Best Literary Postmodernism Criticism in 2022

Characteristics of Literary Postmodernism Criticism

This article will discuss the characteristics of Literary Postmodernism and how these qualities are expressed in literature. The terms used are Playfulness, Randomness, and Paranoia. To better understand what these terms mean, we will look at examples of literary works in which these traits are evident. Ultimately, this article will aim to give an overview of postmodernism as a literary movement. It should not be understood as an attempt to define and condemn literature.


What is intertextuality? Intertextuality is the concept that different texts have various relationships. It recognizes that textual meaning is constantly in flux and can be altered or destroyed, but that it nonetheless remains an essential part of cultural production. Its importance cannot be overstated. Several aspects of literary postmodernism have inspired writers to explore intertextuality. Listed below are some of the most important features of intertextuality.

Derrida's concept of difference combines self-containment and deferral. He critiques the binary oppositions that perpetuate dominant power structures. Derrida's critical approach to textual material demonstrates how the concept of difference can be used to challenge these totalizing metanarratives. Likewise, postmodern theorists celebrate the new emphasis on plurality, which creates new opportunities for emancipation and empowerment of the marginalized.

The main characteristic of intertextuality is that it provides writers with new sources for inspiration. These sources are not just other writers, but also other commonplace materials. These sources include other speakers, commonplace books, indices, print media, and nontraditional forms of art. Even theme parks and comic books can provide new ideas. Despite these benefits, literary postmodernism critics should exercise caution when interpreting intertextuality.

While McHale's conceptualization of postmodernism focuses on the "how" of the postmodern condition, he does not focus on the politics of his approach. Instead, McHale focuses on the "how" of intertextuality rather than the "why". In his view, it is best to focus on the how of intertextuality, which is the only way to understand the importance of such an approach.


While most postmodernists reject the idea of an orderly, predictable world, they do not dismiss it outright. As a matter of fact, postmodernism identifies with a particular theme in the contemporary world: hyperreality and technoculture. Postmodern authors are known for creating products that resemble advertisements and placing their characters in situations where they cannot avoid technology. Don DeLillo's White Noise, for example, portrays a character who is bombarded by white noise. Cyberpunk fiction also addresses this issue, addressing the hyperreal information bombardment we've become accustomed to.

Despite the similarities between modernism and postmodernism, the two tend to be confused by critics. In reality, postmodernism critics typically focus on the world as inconclusive, contradictory, and incomplete. Rather than attempting to encapsulate and reveal universal truths, postmodern writers create works that allow the reader to construct their own interpretation. By doing so, they are forcing the reader to rethink the meaning of the work.


The use of playfulness in modernist works is not uncommon, as many of them are postmodern in nature. However, they may not share the same aesthetic characteristics as postmodern works. Postmodernism emphasizes playfulness as the primary artistic quality, making order unlikely. Playfulness is often the result of a lack of clear purpose or a heightened sense of irony. To emphasize playfulness, postmodernist authors frequently use black humor and collage-style forms.

One example of postmodernists' playful approach to serious subject matter is David Foster Wallace's essay for Gourmet magazine. In the piece, he discusses the history of the lobster and turns it against its organizers, including an over-long footnote. Many of the footnotes are essays in and of themselves. Similarly, postmodernist writers often play with the form of literature and the notion of authorship, as in the story "The Crying of Lot 49" by Thomas Pynchon. Although this story is a serious work, it plays with popular subgenres and ironies in ways that other writers might not consider.

In addition to this, postmodernist authors often use humor and play to explore the concept of reality. Moreover, many of them engage in self-reflexive behavior that challenges the very nature of reality. They also often play with irony and humor, redefining their themes and purpose. The idea of playfulness in postmodernism is often a parody of the modernist quest for meaning.


In his new book, "Paranoia in Literary Postmodernism Critics," Stephen Farrell examines the history of paranoia, starting with Plato, who saw the world as a shadow of a higher reality. Augustine, a Roman Catholic monk, and the fictional figure of Quixote, who refuses to accept appearances at face value, have similar ideas.

The paranoid style of reading involves intense sharp perception and a narrowly focused mode of attention. The paranoid style seeks clues to hidden meaning and scrutinizes them for conformity. The result is an intense, narrowly focused, and narrow conformity, and elements of experience that do not conform to this are simply considered to be appearances. This way of thinking is typical of postmodernism criticism.

In "Underwater," the wound is described in such a way as to draw attention to the traumatic event. The description is unreal and visceral, without an explanation of the wound's purification. Eventually, the wound dissolves into a general sense of unease. This is a prime example of postmodern science fiction paranoia. The novel's use of this technique is striking and has a significant impact on postmodernism literature.

While reading "Paranoia in Literary Postmodernism Criticlism," one must consider the author's point of view. William Bywater, in his book PARANOIA IN LISTICIAL POSTMODERNISM CRITICISM, stated that the "what appears to be the least likely to be true" mindset has led to the destruction of our society. In addition, postmodernism, he argues, was a reaction to Modernist ideas.


Pastiche is a type of literary composition in which an author copies a previous piece of literature, usually another work, to create a new one. In a novel, this technique can be used to combine the ideas presented by an original author, such as a plot point or a larger commentary or philosophy. One example of a pastiche in a work is a Queen song, which incorporates classical and rock music genres.

Literary Postmodernism Critics define pastiche as "the permutation or shuffling of generic tics into an original work." Though literary postmodernism is a neo-classical literary style, the mere presence of pastiche is not a characteristic of that movement. In fact, parody has been present since the infancy of the novel form, with the works of Samuel Richardson and Laurence Sterne being two examples. John Barth, for example, referred to a current mania for impersonation in his writing.

Another example of pastiche can be found in the cinematic genre. Many films have parodied the classic film From Here to Eternity (1953). But none of the directors of Airplane! had seen the original movie. Thus, pastiche has a detrimental effect on both serious and popular art. Nevertheless, it has its uses. This article aims to provide an introduction to the topic.


One of the central issues of postmodernism is how it undermines sincerity and the ability to express emotion or sentiment. Moreover, postmodernism is an exclusively self-referential approach, and it utterly rules out any notion of a meaningful moral position or ultimate truth. By contrast, irony undermines both sincerity and sentiment, and it is indivisible from cynicism.

In this regard, the return of irony would involve a more close relationship between popular literature and serious literature. In contrast, the separation between the two has been accentuated in modernism and the low mimetic age. Irony in literary postmodernism criticism would imply a new age in which popular literature and elite writing will move in tandem. Thus, literary critics should embrace the theory of myth, or the return of irony in myth.

In his book, Konstantinou examines contemporary American fiction and its inherent ties to politics. He argues that ironic characters bridge the gap between fiction and politics, and he provides extensive historical background for each of these character types. In the end, Konstantinou has produced a thoughtful and insightful book on the subject. Irrespective of how one views postmodernism criticism, he reveals how irony works in different contexts.

In the postmodern context, irony can be used to make a satirical comment on modernist tenets. For example, in Italo Calvino's If on a Winter's Night, readers follow the adventures of Reader, who relates to the ten different beginnings of books. Calvino also uses the diamond metaphor to reflect his writing practice. It is important to note that modernism is a struggle for meaning.

Cathy Warwick

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