This:
At 10:30 AM +0100 9/10/01, Erminia H. Passannanti wrote:
>The mask is there to typify the clash of these elements with the
>unpersuasive reconciliation of the self with its stereotypes.
is very astute.
>Neo-Orphic and neo-experimentalists, minimalists and neo-crepusculars,
>mannerists and post-modernists (that I mentioned in more detail in the
>half-mocking and half-serious list I posted a couple of months ago to
>Poetryetc) are all there struggling to make the language of poetry renovate
>its codes and tools, often consuming authentic vocations in this effort.
>But having, on the other hand, the duty to do so. The links between the
>poet and the literary/cultural theorist is somehow unavoidable. I myself
>do not believe in spontaneity and I hope that behind each poet there is a
>project not merely a vent of words, an outburst of tears or joy, the desire
>to give find expression for one’s wrath.
>The baroque mask is there, for me, to suggest the artificiality of
>such “post-modern” assimilation of genres and styles, the mendaciousness,
>if you want, of the vicissitudes of literary theories, and therefore, in my
>opinion, the elaboration of a mannerism that would dominate the all, and
>this surely can suggest a return to a kind of disconcerting yet soothing
>order. The mask is there to typify the clash of these elements with the
>unpersuasive reconciliation of the self with its stereotypes. As Richard
>Dillon is noticing, I am making a point to merely represent what I am
>writing and what I aim to do…I was not describing what is going on. It is
>my personal response to postmodernity and a turning point from my
>collection Macchina (that is what Mistici will be). But yes, it is true
>that especially in visual arts we are in the realm of postmodernist neo-
>baroque. (?)
>Thank you for getting involved in this discussion.I know that the majority
>might disagree.
>Erminia
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