‘ a late 20th-century style and concept in the arts, architecture, and criticism that represents a departure from modernism and has at its heart a general distrust of grand theories and ideologies as well as a problematical relationship with any notion of “art.” ‘

A currently popular intellectual concept. It is used as a way of grouping and describing the styles of thought and culture attracting most critical attention during the final few decades of the twentieth century.

Postmodern texts deliberately play with meaning. They are designed to be read by a literate (ie experienced in other texts) audience and will exhibit many traits of intertextuality. Many texts openly acknowledge that, given the diversity in today's audiences, they can have no preferred reading and present a whole range of oppositional readings simultaneously.

The term was first used around the 1870s in various areas. For example, John Watkins Chapman avowed "a Postmodern style of painting" to get beyond French Impressionism. Then, J. M. Thompson, in his 1914 article in The Hibbert Journal (a quarterly philosophical review), used it to describe changes in attitudes and beliefs in the critique of religion: "The raison d'etre of Post-Modernism is to escape from the double-mindedness of Modernism by being thorough in its criticism by extending it to religion as well as theology, to Catholic feeling as well as to Catholic tradition."

The term was then applied to a whole host of movements, many in art, music, and literature, that reacted against a range of tendencies in the imperialist phase of capitalism called "modernism," and are typically marked by revival of historical elements and techniques.

Literary postmodernism was officially coronated in the United States with the first issue of boundary 2, subtitled "Journal of Postmodern Literature and Culture", which appeared in 1972. David Antin, Charles Olson, John Cage, and the Black Mountain College school of poetry and the arts were integral figures in the intellectual and artistic exposition of postmodernism at the time. boundary 2 remains an influential journal in postmodernist circles today.

The postmodern impulse in classical music arose in the 1970s with the advent of musical minimalism. Composers such as Terry Riley, Bradley Joseph, John Adams, Steve Reich, Philip Glass, and Lou Harrison reacted to the perceived elitism and dissonant sound of atonal academic modernism by producing music with simple textures and relatively consonant harmonies.

Some composers have been openly influenced by popular music and world ethnic musical traditions. Though representing a general return to certain notions of music-making that are often considered to be classical or romantic, not all postmodern composers have eschewed the experimentalist or academic tenets of modernism.