Modernist allusion and postmodern pastiche were indistinguishable in the sixties

Evidence

The allusiveness of modernism and the pastiche of postmodernism, which now seem clearly distinct from and even opposite to one another (particularly to Jameson), not only appear to be, but they are, indistinguishable in the sixties; not just for Poirier, but in the general sense of continuity with the liberatory, oppositional aesthetic and political projects of modernity experienced by participants in the sixties movements practicing modes of pastiche. And at this utopian historical moment in the sixties, modernism is not yet seen as the elitist, hegemonic high culture that becomes the obverse of democratic, oppositional popular culture in postmodernity. — Marianne DeKoven, Utopia Limited, 663

Categorization

• XREF: Jameson’s later hard distinction of pastiche vs. allusion, made in Postmodernism, is here shown to be a retrospective imposition. — connects to: Modern and postmodern views differ mainly by emphasis on recontainment versus resistance — Marianne DeKoven, Utopia Limited: The Sixties and the…, 126; Barthes’s Mythologies embodies both modernist contempt and postmodern valorization at once. — Marianne DeKoven, Utopia Limited: The Sixties and the…, 213; Sixties texts are now dated precisely by straddling modern and postmodern paradigms — Marianne DeKoven, Utopia Limited: The Sixties and the…, 89 (+3 more)

Broader Connections

• Late modern and postmodern architecture differ on allusion to the past #qualifies (0.80) — Perry Anderson, The Origins of Postmodernity, 61