This essay humours the possibility of a kinder-garde, in which poets humour children so that children might humour poetry's futurity. I propose humouring as a critical approach premised on a compliant tension with a text, a subversive toleration that undermines ‘aetonormative’ seriousness and upholds ‘childish’ humour as valuable play-with-value. The Kindergarde anthology (ed. Dana Teen Lomax 2013 ) claims to translate avant-gardism for a child audience, linking its experimental poems to the experimentation of children's play. Using carnivalisation, détournement, defamiliarisation, and other forms of what Ryan Fitzpatrick and Jonathan Ball term ‘experimentation-with-humour’, Kindergarde constructs inclusive spaces for humoured subversion, in which children can sidestep oppressive adult normativity. The child's humoured humouring of adult power is discussed here by re-reading children's literature's ‘impossible relation’ (after Jacqueline Rose) in terms of Michel Serres’ ‘parasite’, Judy Little's feminist ‘humouring’ of male language, and Lee Edelman's queering of ‘reproductive futurism.’ Asserting that it is the condition of twenty-first-century poetry to be humoured – as a ‘minor literature’ (Deleuze and Guattari) with a ‘minor attitude’ (Georges Bataille) – my humouring of the Kindergarde builds toward a post-literary vision of the kinder-gardist as futurity-humourist.
这篇文章幽默地探讨了一种更友善的花园的可能性，在这种花园中，诗人幽默地对待孩子，这样孩子们就可以幽默地对待诗歌的未来。我建议将幽默作为一种批判方法，其前提是与文本保持顺从的紧张关系，这是一种颠覆性的容忍，破坏了“虚假”的严肃性，并将“幼稚”的幽默视为有价值的游戏。《幼儿园选集》（Dana Teen Lomax编辑，2013年）声称为儿童观众翻译前卫主义，将其实验诗与儿童游戏的实验联系起来。Kindergarde利用狂欢、旅游、陌生化和其他形式的Ryan Fitzpatrick和Jonathan Ball所说的“幽默实验”，为幽默颠覆构建了包容性的空间，在这个空间里，孩子们可以避开压迫性的成人规范。本文通过重读儿童文学中米歇尔·塞雷斯的“寄生虫”、朱迪·利特尔对男性语言的女权主义“幽默”以及李·埃德尔曼对“生殖未来主义”的质疑，来讨论儿童对成人力量的幽默断言幽默是21世纪诗歌的条件 – 作为“次要文学”（德勒兹和瓜塔里），具有“次要态度”（乔治·巴塔耶） – 我对幼儿园的幽默构建了一种后文学视野，将幼儿园主义者视为未来幽默主义者。
{"title":"Humouring Futurity: Avant-Garde Poetry for Children?","authors":"Andrew J Dorkin","doi":"10.3366/count.2021.0241","DOIUrl":"https://doi.org/10.3366/count.2021.0241","url":null,"abstract":"This essay humours the possibility of a kinder-garde, in which poets humour children so that children might humour poetry's futurity. I propose humouring as a critical approach premised on a compliant tension with a text, a subversive toleration that undermines ‘aetonormative’ seriousness and upholds ‘childish’ humour as valuable play-with-value. The Kindergarde anthology (ed. Dana Teen Lomax 2013 ) claims to translate avant-gardism for a child audience, linking its experimental poems to the experimentation of children's play. Using carnivalisation, détournement, defamiliarisation, and other forms of what Ryan Fitzpatrick and Jonathan Ball term ‘experimentation-with-humour’, Kindergarde constructs inclusive spaces for humoured subversion, in which children can sidestep oppressive adult normativity. The child's humoured humouring of adult power is discussed here by re-reading children's literature's ‘impossible relation’ (after Jacqueline Rose) in terms of Michel Serres’ ‘parasite’, Judy Little's feminist ‘humouring’ of male language, and Lee Edelman's queering of ‘reproductive futurism.’ Asserting that it is the condition of twenty-first-century poetry to be humoured – as a ‘minor literature’ (Deleuze and Guattari) with a ‘minor attitude’ (Georges Bataille) – my humouring of the Kindergarde builds toward a post-literary vision of the kinder-gardist as futurity-humourist.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47534552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Despite the fact that Bruce Andrews's interests cut across different aesthetic media, with concepts from music, dance and film many times determining the formal and conceptual contours of his compositions, scholars most often examine the latter as bona fide works of poetry. In this essay, we will attend to and flesh out the significance of Andrews's dialogue with the medium of cinema in two chronologically distant works: Film Noir (1978) and Swoon Noir (2007). I will contend that while Andrews uses the noir, in the first book, to attack the sensorially disabling nature of immersive art, in the second one, the famed pulp genre functions as a grand metaphor through which the poet addresses the ineffectiveness of intentionally non-immersive avant-garde works, like his own 1978 piece, to carry out a much-promised perceptual and ethical awakening. There is, perhaps, in Andrews's view, an escapist element, very much like that which colours most detective pulp fiction and cinema, to innovative works that purport to be forward-thinking and transformative but end up promoting a feel-good mood of powerless rapture and amazement. In this piece, we fully flesh out Andrews's critique of the vanguard's ‘cinematic’ ambitions and assess the alternative ‘miniature’ aesthetics he proposes. Only by drawing out and bringing its innovations into focus, Andrews claims, will the avant-garde be able to rescue the transformative modes of experience it reveals from their dilution in sublime-soaked pulp poetics.
