Postmodernity and Cross-culturalism

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Yoshinobu Hakutani
Fairleigh Dickinson Univ Press, 2002 - 214 頁
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This collection of eleven essays concerns postmodernity in cross-culturalism, a contiguous literary movement from modernity in East-West literary criticism. Most of the contributions address particular cross-cultural relations such as postcolonialism in Indian literature and paganism in Spanish culture. The writers and critics discussed range from Emerson, Twain, and Lacan to Kenzaburo Oe and Haruki Murakami, Salman Rushdie, Richard Wright, and Alice Walker.

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Introduction
7
No Place I Was Meant to Be Postmodern Japan in Haruki Murakamis Fiction
17
Huck Finn and America in Kenzaburo Oe
31
Richard Wrights Pagan Spain and CrossCultural Discourse
43
Rushdies Midnights Children Meditation and the Postmodern Conception of History
62
Three Meals a Day and the Fun of It Existential Hunger and the MagnificentSevenSamurai
76
On Making Things Korean Western Drama and Local Tradition in Please Turn Off the Lights
88
Linguistic Conservatism National Identity and the Postcolonial Indian Novel
106
Japan Has Become the Sign Identity and History in Theresa Hak Kyung Chas Dictee
117
Private Voice and Buddhist Enlightenment in Alice Walkers The Color Purple
144
Emerson Lacan and Zen Transcendental and Postmodern Conceptions of the Eastern Subject
157
North American Versions of Haibun and Postmodern American Culture
168
Contributors
201
Index
205
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第 154 頁 - For I, that was a child, my tongue's use sleeping, now I have heard you, Now in a moment I know what I am for, I awake...
第 161 頁 - Rhodora! if the sages ask thee why This charm is wasted on the earth and sky, Tell them, dear, that if eyes were made for seeing, Then Beauty is its own excuse for being: Why thou wert there, O rival of the rose! I never thought to ask, I never knew: But, in my simple ignorance, suppose The self-same power that brought me there brought you.
第 37 頁 - I'd got to decide, forever, betwixt two things, and I knowed it. I studied a minute, sort of holding my breath, and then says to myself: "All right, then, I'll go to hell"— and tore it up.
第 166 頁 - The world is emblematic. Parts of speech are metaphors, because the whole of nature is a metaphor of the human mind. The laws of moral nature answer to those of matter as face to face in a glass. "The visible world and the relation of its parts, is the dial plate of the invisible.
第 164 頁 - We live in succession, in division, in parts, in particles. Meantime within man is the soul of the whole; the wise silence; the universal beauty, to which every part and particle is equally related; the eternal ONE.
第 165 頁 - The eye is the best of artists. By the mutual action of its structure and of the laws of light, perspective is produced, which integrates every mass of objects, of what character soever, into a well colored and shaded globe, so that where the particular objects are mean and unaffecting, the landscape which they compose, is round and symmetrical.
第 164 頁 - To believe your own thought, to believe that what is true for you in your private heart is true for all men, — that is genius.
第 165 頁 - Standing on the bare ground, - my head bathed by the blithe air and uplifted into infinite space, - all mean egotism vanishes. I become a transparent eyeball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part or parcel of God.
第 38 頁 - It warn't the grounding — that didn't keep us back but a little. We blowed out a cylinder-head." " Good gracious! anybody hurt?
第 9 頁 - The personality of the artist, at first a cry or a cadence or a mood and then a fluid and lambent narrative, finally refines itself out of existence, impersonalises itself, so to speak.

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