The difficulties in this direction adveem of multiple aspects, some of which commented ahead. In search systemize the trends formulated regarding concep s in screen, Svecenko (1995), considers that they are all of deep reactionary and empty deep the critical direction of the movement, as a proposal of practical cultural alternatives. In this perspective, innumerable aesthetic proposals, what it determines the difficulty of conceptual systematization, of what emerge are assigned as after-modernismo, possible fact to foresee in the words of Coutinho (2003, p.236) when dealing with the subject: The question of the conceptualization of after-modernismo already in itself is sufficiently problematic, a time that if deals with a basically heterogeneous phenomenon, that cannot never define as something coeso and unanimous. In the truth, it does not have only one after-modernismo, but several, and each one of these constructions was brother-in-law in a distinct context to serve the different ends. Thus being, after-modernismo it must be analyzed taking in account all its plurality and in contrast of what some authors think, this new aesthetic manifestation is not without vitality or without commitment, it is, the aesthetic one of the new, of the contemporary, full of proper peculiarities of its time. We cannot deny that in all this quarrel exists a generous beautiful and multifaceted hope, diverse manifestations that if they establish connection and they complement. The yearning of a justice that can be sensible to the small one, to incomplete, to the multiple, the condition of irreducible difference that marks the materiality of each element, of each human being, each community, of each circumstance, in contrast of what many imagine. After-modernismo it would be as in Sevcenko says to them (1995, P. 54): The humble learning, that already delays, of the difficult but basic convivncia with the imponderable one, the inefvel? after centuries of the brutal faith of that everything can be known, conquered, controlled.
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