Post modernist poetry and drama Itense awareness of language Howevertyhere is a radical distinction between post-modernist philosophy of language

and the culture in modern writers. Modern writers also believed in subjectivity, in the power of their minds, memory, consciousness, to create an expression of personal identity. he writer!s mind is a mastermind and the source of order and intelligibility unli"e the post modernist poets vanish in the process of writing, entering into language as personal individual selves. he construction of the subject - #.. $atherine %elsey & 'ddressing the subject (he says & it is a language which provides the possibility of subjectivity because it enables the spea"er to position himself as I the subject of a sentence, consciousness of self-possible through contrast, differentiation. I & you & the non I there is no other objective testimony. Identity is a matrix of subjective positions & inconsistence, in introduction with one another. he absent subject is gone. he I splits into the subject existing in the world and the subjects position within language either as the spea"ing I, the source utterance, or the spo"en or written i. he spea"ing I will construct his identity through a narrative among himself. here is no unitary self but only versions of selfhood. ed Hughes & writing in the aftermath of the second world war Produced a nightmarish vision of the death of the humanistic culture. )ational, humanistic. His poetry is with images of beastliness, constructing nature of the universal spirit. He construct is as murderous, bloody-minded being a reflex of recent history. he obstruction of human lives ma"es one thin" of the demolition of all libraries. $ulture is no longer possible among the rec"s of the atomic bomb, holocaust, communist concentration camps . the death of the western civili*ation is suggested through the icons borrowed from destructive nature, animals, birds and sometimes even floods, haw"s prehistorical beasts, crows, wolves, displays man!s logos revealing an energy which lac"s consciousness of purpose, the sense of responsibility, cruelty without mercy. he hughes demythologi*es the inventory of heroic figures as well as the repertoire of prophetic manifesto!s and of wor"shop built around the poet figure. Heroism and spiritual creation have been # impossible for instance +famous people, & the self complacent modernist poet claiming to be possessed of the # of inspiration. He has descende from his pedestal. He no longer produces the world heroic han". He lives through rac"s from a time from half the world buried because the position of the artist is a genious among common people. -oo"s indecent, irreposible in this past-war world. He thought of himself as the medi# wherein language wor"ed to produce an individual expression of collective consciousness. ./01 - volume2 + he haw" in the rain, includes a poem + he thought

fox,- the fox in the mind where the image of a fox in the poet!s mind is communicated to others on the printed page of a boo". he body of the fox in the world as well as its image in the mind thin"ing of it can only access the intersubjetive order of the community through writing. (ubject and reality give way to high self-reflexion. hemati*ing their own existence and nature (eamus Heaney & an irish poet between ther demand of loyalty coming from 3 opposite poles. & one hand 4 from the catholic nationalist who during the irish troubles which began in ./0/ reminded one of the atrocities committed by protest paralimitaries in the ./35!s. loyalty ot 6nglish, the language in which he was writing his poems. (have the heads of irish woman who consorted as the soldiers and cover their heads with hot tarn with feathers ans let them to public exposure. He tried to carry both buc"ets among his life by providing and enduring image of irish culture in the 6nglish language. His poetry being amended the 7obel Pri*e for literature. He believed in the importance of language to heal wounds of civili*ation, to construct national identity in a way whoch was in detriment of any party involved. 8eath of a naturalist & ./00 & rejection of irish traditional which had not set a pri*e on the arcadian imagery of the rural world and on irish mythology. He feels alienated from his father who!s still digging while he is using his pen in order to produce a more lasting order of civili*ation. he ancient, pastoral tradition which had employed the silva image as a double image of both nature and nature as the subject of poetry or virgil!s image of the wor" plowing the fields & objective correlative of writing poetry. he tradition is abandoned & Heaney separates the naturalist from the artist. 7othing is natural or given anymore, writers are aware that all is constructed. Personal # deconstruct the myth of narcissus & remembers the childhood . he used to loo" in a fountain. He saw his face he remembers that sentiment a slap across his reflection. ).s. homas & also feers that the only sacrifice with ma"ing is to language this poem for counterpoint. He feels that myth has been revised by science. Poetic representation is a matter of subse9uent devisions & revising the idea of god himself had

$haracteristics of contemporary writing as therefore the textual system of the present. people feel nowadays to be part of a global networ" of multiple connections professional, financial, spiritual, so we live from the geopolitical point of view in the age of empire that is a nation life is no longer limited to its national boundaries, it is part of the global village. here are international bodies institutions li"e the monetary fund, ue. the mooning of diaspora has changed unli"e the traditional diasporic communities jews, the contemporary diasporig groups no longer feel excluded, persecuted but rather living in a culture of adoption. %enedict 'nderson spea"s about imagined communities that cut across national bounderies. People feel free to choose forms of identity, culturally constructed, biologically given. Identity politica, religious has become a matter of choice. :e live no in the post gender age. ;udith %utler in gender trouble considers that one factor of analysis will not be enough in order to rule out gender discrimanitions & supporting the women cause against men. he true solution is allowing people to thin" of gender is a cultural construction and a matter of choice.

