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 perhaps literary responses to the occasions that ushered in our period of globalization let us know concerning the rhetorical and historic underpinnings of those dichotomies? In a standard Strangeness, Jacob Edmond exemplifies a brand new, multilingual and multilateral method of literary and cultural reviews. 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 lines a sequence of encounters formed through fiscal 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 difficulty with strangeness wherein poets contested previous binary oppositions as they reemerged in new, post-Cold battle types.
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Additional info for A Common Strangeness: Contemporary Poetry, Cross-Cultural Encounter, Comparative Literature (Verbal Arts: Studies in Poetics)
52 Like these titles, the poem’s address to the sun and Tibetan tradition is open to multiple interpretations. 53 The poem both connects and opposes the sun to the poet, recalling the simultaneous opposition and conflation of the two in “Le soleil” and in Duoduo’s encounter with Baudelaire’s poem. In addressing the sun, it also recalls and responds to Mao and the heroic rhetoric of the Cultural Revolution. Equally, the poem appropriates tradition for modernist ends. Like “Banpo,” then, “Norlang” overlays tradition and modernity, Maoist and post-Maoist ideologies, the countryside and the modern urban poet, through an appeal to the sun.
Rethinking the flâneur in exile—outside Europe and under various forms of contradiction and negation—points to a comparative poetics at once cognizant of the erasures of transhistorical and cross-cultural comparison and attentive to moments of historical and sensuous textual encounter. sun While Baudelaire has held an important place within modern Chinese literature since his work was translated by leading Chinese modernists (Lu Xun 鲁迅, Xu Zhimo 徐志摩, and Dai Wangshu 戴望舒 among them), he arguably occupies an even greater symbolic position in Chinese literature of the second half of the twentieth century, one intimately connected with the figure of the flâneur.
Instead, walking produces a painfully acute awareness and conflation of space, time, and language. 88 In prose pieces such as “Weishenme yiding shi sanwen” 为什么一 定是散文 (“Why There Has to Be Prose”), Yang addresses one of the nemeses with which the flâneur does battle—perpetual recurrence beneath the illusion of novelty: 同样的姿势、脚步，走进这一天，又走出这一天。岁月，压抑在字里行间，是 不是总共只有一天？一天中就发生了五年（道路的日子）、五千年（陶罐上 粗陋符号的日子）？言辞，狂暴地展示着一个被无数街道、城市和国度折 磨的经历，高达彻底的沉寂。 Walk into this day with the same stride and posture as you walk out of it.
A Common Strangeness: Contemporary Poetry, Cross-Cultural Encounter, Comparative Literature (Verbal Arts: Studies in Poetics) by Jacob Edmond