The Development of Postmodern Art: A Historical Overview

In general, modernists see the art form as a pure form independent of the art form itself. They give priority over what is shown. Or more importantly, the form or medium of representation they use is themselves. Based on this opinion, it seems that in its development the post-modern travel model can roughly be distinguished between those that are deconstructive and constructive or revisionary. Actually, one of the most prominent characteristics of modernism that distinguishes it from previous cultures such as romanticism, realism or naturalism is the existence of a systematic and amazing categorization. The energy that appears in each part is recognized for its strength. As in this case are the schools: post-impressionism, symbolism, cubism, vorticism, imagination, akmeism, and neo-plasticism. The term modernism was first used in 1890 by the Nicaraguan writer Ruben Dario to distinguish between Latin American literature and Spanish literature. Until the 1920s, modern artists managed to maintain by inspiring and integrating various art groups as a cultural force. These artists include; novelists James Joyce, Marcel Proust, and Andre Breton. In post-modernism also emerged conceptual art, a movement that attaches great importance to concepts. Often the work of conceptual artists is not shown in reality, but the work is limited to sketches and texts in which the artist's ideas are depicted. Post-modern thinkers are disillusioned with grand visions of the past such as Marxism and various religions. According to postmodernists, these visions bring only misery. These old views are being erased and replaced by more personal ideas.

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The Development of Postmodern Art: A Historical Overview

10.31219/osf.io/6hmz3 ◽

2021 ◽

Author(s):

Iswahyudi

Keyword(s):

American Literature ◽

Latin American ◽

Spanish Literature ◽

Marcel Proust ◽

Conceptual Art ◽

Latin American Literature ◽

Art Form ◽

Post Modernism ◽

Postmodern Art ◽

Modern Artists

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Rogers, Elizabeth S. and Timothy T. Rogers (eds.). In Retrospect: Essays on Latin American Literature (in Memory of Willis Knapp Jones). York, SC: Spanish Literature Publications Company. 1987Rogers, Elizabeth S. and Timothy T. Rogers (eds.). In Retrospect: Essays on Latin American Literature (in Memory of Willis Knapp Jones). York, SC: Spanish Literature Publications Company. 1987. Pp. 181.

Canadian Modern Language Review/ La Revue canadienne des langues vivantes ◽

10.3138/cmlr.48.1.185 ◽

1991 ◽

Vol 48 (1) ◽

pp. 185-187

Author(s):

Mariela Gutiérrez

Keyword(s):

American Literature ◽

Latin American ◽

Spanish Literature ◽

Latin American Literature

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Transvestism, Masculinity, and Latin American Literature

10.1057/9780230107281 ◽

2002 ◽

Cited By ~ 34

Author(s):

Ben. Sifuentes-Jáuregui

Keyword(s):

American Literature ◽

Latin American ◽

Latin American Literature

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Surrealism in Latin American Literature

10.1057/9781137317612 ◽

2013 ◽

Cited By ~ 2

Author(s):

Melanie Nicholson

Keyword(s):

American Literature ◽

Latin American ◽

Latin American Literature

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Uncommon Grounds

10.1093/oso/9780190690205.003.0004 ◽

2017 ◽

Author(s):

Jeffrey Lawrence

Keyword(s):

American Literature ◽

Latin American ◽

Historical Novel ◽

Latin American Literature ◽

Historical Account ◽

American Novel ◽

Song Of Solomon ◽

The Past ◽

The North ◽

The Us

This chapter turns from a historical account of the development of the US literature of experience and the Latin American literature of reading to a textual analysis of the US and Latin American historical novel. Hemispheric/inter-American scholars often cite William Faulkner’s Absalom, Absalom! (1936), Gabriel García Márquez’s One Hundred Years of Solitude (1967), and Toni Morrison’s Song of Solomon (1977) as exemplifying instances of literary borrowing across the North–South divide. As I demonstrate, however, each of the later texts also realigns its predecessor’s historical imaginary according to the dominant logics of the US and Latin American literary fields. Whereas the American works foreground experiential models of reconstructing the past and conveying knowledge across generations, García Márquez’s Latin American novel presents reading as the fundamental mode of comprehending and transmitting history.

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Anxieties of Experience

10.1093/oso/9780190690205.001.0001 ◽

2017 ◽

Author(s):

Jeffrey Lawrence

Keyword(s):

American Literature ◽

Latin American ◽

World Literature ◽

Latin American Literature ◽

First Century ◽

Comparative Approach ◽

Leaves Of Grass ◽

Literary Authority ◽

The Us ◽

New Interpretation

Anxieties of Experience: The Literatures of the Americas from Whitman to Bolaño offers a new interpretation of US and Latin American literature from the nineteenth century to the present. Revisiting longstanding debates in the hemisphere about whether the source of authority for New World literature derives from an author’s first-hand contact with American places and peoples or from a creative (mis)reading of existing traditions, the book charts a widening gap in how modern US and Latin American writers defined their literary authority. In the process, it traces the development of two distinct literary strains in the Americas: the “US literature of experience” and the “Latin American literature of the reader.” Reinterpreting a range of canonical works from Walt Whitman’s Leaves of Grass to Roberto Bolaño’s 2666, Anxieties of Experience shows how this hemispheric literary divide fueled a series of anxieties, misunderstandings, and “misencounters” between US and Latin American authors. In the wake of recent calls to rethink the “common grounds” approach to literature across the Americas, the book advocates a comparative approach that highlights the distinct logics of production and legitimation in the US and Latin American literary fields. Anxieties of Experience closes by exploring the convergence of the literature of experience and the literature of the reader in the first decades of the twenty-first century, arguing that the post-Bolaño moment has produced the strongest signs of a truly reciprocal literature of the Americas in more than a hundred years.

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