Beyond Language the Postmodern Poetics Essay Example For Students

Beyond Language: the Postmodern Poetics Essay In fact, Change gives us a writers argument for weaving the private into the disrespect for privacy does not mean peeping at other people, but more or less with Wang Aziza, the character, Change Feels so shocked as to be engaged in words, characterization in the story and the subject of love and betrayal actually come from Changes tragic experiences of love ND marriage. As she comments on her love experiences (and also Wang Chassiss), Owen one loves somebody, one does not do so because one considers it worthwhile to love the persons (ibid: 280). It means that love is a human sentiment detached from any moral/political Judgment, hence, her and Wangles relationship to that man should not be Judged from a moral/ political perspective. As a woman with experiences of Blind love, and as a writer aware of her sense of loss and her sorrow over the passing years 0- Such feeling cannot be recalled again, it seemed long-lost nine when it was felt again (0 9 poet Lie Sashaying (Xx 1988: 352) about the pain of loss and the memory of it, Change Lust, caution can be seen as a form of transcription or translation of her own life experiences. Let us turn to the style of writing in the postmodern context. Postmodernism, as we understand it, is a style of art and culture in the late capitalist society Meson 1991). Postmodern art represents the interrogation of modernist thinking and the dissolution of the grand narratives such as development and national history, as well as a multi-perspective rethinking of convention, history and ideological assumptions. Postmodernist artists undermine the various normalized Concentrate in Western cultural convention, while embracing contradictions, fragmentation, intellectuality, pluralism, indeterminacy, incoherence and the Other through the work of disinterring (Cards 1996). Parody becomes a characteristic style of postmodernist representation (Hutchison 2002: 890-90; Jameson 1991), which OSI always critical and Value-parallelizing (Hutchison 2002: 890-90), rather than being simply narcissistic Meson 1983: 117). Besides, the representation of the body and desire and the schizophrenic subject becomes an important presence Meson 1983). Concerning history, postmodern historians question the representation of narrative of the past or a mediated representation of ideology Meson 1991 : 294), introducing competing views of history. With the intellectual interrogation of cultural convention, the postmodernist perspective represents a current of cultural rebellion. Mere substantiation of one piece of work into another in a different medium, but is the creation of a new piece of work with its own insight, vigor and agency. Therefore, a comprehensively decentralized world of images and simulations, adaptation becomes Just another text, forming part of a broad discursive intention (ibid: 10). In other words, adaptation is a cultural practice and a process of representation. Meanwhile, in the postmodern context of disinterring, adaptation has become Dada critique of quietly assumed, unmarked normatively which place whiteness, Europeanizes, maleness, and heterosexuality at the center, while normalizing all that is not a deciphering process in the representation of contemporary times. While Changes Lust, caution features the representation of her private experiences, Lust/Caution is more of a postmodern and political text, with conspicuous The informing (Bernard Birthplace 1970), the rewriting of history, the employment of parody, and the celebration of the body poetics. These postmodern characteristics implicate insightful outlooks on the issues of Self and Other, nation, history and identity, making the adaptation a recreation of a postmodern cultural poetics. Intellectuality: nationalism, Self and the Other Lust/Caution, as a result of a cinematic production, is The conformist in terms of narrative and subject matter, as well as visual technology. As the relations between texts are highlighted in intellectuality, which then calls for the Continuing interpretation and reinterpretation; The conformist is about Marcello, a fascist in Mussolinis time, who is instructed by his leader to assassinate an active anti-fascist for Mercenarys motive of self- normalization, a process of completely subordinating himself to power. His childhood sexual maltreatment by Onion urges him to pursue normal self/identity, middle-class bourgeois taste, and to seek recognition from the fascist party. Stricken by the priests view that sexual transgression is more sinful than murder, Marcello chooses the assassination of his former supervisor in philosophy, an exiled nationalist, to rove the existence of his normals self. Simultaneously, the young wife, who is transgression of the norm of heterosexuality. What is particular condemns Onion as the professors assassin, showing Mercenarys shifted identity and of fascists and the inhumanity of fascist ideology which subordinates people to control, while offering a penetrating analysis of Mercenarys consciousness and his promulgation and the of human subjectivity 0- the desire for identity, the process narrative and the subject matter