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ContCultural Theory Text Pages  4/4/03  1:42 PM  Page 165





                                      Postmodernism and cultural theory



                     what Scott Lash says of architecture is almost certainly true of
                     the other arts: ‘As a movement, postmodernism ...is a thing
                     of the past. As a presence at the end of the 1990s . . . it is ubiq-
                     uitous’ (Lash, 1999, p. 56).


                     POSTMODERNISM, POSTMODERNITY AND ‘POST-WAR’ LATE CAPITALISM


                     Like all blockbusters, postmodernism’s success derived in part
                     from its capacity to appeal to multiple markets, from high philos-
                     ophy in the art-house cinemas of the academy through
                     middlebrow multi-screen literary criticism and on to local
                     fleapit sociology. If not exactly meaning all things to all people,
                     the term obviously signified differently within different
                     discourses: in short, it is at least as polysemic a sign as ‘cultural
                     studies’ itself. But an apparently enduring postmodern trope was
                     that of ‘being after’. ‘Postmodernism’, wrote the late Ferenc Fehér,
                     ‘like many of its conceptual brethren, post-revolutionary or post-
                     industrial society,  post-structuralism and the like, understand
                     themselves not in terms of what they are but in terms of what
                     they come after’ (Fehér, 1990, p. 87). But in this instance, after
                     what, exactly? After modernism certainly: the earliest uses of the
                     term, which date from Latin America in the 1930s and 1940s,
                     deliberately counterposed postmodernist poetry and art, or post-
                     modernismo, to an earlier modernismo (Anderson, 1998, pp. 3–4).
                     After modernity too: the first Anglophone usages, from the 1950s,
                     were either socio-historical, as in Arnold Toynbee’s and C. Wright
                     Mills’ notions of a postmodern ‘age’, or they connected the socio-
                     historical to the cultural, as in Charles Olson’s sense of his own
                     poetry as written for a new ‘post-modern’, post-western world
                     (pp. 5–13).



                     After modernism
                     The shift within the ‘high cultural’ social subsector, from some-
                     thing recognisable as artistic ‘modernism’ to something different
                     from and, in a sense, coming ‘after’ it, provided the ‘postmod-
                     ernist’ debate with much of its initial vocabulary. The term

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