A Magic Still Dwells: Comparative Religion in the Postmodern by Kimberley C. Patton, Benjamin C. Ray

By Kimberley C. Patton, Benjamin C. Ray

The 1st thorough evaluate of the sphere of comparative faith in 40 years, this groundbreaking quantity surmounts the probably intractable department among postmodern students who reject the comparative undertaking and those that confirm it. The participants reveal broader imaginative and prescient of faith, concerning diversified scales of comparability for various reasons, is either justifiable and necessary.
A Magic nonetheless Dwells brings jointly prime historians of religions from a variety of backgrounds and vantage issues, and attracts from traditions as different as Indo-European mythology, old Greek faith, Judaism, Buddhism, Ndembu ritual, and the spectrum of religions practiced in the USA. The members take heavily the postmodern critique, clarify its influence on their paintings, uphold or reject numerous premises, and in different circumstances exhibit new comparative ways. jointly, the essays signify a state of the art review of present matters within the comparative research of faith.

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Jameson also argues that there are no new styles for postmodernist writers to develop, leaving them with no other recourse than torepeat or replicate past "dead" styles in the form of pastiche. Pastiche is "blank parody": mimicry without satire or homage to old forms. Certain strains of postmodernist text therefore can be considered in several ways as a result of this use of pastiche: firstly, as fragmented texts that xliv • INTRODUCTION have no unity of their own because they are made up of combinations of styles from other texts; secondly, as forms that map a literature of exhaustion (a term originated by John Barth) where the lack of stylistic possibility has resulted in a "death of originality"; and, thirdly, as texts created by pastiche and intertextual forms that involve an aesthetic of recycling or reproduction where the "newness" is in the different combinations of old styles that each text creates rather than in the origination of a new textual language.

This is still the case in contemporary experimental poetry, as can be seen in the postmodernist poetics of writers from the OuLiPo group, such as Jacques Roubaud and Jacques Jouet, who often deliberately choose the most complex formal structures they can in order to play with poetic form while also surmounting the difficulties it creates. The dominance of modernist and traditional poetics can be seen in the works that developed in Italy and the United States after World War II. In Italy, the dominance of traditional forms led to the creation of the neoavanguardia movement and the related founding of Gruppo 63 as a result of the poetic experiments that were published in the collection I novissimi in 1961.

Postmodernist literature in the United States, for example, could not have developed in the way it did were it not for the rise of postmodernist forms in Latin America and their continuing expression in the late 1960s and 1970s. S. is arguably the Argentine writer Jorge Luis Borges who, in the 1930s and 1940s, created the form of fabulation, with its interiorized fictional reality and metafictional forms, that was to be so influential in generating postmodernist writing around the globe. S. and Europe.

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