Following Frédéric Regard in Histoire de la littérature anglaise, we can call this genre “postreahst” rather than “postmodern,” for unlike the latter links of london, it does not simply play autonomous language games. The term “postrealism” has the advantage of aligning this genre with the already established tradition of “realism,” as it once again aims at commenting on and committing to the world after the avant-garde, formalist, and aesthetic concentration on abstraction, but finds new ways of doing so. If one distinguishes “modernism” and “postmodernism” as aesthetic paradigms, and “modernity” and “postmodernity” as historical epochs hnked to an “attitude” or “world view,” both “postrealis Links of London Bracelets” and “postmodernist” hterature can be considered categories of fiction belonging to a “postmodern” epoch dominated by the death of “modernity” as an ethos. Although Habermas construes “modernity” as referring to the historical epoch associated with the Enlightenment, the beginnings of which can be traced to the end of the fifteenth century, modernity can also be envisaged as an “attitude,” a “mode of relating to contemporary reahty … a way of thinking and feeling; a way too of acting and behaving” Links of London Bangles. Thus, in the first chapter of The Rise of the Novel (1957)-entitled “Realism and the Novel Form”-Ian Watt implicitly takes the term “modern” as referring to both a historical epoch and an “attitude.”