of Lust, caution are similar to those of The conformist: Wang Aziza ( a university student during the anti-Japanese War of the early 91 sass, follows Kiang Yummy nationalist passion, participates in his nationalist campaign to kill Hi Mooching a fascist and a Chinese national traitor, but turns out to be in love with him while self as a nationalist subject (when hailed by the nationalist discourse/ideology) and Lust/Caution the representation of a shifted subject position in the chaotic age of Japanese/fascist occupation of China. Thus, the intellectual connection between Lust/ Caution and The conformist is ev ident in both the narrative construction and the object matter. In spite of the similarities, the differences in the narrative are more meaningful: one is the narrative of a fascist killing an anti-fascist, while the other is the antifascists attempted murder of the fascist, which ends with the death of the former. This connotation, as contained in the difference and similarity, can be further disclosed by In fact, this killing scene does not exist in Changes story, but appears only as The conformist, in the style of Death of Caesar (Lee 2008: 165, 188). And this intention of Copying can be further supported if we note the many other molarities: both sympathy with the tragic victims and condemnation for the murderers. However, the appropriation of the scene in Lust/Caution showing the killing of Ala Cacao (who only happens to drive for Hi Mooching during the latters stay in Hong Kong) seems to suggest compassion for him and condemnation for the killers. As is evident in this scene, shots of the youths surrounding Ala Cacao and stabbing him until he lies on the ground covered in blood, seem to reveal the absurdity of Theorizing people and the inhumanity of suppressing/removing the ideological Others. Actually, this stance an be further revealed through the representation of Kiang Hummings motive for killing through his confession: just kill a traitor to the Chinese, to release the hatred chain of the narrative as the driving force behind the students participation in the assassination and the instrumentalists of Wang Aziza and her body. Here it shows the directors outlook on nationalism: it is the dangerous old that causes the division 92 between the Self and the Other, as well as the dehumidification of human beings; the scene of the Death of Caesar from The conformist connotes the consciousness of presents the same violence as the killing of the anti-fascist professor in The conformist. The two assassinations are equally condemnable, as they are both scene of Death of Caesar, the director attempts to critique the ideological subjection of the Other and to dissolve the grand narrative of nationalism. In a word, through this intellectuality with The conformist, with similar narrative earnest wish to subvert the discourse of nationalism, as well as the ideological divisions of the Self and the Other, and his hope for peace, equality and co-existence in this world. Broadsword march: representation and history Chosen character in the play EssayCertain Cutouts or Seams can be discerned between the narration of scenes or events, and between events and consciousness. The bodily experience of the male and female protagonists is narrated, but only in two sentences depicting Wang Chassiss consciousness. However, changes in the characters consciousness or subjectivity are represented elaborately through a recess of body narrative, which drives the main narrative to the climax in the causal chain of narration. This mode of adaptation is not only due to differences in the media forms (verbal and visual), but also intended to signify the subtlety of identity and the cultural meaning between the body and the nation. Thus, through The narrative of Wang Chassiss experience is a process of cultural politics, exposing the patriarchal inscription of power on the female body. Codes of patriarchal discarded by her father 0- he only takes with him her younger brother to Britain, to evade the AR. Being homeless and solitary, she desires to Join her father for her own safety. She becomes a symbol of oppressed women in the China of old: women were assumed to be worthless and were unwanted by the family, I. E. Society centered around male power. However, the female body is taken for a useful object in male politics, nationalist male student Kiang Yummy in his plan of revenge. Then, the instrumental use of the female body is constructed into the grand narrative of nationalism, in which the female body is archeological used for the nationalist discourse, like the 97 hemolytic role Wang Aziza plays on stage: with her father dead and her elder brother killed by the Japanese, the girl is represented as being so capable and courageous that she shoulders the responsibility of taking care of her deranged mother and an injured soldier. In addition, she gives voice to the nationalist discourse. The role she plays is allegorical of her life experience, and the creation of such an imaginary stage and patriarchal power, which shifts the responsibility for the family and nation to women at a time of national crisis 0- the same women who have been discarded by f women in patriarchal society through the