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1.
A reaction to the work of the Classical and Modern "Bro" philosophies and life styles. Brostmodernism is an aesthetic, literary, political and social paradigm, which is the basis of the infinitely on-going attempt to describe the fundamental condition/state of being of broness. Characterized by heavily irony, self-deprecation, corss-reference and rapid-reflexivity, brostmodernism by its very nature defies one true definition.

Nonetheless, brostmodern thought can be looked upon as "a style and concept in human art and behavior characterized by the intentional and repeated drawing of attention to the conventions, theories and underlying ideologies of ideal broness." Ultimately it is a battle between projection and introjection, between objectivity and subjectivity. Whereas the bros of the classical and modern eras achieved broness through objectivity, that is to say, their love of Natural Lights, Dave Matthews Band, polo shirts, and backwards fitted caps earned them the distinction of "bro" from an objective third party. Brostmodernists, however, achieve broness through deliberate subjective introjection; that is to say, they become bros because they ARE bros.

Therefore, the chief and unerasable tenet of brostmodernism can be described as such: true, unconquerable broness can never be reached without the clear acknowledge of the existence of the simultaneously sublime yet ridiculous said broness. It's fair to say brostmodernists thinkers are the ultimate self-deprecating narcissists.
Example one:
Classical Bro: "I party, therefore I bro."

Brostmodernism: "The terms 'party' and 'bro' mean many different things, depending on the subjective positions of the members of the discussion. The purest notion of any 'Party' "exists" only so long as we negotiate its meaning as in opposition to an etheral 'Nonparty'; conjugally, 'Bro' exists only so long as we choose to voluntarily affirm its necessity, both in relation towards ourselves, as well as towards said 'Party'. Now will someone please put on Beast of Burden.
by Kurt Bronnegut July 12, 2009