{"title":"Beyond the Pulp Vanguard: Bruce Andrews's Film Noir Series and the Dead-End of Escapist Experimentalism","authors":"J. Guimarães","doi":"10.3366/count.2021.0247","DOIUrl":"https://doi.org/10.3366/count.2021.0247","url":null,"abstract":"Despite the fact that Bruce Andrews's interests cut across different aesthetic media, with concepts from music, dance and film many times determining the formal and conceptual contours of his compositions, scholars most often examine the latter as bona fide works of poetry. In this essay, we will attend to and flesh out the significance of Andrews's dialogue with the medium of cinema in two chronologically distant works: Film Noir (1978) and Swoon Noir (2007). I will contend that while Andrews uses the noir, in the first book, to attack the sensorially disabling nature of immersive art, in the second one, the famed pulp genre functions as a grand metaphor through which the poet addresses the ineffectiveness of intentionally non-immersive avant-garde works, like his own 1978 piece, to carry out a much-promised perceptual and ethical awakening. There is, perhaps, in Andrews's view, an escapist element, very much like that which colours most detective pulp fiction and cinema, to innovative works that purport to be forward-thinking and transformative but end up promoting a feel-good mood of powerless rapture and amazement. In this piece, we fully flesh out Andrews's critique of the vanguard's ‘cinematic’ ambitions and assess the alternative ‘miniature’ aesthetics he proposes. Only by drawing out and bringing its innovations into focus, Andrews claims, will the avant-garde be able to rescue the transformative modes of experience it reveals from their dilution in sublime-soaked pulp poetics.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43784645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The CounterText Interview: Jed Rasula","authors":"Jed Rasula, Ming-Qian Ma","doi":"10.3366/count.2021.0239","DOIUrl":"https://doi.org/10.3366/count.2021.0239","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46547093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This text is offered as an alternative to the normative academic paper. It seeks to establish incompletion as a quantum phenomenon. It arranges thinking into aphoristic moments. Its subject-scope embraces ontology, language, artistic innovation, and subjectivity.
{"title":"Discontinued Mediations: Preludes to Fractured Thinking","authors":"Steve Mccaffery","doi":"10.3366/count.2021.0240","DOIUrl":"https://doi.org/10.3366/count.2021.0240","url":null,"abstract":"This text is offered as an alternative to the normative academic paper. It seeks to establish incompletion as a quantum phenomenon. It arranges thinking into aphoristic moments. Its subject-scope embraces ontology, language, artistic innovation, and subjectivity.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41481191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dystopic: An Erasure Figure and Profile In the Miniature Room at the Art Institute of Chicago","authors":"Ariana Nadia Nash","doi":"10.3366/count.2021.0246","DOIUrl":"https://doi.org/10.3366/count.2021.0246","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44538994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Back matter","authors":"","doi":"10.3366/count.2021.0251","DOIUrl":"https://doi.org/10.3366/count.2021.0251","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43199283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"As if Traveling Bushwhack","authors":"R. Armantrout","doi":"10.3366/count.2021.0242","DOIUrl":"https://doi.org/10.3366/count.2021.0242","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43071635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Tilth, Overland Trail","authors":"Sasha Steensen","doi":"10.3366/count.2021.0244","DOIUrl":"https://doi.org/10.3366/count.2021.0244","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43493437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Three Short PoemsConcerning the Henbane Bird","authors":"W. Alexander","doi":"10.3366/count.2021.0248","DOIUrl":"https://doi.org/10.3366/count.2021.0248","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48796241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article posits that Steve McCaffery's radical poetico-graphic experimentation, from the 1970s through to the present day, is an exemplary site at which innovations in poetics and technology converge. At stake in McCaffery's multifaceted achievement are, among other issues: the composition of the poetic page as a screen, with its integral design and integrity; the transition between analog and digital print organisations, in thinking as in technology; the history of printing, as evidenced by his deployment of the transitional technology of the IBM Selectric typewriter in the composition of images as well as texts; and the notion that graphics (figures, cartoons, maps, and charts – with and without words) can be imbued with the figuration and articulatory nuance characteristic of verse. Throughout McCaffery's double compilation volume, Seven Pages Missing (2000 and 2002), the poet explicitly registers the transformations in communications, information, and technology that he could not help but experience around him. His poetic experiments are concurrent with luminous introductions to the cybernetic universe furnished by the likes of Anthony Wilden and Douglas Hofstadter. McCaffery's experiments, in their boldness and scope, also shed light on the venerable, ongoing cultural play between analog and digital: not period-specific or bound to particular technologies of calculation, communications, and reproduction.
{"title":"The Poet as Cyber-Linguistic Programmer of Her Age: McCaffery","authors":"H. Sussman","doi":"10.3366/count.2021.0245","DOIUrl":"https://doi.org/10.3366/count.2021.0245","url":null,"abstract":"This article posits that Steve McCaffery's radical poetico-graphic experimentation, from the 1970s through to the present day, is an exemplary site at which innovations in poetics and technology converge. At stake in McCaffery's multifaceted achievement are, among other issues: the composition of the poetic page as a screen, with its integral design and integrity; the transition between analog and digital print organisations, in thinking as in technology; the history of printing, as evidenced by his deployment of the transitional technology of the IBM Selectric typewriter in the composition of images as well as texts; and the notion that graphics (figures, cartoons, maps, and charts – with and without words) can be imbued with the figuration and articulatory nuance characteristic of verse. Throughout McCaffery's double compilation volume, Seven Pages Missing (2000 and 2002), the poet explicitly registers the transformations in communications, information, and technology that he could not help but experience around him. His poetic experiments are concurrent with luminous introductions to the cybernetic universe furnished by the likes of Anthony Wilden and Douglas Hofstadter. McCaffery's experiments, in their boldness and scope, also shed light on the venerable, ongoing cultural play between analog and digital: not period-specific or bound to particular technologies of calculation, communications, and reproduction.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49523186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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