| dc.description.abstract | [Abstract] A corpus of postmodern Romanian poetry reveals truly innovative quotational strategies. Here quotation as signifier is vital for the construction of the poetic meaning. As a sui generis poetic device, it can function as metonymy, metaphor and syllepsis; also, as graft and inscription. (Non)literary quotations are present in the body text and in paratexts (titles, epigraphs, footnotes), thus emphasizing the (meta)communicative, contractual dimension of the poetic message. This consistent citational practice has some interesting consequences: a) it works as an interpretant and, at the same time, as a perfect catharsis to a Bloomian «anxiety of influence»; b) it generates polyphony and polyglossia: the quoted material is frequently in foreign languages; c) it contrasts the rhetoric of quotation to the rhetoric of allusion, with respect to the type and degree of interpretative cooperation they elicit from the reader. An important goal of this research is to establish a new typology of literary quotation. Along with standard varieties (pure, direct, indirect, mixed, open, closed quotation), the study of the corpus brings into attention: the (Borgesian-like) fake quotation, the «ready-mades», the parodically distorted citation, the «scare quote» as metalinguistic commentary, the ironic-Flaubertian italicization of cliché, the impersonation of the many voices of doxa. These are eccentric devices that Compagnon would have listed under his «teratology of quotation». An insight into the citational enunciation in a poetic context can bring about a re-evaluation of the whole problematic of interdiscursive dialogism. | es_ES |
