(En)countering Modernity Ethnicly: Resistance and Intervention of Hagedorn’s Poetic Practice
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Taking Raymond Williams’s critique of the ideology of Modernism as its point of departure, this paper studies Jessica Hagedorn’s poems against the context of post-Modernism and illuminates how she, situated as a postcolonial Filipino, explores an alternative route of negotiating modernity. The reading of Hagedorn shows that her inscription of the colonial experience and decolonizing struggle of Filipinos makes a much needed re-mark of coloniality, this “darker side of Western modernity” as Walter D. Mignolo calls it, which has been by the large left out of the precinct of canonical Modernist poetry and its followers beyond its heyday. Furthermore, it observes Hagedorn’s negotiation with mass culture---a practice that distablizes the ostensible divide between the claimed serious art and popular culture as established by canonical Modernism---and illustrates how this poetic practice, through maintaining a dialogue with the widely circulating mass culture, makes a promising route of intervening and negotiating modernity. With this reading, it also contends that the poetic practice emerging from and positioned in the periphery of globalized modernity must be included in the knowledge production of modern and contemporary poetry so that more alternative responsible responses to modernity might be established and the “modern future” which Williams calls for might take place, displacing the ideology of Modernism that still dominates the scene of contemporary poetry.
Abstract
Taking Raymond Williams’s critique of the ideology of Modernism as its point of departure, this paper studies Jessica Hagedorn’s poems against the context of post-Modernism and illuminates how she, situated as a postcolonial Filipino, explores an alternative route of negotiating modernity. The reading of Hagedorn shows that her inscription of the colonial experience and decolonizing struggle of Filipinos makes a much needed re-mark of coloniality, this “darker side of Western modernity” as Walter D. Mignolo calls it, which has been by the large left out of the precinct of canonical Modernist poetry and its followers beyond its heyday. Furthermore, it observes Hagedorn’s negotiation with mass culture---a practice that distablizes the ostensible divide between the claimed serious art and popular culture as established by canonical Modernism---and illustrates how this poetic practice, through maintaining a dialogue with the widely circulating mass culture, makes a promising route of intervening and negotiating modernity. With this reading, it also contends that the poetic practice emerging from and positioned in the periphery of globalized modernity must be included in the knowledge production of modern and contemporary poetry so that more alternative responsible responses to modernity might be established and the “modern future” which Williams calls for might take place, displacing the ideology of Modernism that still dominates the scene of contemporary poetry.
참고문헌 (29)
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