postmodern. But I think there is such a thing as authentic sentimentality.
Possibly the defining development of postmodern politics - naturally, an American one - is the separation of personality from ideology. If you are likeable, or at least not disagreeable, if you can strike a personal bond with the electorate, if you reassure rather than disrupt, it doesn't really matter what you stand for.