By David LeHardy Sweet
This examine explores the paintings of Western avant-garde writers who traveled to and wrote approximately Asia and North Africa. even though exoticist in outlook, lots of those writers have been additionally anti-colonialist and hence shunned a few of the pitfalls of educational orientalism by means of assuming an aesthetics of range whereas using concepts of provocation and reciprocity. As a survey of works on trip (including essays, novels, poems, and plays), the ebook demanding situations or modifies many postcolonial assumptions approximately Western writers at the Orient: from the French Surrealists to the yank Beats or even transnational authors of the recent millennium. via a synthesis of avant-garde, postcolonial, and commute literature theories, Avant-garde Orientalism works within the top culture of comparative literary learn to spot and learn a different type of worldwide literature.
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Additional resources for Avant-garde Orientalism: The Eastern 'Other' in Twentieth-Century Travel Narrative and Poetry
If the colonial context once made the identification of such groups easy because they manifested themselves through racial, geographic, linguistic, and administrative signs, the globalist realities of the late 1990s rendered the antinomian quality of Saidian postcolonial theory problematic for Appadurai (as it also did for Bhabha, if in a more richly discursive, almost baroque way). L. SWEET harder to distinguish—more mixed, more hybrid—inasmuch as globalization had produced “a growing number of diasporic public spheres” (21–22).
Such a preoccupation itself is the inevitable product of the success of postcolonial discourse over its predecessor, and also the harbinger of a theoretical re-examination of that predecessor in ways that lend pertinence to the re-emergence of colonialist discourse in a postmillennial context of unpredictable planetary wobblings, apocalyptic terrors, and emancipatory technologies accompanied by dizzyingly massive power conglomerations: in short, “the indeterminacy of the global text,” an indeterminacy in which avant-garde experimentation often flourishes.
Unfortunately, in the popular discourse of tourism and tourists, authenticity is usually the most coveted aspect of travel, if also the most illusory. It represents the genuine sense of escape that travel promises, if only temporarily, from the oppressive “ethic of duty” (Bourdieu's expression) that presides in many a bourgeois household: the obligations and tedium of work, of routine, of family and community, everything that is institutionally organized to keep an individual stationary and tolerably unhappy as he or she engages in the alienating, and thus inauthentic, practices of everyday modern life (though, for many, these things are considered the very measure of authenticity).