Cultural outlaws, political organizers
نویسنده
چکیده
One of the least contestable features of postmodernism is its refusal to accept the hierarchy of value and élitism implied in the d istinction between high culture and popular culture. In the genealogies frequently circulated , postmodernism is pictured in opposition to two versions of modernism: a modernism codified and conquered by the academy and museum, incorporated as a high cultural artefact precisely because of its d isengagement with the popular or commercial; and a modernism which lost its adversary status and entered mainstream chiefly through its contamination by mass production and culture industry.1
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