By Jacob Edmond
Why is our global nonetheless understood via binary oppositions-East and West, neighborhood and worldwide, universal and strange-that should have crumbled with the Berlin Wall? What may well literary responses to the occasions that ushered in our period of globalization let us know concerning the rhetorical and old underpinnings of those dichotomies? In a standard Strangeness, Jacob Edmond exemplifies a brand new, multilingual and multilateral method of literary and cultural reports. He starts off with the doorway of China into multinational capitalism and the looks of the Parisian flaneur within the writings of a chinese language poet exiled in Auckland, New Zealand. relocating between poetic examples in Russian, chinese language, and English, he then strains a chain of encounters formed by way of monetary and geopolitical occasions from the Cultural Revolution, perestroika, and the June four bloodbath to the cave in of the Soviet Union, September eleven, and the invasion of Iraq. In those encounters, Edmond tracks a shared drawback with strangeness in which poets contested outdated binary oppositions as they reemerged in new, post-Cold battle varieties.
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Additional info for A Common Strangeness: Contemporary Poetry, Cross-Cultural Encounter, Comparative Literature (Verbal Arts: Studies in Poetics)
The location of the “prehistoric” (史前) within the present and the country’s wild forest among the lights of the city reflects a general trend in Chinese literature of the 1980s that parallels the “botanizing on the asphalt” in the literature of the flâneur. ”45 The xungen movement took place in the context of an ideological debate in the official media over both the relationship between tradition and modernity and the place of modernist literature. The more sophisticated xungen writers did not simply conform to the parameters of these debates by idealizing the country, myth, and tradition as counters to modernity, modernization, and the West.
While recognizing the elision of difference that occurs through the superimposition of any text, language, culture, time, or place upon another, the figure also produces moments of particularity that emerge out of these superimpositions: moments of touch that presage the possibility of commonality in singularity, of common strangeness. flâneur Far from being the creation of an isolated European modernity, the figure of the flâneur was from the very beginning intertwined with Europe’s others and inseparable from a global context of imperialism.
40 These six poets write in diverse languages and historical circumstances, and their work is not united by a single stylistic approach, but they all respond to the seismic shift in geopolitics, economics, and culture that took place from the 1970s through the early 1990s. In their poetic structures and personal and transnational affiliations, they reveal a shared search for alternatives to the persistent poles of commonness and strangeness found both in Cold War binaries and in the local/global dichotomies that continue to shape our understanding of literature and culture.