ABSTRACT
Yoko Tawada here takes up an artistic perspective which has temporarily gone missing in new music. Avant-garde music has at times striven to cut
itself off as much as possible from the well-known. Tawada’s text goes in the opposite direction, precisely turning towards the well-known in order to discover the unknown in it by way of heightened attention. Its view on the self and the body, a view that is thereby altered, entails unimagined exploratory movements within language, generating an equally altered view of the relation between the well-known and the new, within literary form itself.
