By Theo D'haen, Pieter Vermeulen (Eds.)
'Cultural id and Postmodern Writing' seeks to check the connection acquiring among the explicit shape postmodernism assumes in a given tradition, and the "national narrative" within which that tradition characteristically acknowledges itself. Theo D'haen presents a common creation to the difficulty of "cultural identification and postmodern writing." Jos Joosten and Thomas Vaessens have a look at Dutch literature, and specific Dutch poetry, relating to "postmodernism." Robert Haak and Andrea Kunne do an identical in regards to, respectively, German and Austrian literature, whereas Roel Daamen turns to Scottish literature. Patricia Krus discusses postmodernism on the subject of Caribbean literature, and Kristian van Haesendonck and Nanne Timmer flip their cognizance to Puerto Rican and Cuban literature, whereas Adriana Churampi bargains with Peruvian literature. ultimately, Markha Valenta investigates the roots of the postmodernism debate within the usa. This quantity is of curiosity to all scholars and students of contemporary and modern literature, and to somebody drawn to problems with identification as associated with issues of tradition. desk of Contents: Acknowledgements Theo D'HAEN: creation: Cultural id and Postmodern Writing Jos JOOSTEN and Thomas VAESSENS: Postmodern Poetry Meets Modernist Discourse: modern Poetry within the Low international locations Robert HAAK: Cultural id and Postmodern Writing within the Federal Republic of Germany, 1945-1989 Andrea KUNNE: Cultural identification and Postmodern Writing in Austrian Literature Roel DAAMEN: A Confluence of Narratives: Cultural views in Postmodernist Scottish Fiction Patricia KRUES: fantasy and Revolution within the Caribbean Postmodern Kristian VAN HAESENDONCK: appeal or Fright? id and Postmodern Writing in modern Puerto Rico Nanne TIMMER: desires that goals stay: 3 Cuban Novels of the 90s Adriana CHURAMPI: A Race of Sleepless humans Breaks into historical past Markha G. VALENTA: Tampering with the country: the United States, P
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Extra info for Cultural Identity and Postmodern Writing
Does something like an original individual exist? The postmodern poet doubts this, and thus does not create his own, entirely unique language construct, but takes his place in the middle of other (earlier) texts, texts he refers to, parodies, plagiarizes, or simply spins a variation on. On this level, the problem of originality primarily concerns the issue of intertextuality. Spinoy’s collection De jagers in de sneeuw [The Hunters in the Snow] (1986) is a good illustration of the intertwining of postmodern texts and other texts, and the same goes for Verhelst’s Witte bloemen [White Flowers] (1991), which concerns itself with the life and work of Charles Baudelaire.
On the deeper level of their Weltanschauung, they are much closer to the romantics than one would guess from their numerous anti-expressive statements (Vaessens 1998: 146). The modernist poem, like the romantic poem, was presented as the manifestation of an extraordinary harmony, as a natural (organic) counterforce to the artificial (mechanical) order of the modern world. The most important poetical instrument was then not so much reason, but rather intuition. Technical craftsmanship simply does not suffice for the poet, who remains dependent on a language-metaphysics (Sötemann 1985: 123) and on irrational qualities such as his special sensitivity to sound and tone, a sensitivity van Ostaijen explicitly situated in the unconscious.
The elucidation of this problem again requires a short excursion in the metaphors of modernist poetics. “All that is fair and noble is the result of application and calculation” (Charles Baudelaire); “enthousiasm is not the state of mind proper to a poet” (Valéry); “the poet does his job by virtue of an effort of the mind” (Wallace Stevens); “A poem rarely originates, a poem is made” (Gottfried Benn) - these are all famous statements that are often quoted when we want to demonstrate that the modern poet models himself on the cool constructor, the technician, the maker.