By Theo D'haen, Pieter Vermeulen (Eds.)
'Cultural identification 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 typically acknowledges itself. Theo D'haen offers a common creation to the difficulty of "cultural identification and postmodern writing." Jos Joosten and Thomas Vaessens 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 relating to Caribbean literature, and Kristian van Haesendonck and Nanne Timmer flip their realization to Puerto Rican and Cuban literature, whereas Adriana Churampi offers 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 recent and modern literature, and to someone drawn to problems with identification as associated with issues of tradition. desk of Contents: Acknowledgements Theo D'HAEN: advent: 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 identification and Postmodern Writing within the Federal Republic of Germany, 1945-1989 Andrea KUNNE: Cultural id and Postmodern Writing in Austrian Literature Roel DAAMEN: A Confluence of Narratives: Cultural views in Postmodernist Scottish Fiction Patricia KRUES: delusion and Revolution within the Caribbean Postmodern Kristian VAN HAESENDONCK: attraction or Fright? identification and Postmodern Writing in modern Puerto Rico Nanne TIMMER: desires that desires stay: 3 Cuban Novels of the 90s Adriana CHURAMPI: A Race of Sleepless humans Breaks into background Markha G. VALENTA: Tampering with the kingdom: the US, P
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Extra info for Cultural Identity and Postmodern Writing
16 “… Kijk maar, zeg je,/ en je wijst: een rorschachtest, een postmodern gedicht/ zwermt uit over de vloer …” Postmodern Poetry Meets Modernist Discourse 29 The poem as a formless stain on the floor: nobody has intended anything with it and everybody can read in it whatever he likes. What M. Vasalis’ criticism of the poetry of the Generation of Fifty (the “Vijftigers”) dismissed as a fault (she compared poems such as those of Lucebert with random ink stains in which one can perceive anything, as they represent nothing of themselves) is here being celebrated as a virtue.
The poet, that is, is presumed to be present in his poem. This is the second classical premise of reading: the text represents a subject, it allows us to hear an authentic “voice,” albeit decidedly not that of the author. Indringend lezen assumes throughout that a poem contains a speaking “I” that dictates our perception, a voice (not necessarily that of the poet) that the reader must try to hear, the voice of someone he tries to establish contact with. For instance: “Self-recognition will always be a prerequisite for establishing contact with a poem”(Drop and Steenbeek 1970: 5).
Such pretensions can only be maintained by authors that consider literature as a communicative medium that adequately describes reality and transmits meanings - and these are precisely the assumptions that have been exposed since (and certainly not only by) Barthes and Derrida. In the Dutch literary field, this development has led to a perceived alliance between literature and the opinions of the periodical Forum (its humanist focus on the subject), modernism (its hope of mending the fragmentation of the world through language) and the traditional reading method (its strategic intent on unity and coherence).