The success story of the word postmodernism demands to be written, no doubt in best-seller format; such… — Fredric Jameson
The success story of the word postmodernism demands to be written, no doubt in best-seller format; such lexical neoevents, in which the coinage of a neologism has all the reality impact of a corporate merger, are among the novelties of media society which require not merely study but the establishment of a whole new media-lexicological subdiscipline.
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The problem of postmodernism - how its fundamental characteristics are to be described, whether it even exists in the first place, whether the very concept is of any use, or is, on the contrary, a mystification - this problem is a t one and the same time an aesthetic and political one.
It would seem essential to distinguish the emergent forms of a new commercial culture - beginning with advertisements and spreading on to formal packaging of all kinds, from products to buildings, and not excluding artistic commodities such as television shows (the "logo") and best-sellers and films - from the older kinds of folk and genuinely "popular" culture which flourished when the older social classes of a peasantry and an urban artisanat still existed and which, from the mid-nineteenth century on, has gradually been colonized and extinguished by commodification and the market system.
If we are unable to unify the past, present, and future of the sentence, then we are similarly unable to unify the past, present, and future of our own biographical experience or psychic life.