Postmodernism aimed further than merely calling for a re-evaluation of power structures: it said that we are all in our very selves nothing more than the breathing aggregate of those structures.
But the film-makers did not want the films to “be” real, only to have come “from” the real. A dream is only ever an amalgam, a mirror, a reflection rather than the reflected.
Gaļas grillējas spēcīgā vējā, tām pārlietas mērces,
dūmi kāpj augšup pār tikko staigātiem ceļiem un aizlokās gājējam līdzi.
Bākules-Veiras dzejas rotaļām nav auglīgi tuvoties, bruņotam tikai ar vispārīgiem, tipiskiem priekšstatiem par dzejas uzbūvi un jēgu, pirms tam noteikti ir vērts iepazīt (vai vismaz zināt) šo to no dadaistu un sirreālistu darbiem un uzskatiem – šeit gribas saskatīt vistuvāko radniecību.
The plumy way in which his dipper lip blooms up the word ‘wonderful’ wins her over: she buries a white nose beneath his ear.
Kas ģērba Ajlanu otrdien pirms došanās uz jūras krastu, tētis vai mamma? Vai viņi steidzās? Vai viņš arī teica “Papa, ņam, ņam”, cerot izdiedelēt kādu sulu vai cepumu?
Style, then, involves a meeting between arrangements inside the prose and expectations outside it.
The Modernist „masterpiece” – that term of opprobrium – seems to be reasserting its auratic claims upon us, even as Internet discourse, held, in some quarters, to be responsible for the loss of literary „quality,” is ironically reinforcing its presence.
It turns out that the 20th-century avant-garde often paints a far more realistic picture of experience than 19th-century realists ever did.
I wanted to illustrate something impossible, so I chose “Finnegans Wake”. It would be silly for me to draw in a few panels a work that took James Joyce seventeen years to complete. So I cheated.