What Is Meant By the Term Postmodernism - Essay Example

POSTMODERNISM Postmodernism The current television series reflect aspects of postmodernism literature. Postmodernism is the essential reevaluation of modern assumptions about history, identity, or culture. It also encompasses the review of attitudes. Hence, postmodernism closely relates to modern politics, philosophy, and sociology. The concept dates back to the period after the cold war. The era had a significant shift in designs and consumption patterns. It also entailed influx in the use of machinery and cultural multiplicity (Fischer & Graham, 2014, pp. 29). Debates about postmodernism began in around 1979 with Jean- François Lyotard article “The Postmodern Condition.” In this essence, the work analyzes The Simpsons. The work borrows from the perspectives Lyotard’s views about postmodernism. The Simpsons The Simpsons series is a vivacious television program produced by Matt Groening. The series depicts postmodernism through the sarcastic illustration of the lifestyle Simpson Family, a middle-class household in America. Simpson is a perfect indication of postmodernism. It explains the frolics of a dysfunctional family. The father figure of the family is a drunkard while the wife is a hard working person. Their ten-year-old child, Bart is an underachiever who is proud of his status. Lisa is a genius girl but feels unappreciated while the last-born is an introvert but loving (Groening, 2004, pp. 5) The contrasting characters in the series present the dilemmas of postmodernism families. Borrowing from Lyotard, it is deductive to explain that knowledge is a commodity that empowers individuals to survive in the contemporary postmodern environment. The relationships in the family affirm that knowledge emanates and passes through generations by different views and narratives. Simpson qualifies as a grand narrative explained in the theory. The authoritative series illustrates cultural and political concerns of a postmodern family. Notably, it shows the reversed gender roles common with postmodernism structures. As explained by the theorist, Simpsons casting has a cumulative influence on culture (Groening, Bates& Alsip, 2004, pp. 34). The reversed roles in the families usurp common traditions hence, explaining the concept of grand narratives. The Simpsons has fundamentals of a great narrative postmodernism. Watching the episodes takes the audience through an experience in which philosophy of the principal regime dominates on knowledge. However, Lyotard opposed the assertion and championed a new phase that applies temporary and local knowledge. It is in this essence that postmodernism, as depicted in the Simpson, emerges. The characteristics of the middle-class family constitute the liberation of postmodern lingos and cultures. Therefore, it is evident that Lyotard’s principle of metanarratives shapes the anti-authoritative predispositions in the television series. The metanarratives, in this case, explains the actual events of the family in regards to postmodernism. In addition, series characterizes the postmodernist concept of fragmentations, intexuality and high and low art (Irwin, Conard & Skoble, 2001, pp. 27). Intextuality Intextuality in narratives or television productions helps viewers to deduct a concept by relating to other texts. It helps the audience to gain meaning of a narrative based on a previous reading. The series progress significantly guides the watchers to make meaning of the proceedings through the style. Intextuality in The Simpsons shows through distinct techniques including parody, appropriation and self-reflectivity of the characters (Gray, 2012, pp. 5). Lyotard believes that knowledge is a means of empowerment. He sees the knowledge communicated by means of narratives or by other aspects of interpreting the world. The grand narratives establish their cultural and political ideas as absolute truth. They are authoritative and are beyond any means of criticism. Knowledge has a totalizing influence on culture, lessening it to global codes. The ideologies and values of cultures fueled by grand narratives give the predominant regime the monopoly on knowledge. Lyotard calls for a new world of experience rooted on mini narratives. The mini narrative build up a body of knowledge by describing the contemporary condition. They have no universal truths and no generalized ideologies. Metanarratives According to Lyotard, the theory of metanarratives relates to the anti-authoritative found in the Simpsons. He announces of the grand narrative losing its credibility, praising the temporary and local knowledge. He argues that this stage is where the postmodern artists and writers emerge. Habermas criticizes Lyotard and calls for an end of “artistic experimentation.” (Williams, 2013, pp. 24) He proposes for unity, order, and security. Lyotard also dismisses the desires of Habermas, unity, as an illusion that grows into an increasing plurality of the contemporary culture. The dismissals give rise to the metanarrative or the grand narrative. Baudrillard is talks of the ‘loss of the real’ in the postmodern era. He argues a problem emanates from the mass media that relentlessly plays with images and signs. The difference between what is true and the imagination is often not clear, and the meaning eroded. He therefore came up with the hyperrealist. He states that the world consisted of signs and could be associated with actual referents in reality. The postmodern simulacrum replaced the old concept where signs lost their association with reality. Bombardment of signs Under the bombardment of signs or images from a dominant media of popular culture, the real becomes the subordinate of representation. The postmodern cultures often face the problem of media constructing hyperreality. Particular styles eminent on the Simpson show are like the narrative structure, sarcasms among others. The narrative structure casts off by Simpsons except in the purposes of the parody. There is a clear, definite conclusion at the end of each episode. The endings take a form of the tongue-in-check illusion in reinforcing the traditional values. The role of the sitcom is telling the story that resolve happily in ending the show. Sarcasm Sarcasm used in the Simpsons that suggest that the moral message exists in the short episodes. It connects both the negative and the positive end. The reverse roles and the