Wiki- The term post-millennialism was introduced in 2000 by the American cultural theorist Eric Gans[18] to describe the epoch after postmodernism in ethical and socio-political terms. Gans associates postmodernism closely with “victimary thinking,” which he defines as being based on a non-negotiable ethical opposition between perpetrators and victims arising out of the experience of Auschwitz and Hiroshima. In Gans’s view, the ethics of postmodernism is derived from identifying with the peripheral victim and disdaining the utopian center occupied by the perpetrator. Postmodernism in this sense is marked by a victimary politics that is productive in its opposition to modernist utopianism and totalitarianism but unproductive in its resentment of capitalism and liberal democracy, which he sees as the long-term agents of global reconciliation. In contrast to postmodernism, post-millennialism is distinguished by the rejection of victimary thinking and a turn to “non-victimary dialogue”[19] that will “diminish […] the amount of resentment in the world.”[20] Gans has developed the notion of post-millennialism further in many of his internet Chronicles of Love and Resentment[21] and the term is allied closely with his theory of Generative Anthropology and his scenic concept of history.[22]...... In their article Notes on metamodernism they assert that the 2000s are characterized by the emergence of a sensibility that oscillates between, and must be situated beyond, modern positions and postmodern strategies. As examples of the metamodern sensibility Vermeulen and van den Akker cite the informed naivety, pragmatic idealism and moderate fanaticism of the various cultural responses to, among others, climate change, the financial crisis, and (geo)political instability. Aesthetically, metamodernism is exemplified by practices as varied as the architecture of BIG and Herzog and de Meuron, the cinema of Michel Gondry, Spike Jonze and Wes Anderson, musicians/sound artists such as CocoRosie, Antony and the Johnsons, Georges Lentz and Devendra Banhart, the artworks of Peter Doig, Olafur Eliasson, Ragnar Kjartansson, Šejla Kamerić and Paula Doepfner, and the writings of Haruki Murakami, Roberto Bolaño, David Foster Wallace, and Jonathan Franzen, as they are each typified by a continuous oscillation, a constant repositioning between attitudes and mindsets that are evocative of the modern and of the postmodern but are ultimately suggestive of another sensibility that is neither of them; one that negotiates between a yearning for universal truths and relativism, between a desire for sense and a doubt about the sense of it all, between hope and melancholy, sincerity and irony, knowingness and naivety, construction and deconstruction.[25]....... “Generally, ‘Post-postmodernism’ is considered as something against Postmodernism. But, Md. Ziaul Haque defines Post-postmodernism as the age that is not against Postmodernism but acts as a byproduct of the latter and the thing that marks the distinction between the two terms is ‘creativity’. In other words, Post-postmodernism embraces the postmodern set of expansions in philosophy, critical theory, structural design, art, culture and literature but at the same time does not hesitate to break the established rules and regulations for the sake of creating something new”.[27
Posted on: Fri, 23 May 2014 20:14:05 +0000
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