Download The Dismemberment of Orpheus: Toward a Postmodern Literature by Ihab Hassan PDF

By Ihab Hassan

In this publication, the 1st version of which used to be released in 1971 via Oxford college Press, Ihab Hassan takes Orphic dismemberment and regeneration as his metaphor for an intensive problem in paintings and language, tradition and recognition, which prefigures postmodern literature. The glossy Orpheus, he writes, “sings on a lyre with out strings.” hence, his delicate critique lines a hypothetical line from Sade via 4 sleek authors—Hemingway, Kafka, Genet, and Beckett—to a literature nonetheless to come back. however the line additionally breaks into Interludes, one touching on ’Pataphysics, Dada, and Surrealism, and the opposite relating Existentialism and Aliterature.
    Combining literary historical past, short biography, and demanding research, Hassan surrounds those authors with a supplement of avant-garde writers whose works additionally foreshadow the postmodern mood. those comprise Jarry, Apollinaire, Tzara, Breton, Sartre, Camus, Nathalie Sarraute, Robbe-Grillet, and in the United States, Cage, Salinger, Ginsberg, Barth, and Burroughs. Hassan takes account additionally of comparable modern advancements in paintings, tune, and philosophy, and of many works of literary idea and criticism.
    For this re-creation, Hassan has additional a brand new preface and postface on the constructing personality of postmodernism, an idea which has won foreign money because the first version of this paintings, and which he himself has performed a lot to theorize.

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Her world is brazen, the poets only deliver a golden. But let those things alone and go to man, for whom as the other things are, so it seemeth in him her uttermost cunning is employed, and know whether she have brought forth so true a lover as Theagenes, so constant Plato and Neoplatonism 25 a friend as Pylades, so valiant a man as Orlando, so right a prince as Xenophon’s Cyrus, so excellent a man every way as Virgil’s Aeneas. ” But then Sidney made no claim to be a consistent follower of any doctrine, certainly not the Platonism of the Republic or of Plotinus.

But it was not only Romantics who made extravagant claims for poetry. ,” begins his inquiry by offering a definition very much in the spirit of Shelley’s Defence: “poetry is either nothing, or it is the better part of all art whatever, and of real life too” (103). Mill explains that “poetry” can be found not only in poems but also in painting “if the feeling declares itself by such signs as escape from us when we are unconscious of being seen” (113). Architecture can also “partake of poetry” when church structures, for example, “express, or harmonize with, the feelings of devotion” (116).

But it was not only Romantics who made extravagant claims for poetry. ,” begins his inquiry by offering a definition very much in the spirit of Shelley’s Defence: “poetry is either nothing, or it is the better part of all art whatever, and of real life too” (103). Mill explains that “poetry” can be found not only in poems but also in painting “if the feeling declares itself by such signs as escape from us when we are unconscious of being seen” (113). Architecture can also “partake of poetry” when church structures, for example, “express, or harmonize with, the feelings of devotion” (116).

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