relationships among the characters illustrate the extensive use of stereotypes. The Simpson family takes a vacation to foreign countries like Australia, Brazil, England, and Japan. The show’s characteristic of the country reflects in its reality. The mocking and making humor of the serious subjects and stereotyping female with their floral dresses is very postmodern (Ortved, 2009). It is ironical where the historical events were seen in a similar manner, for example, dark irony with which Simpsons revisit the past. The concept of postmodernism in the Simpsons Postmodernism regard both high and low art being crucial to our culture. Since the movie targets all kind of viewers, the use of high art, regarded as classical art, appeals to those with high levels of cultivated taste. Low art, on the other hand, regarded as popular art, appeals more to the masses since it is easily accessible and simple to comprehend. It also brings out the fact that in the postmodern realm, infrequent mixing of high, and law art (Nicol, 2009, pp. 3). Characteristics of Postmodernism Postmodernism entails fragmentation in the narration of a story. In The Simpson, the art of postmodernism fragmentation is not only limited to the subject matter of the story but also its narrative form. The structure of the storyline of The Simpson is broken down into small parts forming fragmented narratives. It explains the emphases of style at the expense of story content. Postmodernism gives out the distinction between society and culture. People get a clear knowledge and understanding of culture due to the view of The Simpson on TV. The Society mainly depends on social relationships between the characters (Mittell, 2013, pp. 179). Through postmodernism, the distinction between high and low art is apparently broken down. It postmodernism regards classical and traditional arts being different but all the same crucial. Low art being familiar and easily understood while high art is little bit sophisticated and need clear understanding. The confusions of time and space also characterize postmodernism. The Simpson does not explain a particular location in America. It is also unspecific of any one time within the era of postmodernism. The Simpsons children grew neither old nor progressed in school. They live nowhere at no time (Alberti, 2004). Postmodernism exhibits the art of Metanarrative. In The Simpson, the critique of metanarrative is clearly illustrated. The contemporary society portrayed in all the “multi-facet glory” is a good example. The entire spectrum of society is experienced in Springfield over astounding number of characters who characterize its illusory world (Henry, 2012, pp. 41) Comparison between modernism and post-modernism Modernism is stable in content with independent of culture and society. Contrary to this, postmodernism is a myth largely dependent on the narration of one’s social experience and cultural experience. Modernism bases of reason and science that provide reliable, precise, and impartial foundation of knowledge. On the other hand, postmodernism bases on reason and ideological science representing myths that are products of man. Since modernism reasons are universal, they can help individuals solve all conflicts. In postmodernism, the reasons are based on the cultural level of the specific group, hence not universal, and more of fictions, poor in solving conflicts. The language of modernism is transparent and clear from the one to one relationship between the word and things or concepts. However, in postmodernism, the style is fluid, and messy embedded in knowledge relationship (Rallo, 2014, & Jorge Sacido, 2012, pp. 179). Shot by shot analysis of Brick like Me The episode starts by showing the smiling face of Marge. The camera follows Marge’s moves and suggests the likelihood of working with the Legos. After which Homer pulls Marge by hand. The scene creates a shot and gives room for the possible gags. Just then, viewers see the destroyed bedroom and Marge’s hands disappear. The positioning of the characters and the shots enable the viewers to establish a connection of events in the Lego Springfield. At this moment, the camera focusses on Marge and a sound comes out saying that no one gets hurt and everything fits. The Simpson team then gets freedom from reality. The placement of the camera at high and low positions gives the scene an explicit appeal and illustrates the time difference. Finally, the scene ends with a message that a 12-year-old can rebuild an entire school (Polcino, 2000). Works Cited Alberti, J. 2004. Leaving Springfield: The Simpsons and the possibilities of oppositional culture. Detroit: Wayne State University Press. Fischer, R, & Graham, A 2014, Postmodernism, Reference & User Services Quarterly, 54, 1, pp. 29-33, Academic Search Premier, EBSCOhost, viewed 12 April 2015. Gray, J., 2012. Watching with The Simpsons: Television, Parody, and Intertextuality. London: Routledge. Groening, M. 2002. Simpsons comics madness. New York, Perennial. Groening, M. 2004. The Simpsons holiday humdinger. New York, HarperCollins. Groening, M., Aguilar, E., & Alsip, N. 2001. Simpsons comics royale. New York, NY, Perennial. Groening, M., Alexander, P., & Boothby, I. 2001. Simpsons comics unchained. New York, NY, HarperPerennial. Groening, M., Bates, K., & Alsip, N. 2004. Simpsons comics barn burner. New York, Perennial Currents. Henry, M. A. 2012. The Simpsons, satire, and American culture. New York: Palgrave Macmillan. Irwin, W., Conard, M. T., & Skoble, A. J. 2001. The Simpsons and philosophy: the doh! of Homer. Chicago, Ill, Open Court. Mittell, J., 2013. Genre and Television: From Cop Shows to Cartoons in American Culture. London: Routledge. Nicol, B. 2009. The Cambridge introduction to postmodern fiction. New York: Cambridge University Press. Ortved, J. 2009. The Simpsons: an uncensored, unauthorized history. New York, Faber and Faber. Polcino, M, (Director). 2000. Brick like Me [Television Series Episode]. In. Groening, M (Producer), The Simpsons. London: Century Fox. Rallo, CL 2014, Jorge Sacido, ed. 2012. Modernism, Postmodernism, and the Short Story in English, Atlantis, Revista De La Asociacion Espanola De Estudios Anglo-Norteamericanos, 1, p. 179, Literature Resource Center, EBSCOhost, viewed 12 April 2015. Williams, JD 2013, Lyotard : Towards A Postmodern Philosophy, Hoboken: Wiley, Discovery eBooks, EBSCOhost, viewed 12 April 2015. Read More