- Why did everyone start to hate the Russians if the U.S. did the same thing in Afghanistan, Iraq?
- What needs to be corrected in the management of Russia first?
- Why did Blaise Pascal become a religious man at the end of his life?
- How do I know if a guy likes you?
- When they say "one generation", how many do they mean?
It depends on what kind of art we are talking about. Postmodernism is called both Dali and E. Warhol. Within the framework of postmodernism, there are a huge number of trends, teachings, including those that did not recognize any manifestos. Probably, to study the culture, ideas, and spirit of postmodernism, you should turn to the works of French philosophers of the early XX century, and then go deeper into what will seem more interesting when you already understand the principles and foundations.
If we talk about cinema, and in cinema, postmodernism has found expression in all its manifestations: “The Secret Life of Salvador Dali”, S. Dali; “Manifesto of Surrealism” by A. Breton.
Photo: Man Ray's” Self-portrait ” or any other collection of his works
In the visual arts: “Manifesto of Dada “(collective of authors), guide to art on the word: performance, happening, ready-made, M. Duchamp, new school of American painting, etc.
In literature: A. Camus “The Outsider”, J.-P. Sartre “Nausea”, perhaps someone will say that Nietzsche “Thus spake Zarathustra” – and will not be wrong, although this is more of a philosophical work than a literary one.
Of course, in order to understand postmodernism, its manifestation in all spheres of art and life, one should refer to the works of the philosophers of J. R. R. Tolkien. Derrida “On Grammotology”, J. Deleuze and F. Guattari “Anti-Oedipus”, R. Barth… honestly, any of his works)) For example, “Culture and Tragedy”, the essay “Zero degree of Writing”, but I would recommend reading Derrida to understand the meaning of deconstruction – through it post and non-post-structuralism and all postmodernism.
It depends on what you mean by the word “manifest”. The literature of postmodernism is very vague, and lends itself to very unclear wording. Usually contrasted with the ideas of modernism, the story in the novel is intermittent and not linear, but there are no exact tools for characterizing postmodern literature, and it is unlikely that there will be, because writers are constantly inventing new ways to interpret their thoughts through writing books, sometimes this is fraught with unreadability and lack of a plot line. If we talk about classical postmodernism, I would suggest starting with Umberto Eco or Julio Cortazar.
Three answers: short, not so short, and subjective.
Short answer: it seems impossible to find a manifesto of postmodernism.
Not so short: The term itself has been controversial from the very beginning of its existence. And this is without taking into account those who refuse the concept and phenomenon of postmodernism to exist at all. Liotard's position about the absence of large narratives, the rhizome or the body without Deleuze organs is disputed/The Guattari themselves reject the possibility of manifestation. Any concept, any idea is nothing more than the result of a collision of random forces, which at any moment will change and change the meaning of this concept. Another difficulty is the hierarchy, which is often presented in postmodernism not just blurred, but absent. In such a situation, it is impossible to single out something “most-most”, because then we reject one of the potentials that postmodernism includes.
Subjective: If you forget all the previous verbal balancing act, then the top of postmodernism seems to me like this: Joyce's Ulysses-as the first premonition of postmodernism, as a disillusioned modernism; Pynchon's Rainbow of Gravity-as the apogee of postmodernism, which, of course, goes beyond it, not only the best expression of some concepts, techniques and other things, but also simply unbearably talented book. Because even postmodernism can't undo talent; “Beyond good and evil” by Nietzsche-apparently, no one had the right to be called a cultural figure in the twentieth century without saying a word about Nietzsche.