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From Modernism to Postmodernism: American Poetry and Theory in the Twentieth Century
by
Michael Golston
in
20th century
/ Ashbery, John
/ Concrete poetry
/ Formalist art
/ Language
/ Language poetry
/ Literary criticism
/ Literary formalism
/ Modernism
/ Modernist art
/ Modernist poetry
/ Participation
/ Poetic movements
/ Poetics
/ Poetry
/ Poets
/ Postmodernism
/ Postmodernist criticism
/ Syntax
/ Theory
/ Watten, Barrett (1948-)
2011
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From Modernism to Postmodernism: American Poetry and Theory in the Twentieth Century
by
Michael Golston
in
20th century
/ Ashbery, John
/ Concrete poetry
/ Formalist art
/ Language
/ Language poetry
/ Literary criticism
/ Literary formalism
/ Modernism
/ Modernist art
/ Modernist poetry
/ Participation
/ Poetic movements
/ Poetics
/ Poetry
/ Poets
/ Postmodernism
/ Postmodernist criticism
/ Syntax
/ Theory
/ Watten, Barrett (1948-)
2011
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Do you wish to request the book?
From Modernism to Postmodernism: American Poetry and Theory in the Twentieth Century
by
Michael Golston
in
20th century
/ Ashbery, John
/ Concrete poetry
/ Formalist art
/ Language
/ Language poetry
/ Literary criticism
/ Literary formalism
/ Modernism
/ Modernist art
/ Modernist poetry
/ Participation
/ Poetic movements
/ Poetics
/ Poetry
/ Poets
/ Postmodernism
/ Postmodernist criticism
/ Syntax
/ Theory
/ Watten, Barrett (1948-)
2011
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From Modernism to Postmodernism: American Poetry and Theory in the Twentieth Century
Book Review
From Modernism to Postmodernism: American Poetry and Theory in the Twentieth Century
2011
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Overview
[...]Ashton claims, Stein practices \"a logical formalism irrevocably at odds with both the phenomenological commitments of poststructuralist linguistics and the materialist commitments of language poetry\" (68). According to Ashton, neither Stein nor (Riding) Jackson had time for such a reader-friendly aesthetic and in fact articulated their respective poetics against adventures in interpretation. [...]the language poets conceive of the poem as a locus for linguistic experiment in a manner that would have been anathema to the New Critics, for whom, in the words of I. A. Richards in Poetries and Sciences - a text that figures importantly in Ashton's study - poetry begins as \"the possibility of emotional experience instigated, if not wholly controlled, through ordered words\" (48). According to Richards, consciousness exists prior to words, which are \"brought into\" the mind by its \"interests\" and \"represent\" its experience - hence Watten's \"language as symbols for objects.\"
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