文学在后国家舞台上的地位

Alfredo Saldaña Sagredo
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引用次数: 1

摘要

在后民族时代,文学反映了普遍与局部、自我与他者之间的辩证张力。在这些紧张关系的表现中,国家的概念往往在经历持续的危机时期时发挥了相关的作用。后现代状态(利奥塔)被一些人贴上了“历史的终结”的标签,对许多人来说,它只不过是一个后历史、后意识形态、后殖民和后形而上学时代的信号,是一种失落的标志,是哈贝马斯和哈特-内格里分别称之为“后国家星座”和“帝国”的新政治秩序的症状。它构成了一种前所未有的全球版本的主权和统治,与现代的殖民帝国主义不同,它缺乏一个局部的中心或明确界定的领土边界。在这个(inter/post)国家情景中,文学已经恢复了过去被民族主义倾向剥夺的大部分自由。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
El lugar de la literatura en el escenario posnacional
In the current postnational era, literature has not failed to reflect dialectical tensions between the universal and the local, the self and the other. In the representation of these tensions the concept of the nation has often played a relevant role while also undergoing continual periods of crisis. Labelled by some as “The End of History”, the postmodern condition (Lyotard) is for many nothing but a signal of a post-historical, post-ideological, post-colonial and post-metaphysical era, a sign of loss, a symptom of a new political order that Habermas and Hardt-Negri have termed, respectively, “postnational constellation” and “empire”. It constitutes an unprecedented global version of sovereignty and domination that differs from modernity’s colonial imperialism in lacking a localized centre or clearly defined territorial boundaries. In this (inter/post)national scenario literature has recovered much of the freedom that it had been deprived of by nationalist tendencies in the past.
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