; winters & the theories & origins are not the only fruit in which she defends the freedom of sexual behavior and the choice of gender identity, we live now in the postclass age. :e no longer spee"s about a class but a profecional classes & professional 9ualification that devides people. )ace again has been replaced with the notion of ethnicity- one can choose therefore his ethnicity, a community which is not the one in which he was bnorn. 8emocracy of the constitution, a community whose common ground is the 'merican constitution, not gender identity. :e live also in the electronic age hypothetys Hypothext meaning a text which connects in multiple ways with other discourses non literary. He type of text which becomes possible to the web, interfaced computers.it was an 'merican who thought of possibility of treasuring humanities cultural resources. His name is <. %ush and he published an article in july ./=>. he cult of memory among the modernists. he reason for worshiping memory was precisely its victory ove=r time. Memory offered a space where the past present and future became one. ' possibility to treasure the past, to bring it bac" to the present, to the thought process, now it is the internet that functions at a time when humanities culture has become too complex for any indidivdual memory. $yber-culture & a new promose of immortaslity & it assures the permananece and clarity for resurrect from storage. he net will give you the geneaology, the soruces out of which a text was born through multiple lin"s. 6ach individual is born a tissue of other discources. he representation of time in contemporary ficitin was anticipated by %orges? & early ./=5!s & his sotry the garden of #. Path. ' matrix of state. ' virtual reality of relatives states. 'll of that may be reali*ed in parallel worlds. (toppard & )osencrant* and guilderstern are dead & pragmatic drama & characters borrowed from hamlet & thin" that they are living in a parallel universe bcxs they are tossing coins and they "eep coming on the heads. 'llusion of the time & political division and religions conflicts. (toppard confesses in an interview. ' mixture of chance and determinism. People are not capable of controlling their destinies in an universe of permanent immergence, unpredictible outcomes, random effects and causes which are not possible to be computed. He considers the mathematics of classical science. It is no longer the science promises. In )osencrant* and guilderstern, the two characters who in sha"espeare!s play who spy on hamlet are now innocent of devious designs. In this post-modernist play, the historical reality of "ing $laudius has vanished in the more important reality is that of hamlet!s play. )onsecrant* and guilderstern get intp hamlet!s play whose purpose they are unaware of and therefore they become the victims of a chaotic universe. In which thye have no guide and no chance. @. winterson & (exing the cherry? & an allusion to a .A century poetry about graphs. :interson considers gender a cultural process :ritten on the body & gender identity is smth produce through texts about generd. It is written on either sexual category. he voice of the narrator is uncertain at the beginning as to its gender ideitny. @nder identiy is a matter of performance. In this novel, that g winterson,

revises the notion of eternity, in this spot is an imaginery one situated at the edge of a blac" pole. Bemale 9uantum physicist engaged to produce a theory of the unioverse. (tella & ;ove & 'lice (tella & beautiful li"e a star and aestrophil the man in love with her. -ove triangle. ;ove & the ma"le representation. $ompare to 8racula & mina is capable to identiy the location of 8racula through hypnosis & the unconscious level is revealed. ' change in sciene through medical experiments.a change in the type of plot. (earch of sms achieved through diff means. his ideal abt time as a matrix with the possibility of characters travelling into the past and future, in several spaces, has given writers the possibilities to imagine such journeys in time with healing functions. Curt <onnegut & slaughter house five & the possibility to present the bombing of the town. P )icoeur - considers that the repr of time in post modernist is a matter of multilevel construction the attempt to mediate among D levels, comisc time, public plain of pers time and public experiecenof pers time. M Innis & time!s arrow & the narrator, a former war criminal has the poss to go bac" in time, the novel beg with the prot death and ending with his birth. 'ngela carter &is a transgressive type of novelist and she "eeps crossing borders between realism and fantasy, reality and fiction and especially between the technological, natural and the subjective in the representation of the human self in what has been called the post human age in which therefore the human body is affected by graphs, technologies which suppress its biological origin producing a problematic concoction of nature, tech and culture whose identity is still emerging in the need of definition by the writers of the present and the future.