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"Dworkin, Craig Douglas"
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Dictionary Poetics
Dictionary Poetics analyses book-length poems from a number of writers who have used particular editions of specific dictionaries to structure their work. Authors include Louis Zukofsky , George Oppen, Clark Coolidge, Bernadette Mayer, Tina Darragh, and Harryette Mullen.
eBook
No Medium
Close readings of ostensibly \"blank\" works--from unprinted pages to silent music--that point to a new understanding of media.In No Medium , Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say.
eBook
Dictionary Poetics
Narrates a surprisingly exciting account of experimental writers at work.Reveals insights only available by reading in the way the avant-garde writes. The new ways of writing pioneered by the literary avant-garde invite new ways of reading commensurate with their modes of composition. Dictionary Poetics examines one of those modes: book-length poems, from Louis Zukofsky to Harryette Mullen, all structured by particular editions of specific dictionaries. By reading these poems in tandem with their source texts, Dworkin puts paid to the notion that even the most abstract and fragmentary avant-garde literature is nonsensical, meaningless, or impenetrable. When read from the right perspective, passages that at first appear to be discontinuous, irrational, or hopelessly cryptic suddenly appear logically consistent, rationally structured, and thematically coherent. Following a methodology of \"critical description,\" Dictionary Poetics maps the material surfaces of poems, tracing the networks of signifiers that undergird the more familiar representational schemes with which conventional readings have been traditionally concerned. In the process, this book demonstrates that new ways of reading can yield significant interpretive payoffs, open otherwise unavailable critical insights into the formal and semantic structures of a composition, and transform our understanding of literary texts at their most fundamental levels. Documents a fascinating and unexpected genre of 20th-century literature.Showcases sustained examples of new modes of reading, offering an alternative to both the \"surface\" and \"distance\" readings currently under debate in literary studies.
eBook
The Imaginary Solution
A particular modernism in literature has finally arrived, about a decade behind schedule, but making up for lost time. Dworkin documents this return and offers evidence of a tendency that plays out across media.
Journal Article
Reading the illegible
This dissertation begins by insisting that the illegible can indeed be read. Focusing on works that appropriate and then physically manipulate a source text--through erasures, excisions, cancellations, graffiti, rearrangements, et cetera--it documents a remarkable but uncharted tradition of twentieth-century literature and visual art. While mapping the general contours of this tradition, the dissertation focuses on specific poems and artists' books by Charles Bernstein, Guy Debord, John Cage, Susan Howe, Ronald Johnson, Asger Torn, Aleksei Kruchenykh, Jackson Mac Low, Tom Phillips, Armand Schwerner, Robert Smithson, and Rosmarie Waldrop. In addition to offering specific readings of these works--which engage a wide range of subjects including experimental film, communication theory, and linguistic theory--the dissertation makes two broad claims. One is an argument for the way in which the formal elements of a text signify in specific, politically and historically inflected ways; in short, my thesis is that form must always necessarily signify, but that any particular signification is historically contingent and never inherently meaningful or a priori. The other extended argument is for the supple force of paragrammatics: those strategies of reading and writing, like de Saussure's anagrammatic deciphering of classical poetry, which abjure conventional reference in favor of establishing signification according to alternative logics. Demonstrating the relation of paragrammatics to a range of post-structural principles, as well as to George Bataille's influential concept of general economy, the dissertation takes the Situationists' concept of detournement (that hijacking or misappropriating diversion of a pre-existing work so that its means are turned against its ostensible ends) and elaborates the political and historical resonance of such \"misreading.\" In brief, my dual claim is that paragrammatics, as a tactic for both reading and writing, manifests a certain politics within the realm of literature itself, and also that examples of literary paragrammatics provide concrete models for the sort of cultural activities readers might then bring to other aspects of the world around them. In the final analysis, this is a work about (upon) Marcel Duchamp in which he is only ever mentioned, as it were, en passant.
Dissertation
