H.C. Artmann's Structuralist Imagination

Schuster argues that H. C. Artmann's literary work is composed of a structuralist imagination that corresponds with Saussurean semiology and the perspective of synchrony. Following a discussion of relevant contexts such as biography, scholarship, Austrian culture and methodology, Artmann's aesthetic principles are considered under the headings of "synchrony," "arealism" and "smallness." These principles account for the three sign-categories that are characteristic of his work: aliens, angels, and monsters. By defining postmodernity as bi-paradigmatic irony, Artmann's strong potential for postmodernity is applied to the prose texts dracula dracula, tök ph'rong süleng, and Grünverschlossene Botschaft.

Autorentext
Marc-Oliver Schuster; Studium der Germanistik und Philosophie in Salzburg und Toronto. Forschungsprojekte zu "Semiotik und Postmoderne", "Der Wiener Biedermeier-Maler Eduard Ritter" und "Jazz in deutschsprachiger Literatur". Dissertation H. C. Artmann's Structuralist Imagination: A Semiotic Study of His Aesthetic and Postmodernity (2004).

Klappentext
Schuster argues that H. C. Artmann's literary work is composed of a structuralist imagination that corresponds with Saussurean semiology and the perspective of synchrony. Following a discussion of relevant contexts such as biography, scholarship, Austrian culture and methodology, Artmann's aesthetic principles are considered under the headings of "synchrony," "arealism" and "smallness." These principles account for the three sign-categories that are characteristic of his work: aliens, angels, and monsters. By defining postmodernity as bi-paradigmatic irony, Artmann's strong potential for postmodernity is applied to the prose texts dracula dracula, tök ph'rong süleng, and Grünverschlossene Botschaft.

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