Dakota

“Dakota” by Young Hae-Chang Heavy Industries embodies the strategies of literary Modernism through the literary strategies, manipulated syntax and inelegant vocabulary, and the aesthetic strategies, Imagism and Vorticism. Although the similarities are strong and the poem holds firmly to the concept of modernity in conjunction to literary modernism, “Dakota” deserves to be categorized in the “new” period, digital modernism, because of its difference in decorum. The closed reading of excerpts from the poem that marked the dawn of Modernism, “The Darkling Thrush” by Thomas Hardy, and “Dakota” highlight the shared initial, if not inherent, characteristics of literary modernism.

“The ancient pulse of germ and birth

Was shrunken hard and dry,

And every spirit upon earth

Seemed fervourless as I.”

(Ramazani, Jahan, Richard Ellmann, and Robert O'Clair, eds. "The Norton Anthology: Modern Poetry." Modern and Modernist 1.3 (n.d.): Xxix. Print.) “FEELING

LIKE

HELL,

SØRRY

FØR

ØURSELVES”

("DAKOTA." DAKOTA. Young Have-Chang Heavy Industries, n.d. Web. 15 Sept. 2014.)

Quite naturally the scholar objects to the relationship of both these

Cyclical modernism referred to a movement and its collective self-consciousness of its own identity. For that matter, “Dakota” is modern and belongs to literary Modernism. It’s deviating from the status quo and exploring new aesthetics. However, typologically “Dakota” attempts to fulfill the past and to model the influences of the digital era. Despite all the attempts to push the envelope, literature was still limited by printing. Its efforts to take control of music, visuals, perception, and production were constricted until the digital era. “Dakota” is capable of controlling what the audience hears, sees, perceived, and how it acquires literature. Essentially, the decorum changed because of technological