The terms postmodern and hypermodern Essay Example For Students

The terms postmodern and hypermodern Essay He brings these ideas together by saying moins le futur est pri visible, plus il faut itre mobile, flexible, ri actif, pri t i changer en permanence15. One way of understanding this notion of the hypermodern is by referring to other commentators, most notably the polish sociologist Zygmunt Bauman, who talks about the contemporary existence of society as being a liquid modernity. This concept is echoed by Marx and Engels who use the poetic phrase all that is solid melts into air16, which can be used to suggest that society is now at a stage of modernity in which everything is in flux all the barriers to it are permeable. We will write a custom essay on The terms postmodern and hypermodern specifically for you for only $16.38 $13.9/page Order now Lipovetsky reaffirms this when he mentions une logique moderne di ri guli e et desinstituionalisi e17, which represents the idea that the defined barriers of institutions have been broken down, which allows the individual to circulate through these institutions in a much more fluid manner. Lipovetsky adds to this concept of fluidity by suggests there is a hyperbolic dynamic to the hypermodern society. He points to this when he says Dans ce context, les sphi res les plus diverses sont le lieu dune monti e aux extri mes, livri es iune dynamique illimiti e, i une spirale hyperbolique18. This is also relevant to the individual as it can lead to them burning out, for example, as a result of the obligation to constantly be on the move and adaptable. It could be argued that Lipovetsky is suggesting that this demonstrates the fact that the grand narrative of progress no longer exists; it is as if the individual is running to stand still. He suggests that this constant demand to be efficient is not driven by a collective aim to move towards a Utopian goal, but rather by a need to survive19. As mentioned earlier, the notion of insecurity that hypermodernity has brought about is a dominant theme in Les Temps Hypermodernes. Lipovetsky, on numerous occasions, refers to the way in which the sentiment of relaxation and freedom that characterised postmodern has been replaced by a more intense and fast-paced dynamic in which individuals constantly feel the need to protect themselves against present and future dangers: Le climat du premier pri sentisme libi rationniste et optimiste, empreint de ligi reti , sest efface, au bi ni fice dune demande generalise de protection20. This can be attributed to the fact that people, particularly in the work place, are no longer able to draw upon collective support networks of old that might help them deal with the pressures around them. It could therefore be argued that this intensification of individualisation associated with hypermodernity has removed the outside parameters, or external reference points, by which individuals can define him themselves. Despite this intensified individualism that is present in the hypermodern society, Lipovetsky maintains a positive outlook by claiming that there are still collective identifications that individuals can make. He suggests that, although individuals no longer subscribe to large moral frameworks, they are still motivated by ethical and humanitarian issues. This demonstrates that people still have the capacity to come together, but as individuals rather than a collective. In conclusion, it is evident that Lipovetskys puts forward a thorough analysis of both the postmodern and hypermodern eras, demonstrating clearly how society has moved away from the control of the disciplinary era, towards a more fluid and individualised culture, maintaining a optimistic outlook on the way in which the world is developing. His use of the terms postmodern and hypermodern can be argued to significant in the sense that they offer a valuable framework of reference in examining the different ways in which the human condition and the dynamics of society have changed throughout these periods. .u203675e1447e499a75f79d67c432c7c3 , .u203675e1447e499a75f79d67c432c7c3 .postImageUrl , .u203675e1447e499a75f79d67c432c7c3 .centered-text-area { min-height: 80px; position: relative; } .u203675e1447e499a75f79d67c432c7c3 , .u203675e1447e499a75f79d67c432c7c3:hover , .u203675e1447e499a75f79d67c432c7c3:visited , .u203675e1447e499a75f79d67c432c7c3:active { border:0!important; } .u203675e1447e499a75f79d67c432c7c3 .clearfix:after { content: ""; display: table; clear: both; } .u203675e1447e499a75f79d67c432c7c3 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u203675e1447e499a75f79d67c432c7c3:active , .u203675e1447e499a75f79d67c432c7c3:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u203675e1447e499a75f79d67c432c7c3 .centered-text-area { width: 100%; position: relative ; } .u203675e1447e499a75f79d67c432c7c3 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u203675e1447e499a75f79d67c432c7c3 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u203675e1447e499a75f79d67c432c7c3 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u203675e1447e499a75f79d67c432c7c3:hover .ctaButton { background-color: #34495E!important; } .u203675e1447e499a75f79d67c432c7c3 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u203675e1447e499a75f79d67c432c7c3 .u203675e1447e499a75f79d67c432c7c3-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u203675e1447e499a75f79d67c432c7c3:after { content: ""; display: block; clear: both; } READ: The similarities and dissimilarities between the Prioresse and the Wife Bath EssayReferences Foucault, Michel, Surveiller et punir, Gallimard, 1975. Lipovetsky, Gilles, La socii ti de di ception, Textuel, 2006. Lipovetsky, Gilles, Li re du vide, Gallimard, 1983. Lipovetsky, Gilles, Les temps hypermodernes, Grasset, 2004. Marx, K. Engels, F. , The Communist Manifesto, 1848. 1 Lipovetsky, Gilles, Li re du vide, Gallimard 1983, Page 25-26. 2 Lipovetsky, Gilles, Les temps hypermodernes, Grasset 2004, Page 7. 3 Lipovetsky, Gilles, Li re du vide, Gallimard 1983, Page 27-28. 4 Lipovetsky, Gilles, Li re du vide, Gallimard 1983, Page 29. 5 Lipovetsky, Gilles, Li re du vide, Gallimard 1983, Page 31. 6 Lipovetsky, Gilles, Li re du vide, Gallimard 1983, Page 31. 7 Lipovetsky, Gilles, Li re du vide, Gallimard 1983, Page 39. 8 Lipovetsky, Gilles, Li re du vide, Gallimard 1983, Page 37. 9 Lipovetsky, Gilles, Li re du vide, Gallimard 1983, Page 199. 10 Foucault, Michel, Surveiller et punir, Gallimard 1975. 11 Lipovetsky, Gilles, La socii ti de di ception, Textuel 2006, Page 16. 12 Lipovetsky, Gilles, La socii ti de di ception, Textuel 2006, Page 16. 13 Lipovetsky, Gilles, Li re du vide, Gallimard 1983, Page 43-48. 14 Lipovetsky, Gilles, Les temps hypermodernes, Grasset 2004, Page 53. 15 Lipovetsky, Gilles, Les temps hypermodernes, Grasset 2004, Page 55. 16 Marx, K. Engels, F. , The Communist Manifesto, 1848. 17 Lipovetsky, Gilles, Les temps hypermodernes, Grasset 2004, Page 52. 18 Lipovetsky, Gilles, Les temps hypermodernes, Grasset 2004, Page 52. 19 Lipovetsky, Gilles, Les temps hypermodernes, Grasset 2004, Page 55. 20 Lipovetsky, Gilles, Les temps hypermodernes, Grasset 2004, Page 55.