Postmodern pastiche empties the subject and borrows styles, where moderns invented their own worlds.

Evidence

This is, then, in the largest sense what is postmodern about Simon: the evident emptiness of that subject beyond all phenomenology, its capacity to embrace another style as though it were another world. The moderns, however, had to invent their own personal worlds first, all by themselves, and at least the first of Simon’s stylistic options, the so-called personal one, is clearly of modernist provenance since it very systematically reproduces Faulknerian writing procedures. — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 329

Categorization

• DEFINE: Directly defines the postmodern condition: subject emptied beyond phenomenology, able to embrace another style as if it were another world — contrasting with moderns who had to invent their own.
• XREF: Connects to the reader’s goal of defining pastiche vs parody — this is the precise page where Jameson sets pastiche’s precondition (empty subject) against modernist originality. — connects to: Postmodernism functions for Jameson as a cultural dominant marked by depthless pastiche. — Alex Callinicos, Against Postmodernism: A Marxist…, 484