representation of Wang Chassiss dilemma and her ambivalent experiences in the name of nationhood. Nationhood connotes male power, especially in a patriarchal society where women are downgraded to the inferior sexual other, like Wang Chassiss mother, who is assumed added and absent, and the mother of the female stage role, who is portrayed as deranged. Similarly, Wang Aziza herself is either unwanted or else is needed as a male instrument. In this case, nationhood becomes a conspiracy to Otherwise and to manipulate women. Thus, are not simply phantasmagoria of the mind but are historical practices through which social difference is both invented and identities through social contests that are frequently violent and always gendered (Monoclinic 1995: 353). The intertwined relationship between the nation and the production of gender difference is demonstrated here. In fact, Virginia Wolf claims cynically at the beginning of her novel Three guineas (1938): ass a woman, I want no country. As a woman, my country is the whole world. 0 Embedded in her cynical tone is a condemnation of the British Empire, which manifests severe bias against women economically, politically and culturally, while demanding that they assume the responsibility of defending Britain against German attacks. In Wolfs view, a nation is built and maintained by enslaving women, and the nation is an instrument to control women. Her view can be a perspective from which to understand the relationship between nationhood and the female body, as represented in Lust/Caution women, in conspiracy with the discourse of nationhood or nationalism. Second, Elses adaptation features a body narrative which is not present in Changes is in fact a process of narrating Wang Chassiss shifting objectivity, and is embedded with enormous codes of cultural subversion. However, the body constitutes a crucial process of visual narrative which drives the main narrative to a climax, to achieve the purpose of cultural subversion by showing the dissolution of the grand narrative and the formation of a fragmented, schizophrenic subject, making the adaptation go far beyond Changes representation of her private experiences. There are four sequences to the body narrative, showing how Wang Aziza changes instrumentalists of her body; the second is with Hi Mooching, in which although he suffers under Yess sadistic treatment, Wang Aziza is happy to get Hi to take as Wang Aziza, an agent working for the grand narrative. But the third indicates a Yess lover. The body sequences actually display her shifting identity or the process of identity fragmentation: from the subject of the grand narrative to Yess lover. Therefore, the body sequences play an important role in deconstructive politics. In other words, the body narrative embodies a shifted, schizophrenic subject and a epistemological traditions, human beings are considered agents of themselves and of he world, with the rationality of their mind enabling them to preside over things and over their own bodies. But increasing social, cultural and institutional control makes human beings dwindle into subjects, subordinate to discourse and power (Faculty 1990), leading to Dada limit or law for individual existence and the repression of the individual (Delude Guitar 1977: 266). On the other hand, in a capitalist society, the liberation of desire/bodies in the form of carnival breaks up the limit and ushers in a schizophrenic subject: a subject who is fragmented, decremented, disrupted and spaced, as the process functions to Dont the expressive Oedipal unconscious, power, and Delude and Sagittarius criticism of desire and subject, account for Wang she is sutured into the nationalist discourse to perform the role of Mrs.. Maim (I. E. A patriotic spy). However, with her desire set adrift, her unconscious becomes indifferent to her identity and language system, and the limits or division between the Self and the Other disappears, so that she becomes a nomadic subject. Thus, with the changes in her subjectivity, Wang Aziza has been displaced to be the lover f Hi Mooching. This narrative of the body discloses a process of identity fragmentation and the end of a coherent Enlightenment subject. In this case, the representation of Wang Chassiss experiences is an utter condemnation of the patriarchal manipulation of women, in conspiracy with especially the instrumental discourse of nationalism. Besides, the representation of the body is not Conclusion The above analysis of Nag Elses adaptation of Lust/Caution Elses own cinematic recreation through the employment of intellectuality, parody, re-representing history and added body narratives. Thus, this adaptation becomes Lee interrogates various forms of power, by deconstructing solid assumptions of nationalism, history and identity, as well as the hierarchy between Self and Other, men and women, disclosing them as human constructs, means for power domination such solidifies and hierarchy in the human language system, with the Double-coded; (Hutchison 2002: 970-102) nature of intellectuality, parody and re-representation, Lee attempts to highlight border-crossing in binary oppositions between the Self and the Other, and the indeterminacy of the notion of identity.