By Brian McHale, Joe Bray, Alison Gibbons
What's experimental literature? How has experimentation affected the process literary heritage, and the way is it shaping literary expression this present day? Literary test has continually been various and hard, yet by no means extra so than in our age of electronic media and social networking, while the very class of the literary is coming below severe strain. How will literature reconfigure itself sooner or later?
The Routledge significant other to Experimental Literature maps this expansive and multifaceted box, with essays on:
• the historical past of literary scan from the start of the 20 th century to the present
• the effect of latest media on literature, together with multimodal literature, electronic fiction and code poetry
• the improvement of experimental genres from image narratives and located poetry via to gaming and interactive fiction
• experimental events from Futurism and Surrealism to Postmodernism, Avant-Pop and Flarf.
Shedding new mild on usually significantly ignored terrain, the members introduce this vivid zone, outline its present country, and supply fascinating new views on its future.
This quantity is the precise advent for these forthcoming the learn of experimental literature for the 1st time or trying to additional their wisdom.
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Extra info for The Routledge Companion to Experimental Literature
Etc. ” (Lawton 1988: 51). The mission statement from the Hylaea group, soon to become Cubo-Futurism, left no doubt that its main concern was with the predicament of the language of Russian poetry. “We order that the poets’ rights be revered,” the manifesto declared, specifically identifying the right to “enlarge the scope of the poet’s vocabulary with arbitrary and derivative words” and “to feel an insurmountable hatred for the language existing before our time” (Lawton 1988: 51–2). While these two demands account for Cubo-Futurism’s linguistic program, those that follow merely strengthen the sense of anger contained in the manifesto’s title.
There exists no science of word creation,” according to “Our Fundamentals” (Khlebnikov 1987: 376), although some, largely subjective, principles can be found in “Teacher and Student,” Khlebnikov’s most revealing contribution to the theory of non-poetic language (277–87). g. “lack of agreement in case, number, tense, and gender” (Lawton 1988: 226, 61, 58, 73, 73, respectively), to which one might retrospectively add the Russian Formalist terms “shift,” “de-familiarization,” “laying bare” and “deformation” (on the importance of these terms for both Russian Formalism and an understanding of the Cubo-Futurists’ experiments, see Steiner 1984).
Steiner, P. (1984) Russian Formalism: A Metapoetics, Ithaca, NY: Cornell University Press. White, J. (1990) Literary Futurism: Aspects of the First Avant-Garde, Oxford, UK: Clarendon. Zola, É. (1880) Le Roman Expérimental, Paris: Charpentier. 35 RICHARD MURPHY 3 THE POETICS OF ANIMISM Realism and the fantastic in expressionist literature and film Richard Murphy No-one doubts that the genuine thing cannot be that which appears as external reality. Reality must be created by us. (Edschmid 1918: 369; my translation) I.