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Humouring Futurity: Avant-Garde Poetry for Children? 幽默的未来:儿童先锋诗歌?
0 LITERARY THEORY & CRITICISM Pub Date : 2021-12-01 DOI: 10.3366/count.2021.0241
Andrew J Dorkin
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。
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引用次数: 0
Beyond the Pulp Vanguard: Bruce Andrews's Film Noir Series and the Dead-End of Escapist Experimentalism 超越低俗先锋:布鲁斯·安德鲁斯的黑色电影系列和逃避现实的实验主义的死胡同
0 LITERARY THEORY & CRITICISM Pub Date : 2021-12-01 DOI: 10.3366/count.2021.0247
J. Guimarães
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.
尽管布鲁斯·安德鲁斯的兴趣跨越了不同的审美媒介,音乐、舞蹈和电影的概念多次决定了他作品的形式和概念轮廓,但学者们通常将后者视为真正的诗歌作品。在这篇文章中,我们将关注并充实安德鲁斯在两部年代久远的作品中与电影媒介对话的意义:黑色电影(1978)和黑色昏厥(2007)。我认为,虽然安德鲁斯在第一本书中使用黑色来攻击沉浸式艺术在感官上的残疾性质,但在第二本书中,著名的低俗流派作为一个宏大的隐喻,诗人通过它来解决故意非沉浸式前卫作品的无效,就像他自己1978年的作品一样,实现了一种被承诺的感知和伦理觉醒。在安德鲁斯看来,也许有一种逃避现实的元素,就像大多数低俗侦探小说和电影一样,创新作品声称具有前瞻性和变革性,但最终却促进了一种无力的狂喜和惊奇的感觉良好的情绪。在这篇文章中,我们充分充实了安德鲁斯对先锋“电影”野心的批评,并评估了他提出的另一种“微型”美学。安德鲁斯声称,只有把它的创新引入焦点,先锋派才能将它所揭示的变革模式从其在崇高浸泡的纸浆诗学中的稀释中拯救出来。
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引用次数: 1
The CounterText Interview: Jed Rasula 反文本采访:杰德·拉苏拉
0 LITERARY THEORY & CRITICISM Pub Date : 2021-12-01 DOI: 10.3366/count.2021.0239
Jed Rasula, Ming-Qian Ma
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引用次数: 0
Discontinued Mediations: Preludes to Fractured Thinking 中断的中介:断裂思维的前奏
0 LITERARY THEORY & CRITICISM Pub Date : 2021-12-01 DOI: 10.3366/count.2021.0240
Steve Mccaffery
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.
本文提供了一个替代规范的学术论文。它试图将不完整建立为一种量子现象。它把思考安排成警句式的时刻。它的主题范围包括本体、语言、艺术创新和主体性。
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引用次数: 0
Back matter 回到问题
0 LITERARY THEORY & CRITICISM Pub Date : 2021-12-01 DOI: 10.3366/count.2021.0251
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引用次数: 0
Dystopic: An Erasure Figure and Profile In the Miniature Room at the Art Institute of Chicago 难题:芝加哥艺术学院微型房间里的一个擦除图形和轮廓
0 LITERARY THEORY & CRITICISM Pub Date : 2021-12-01 DOI: 10.3366/count.2021.0246
Ariana Nadia Nash
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引用次数: 0
Tilth, Overland Trail 倾斜,陆上轨迹
0 LITERARY THEORY & CRITICISM Pub Date : 2021-12-01 DOI: 10.3366/count.2021.0244
Sasha Steensen
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引用次数: 0
Three Short PoemsConcerning the Henbane Bird 三首关于仙客鸟的短诗
0 LITERARY THEORY & CRITICISM Pub Date : 2021-12-01 DOI: 10.3366/count.2021.0248
W. Alexander
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引用次数: 0
As if Traveling Bushwhack 就像旅行布什
0 LITERARY THEORY & CRITICISM Pub Date : 2021-12-01 DOI: 10.3366/count.2021.0242
R. Armantrout
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引用次数: 0
Acousmatic Orphism: Susan Howe 听觉孤儿:苏珊·豪
0 LITERARY THEORY & CRITICISM Pub Date : 2021-12-01 DOI: 10.3366/count.2021.0243
Joseph I. Donahue
In this essay Joseph Donahue uncovers the Orphic ambitions of Susan Howe's 2010 volume of poetry, That This, especially as manifested in the poet's collaboration with the composer David Grubbs in the recording of a poem from that volume, ‘Frolic Architecture’. To account for the use of free-floating syllabic sound as an intensification of the Orphic concerns of the poem in the recording, the essay turns at first to the origin of acousmatic sound and its proposed relations to ancient mystery cults: composer and sound theorist Pierre Schaeffer claimed that to hear sound without seeing its source placed the listener in a position comparable to that of an initiate in the cult of Pythagoras. Drawing on Brian Kane's 2014 study of the origins of musique concrète (which incorporates recorded sounds) in the postwar period, Sound Unseen, this piece claims the acousmatic not only for Pythagoras but for Orpheus. It is argued that an Orphic poetics rooted in the acousmatic comes to full fruition in late Howe. Howe's own evocations of Pythagoras, and her own mythologising of the acousmatic, are examined, especially in regard to her collage method which so often and so momentously conceals or removes the visual origin of sounded syllables. The collaboration with composer David Grubbs intensifies the acousmatic poetics of Howe's text, and it is suggested, is the poem's ultimate realisation.
在这篇文章中,约瑟夫·多纳休揭示了苏珊·豪2010年诗集《That this》中的奥尔甫斯式野心,特别是在诗人与作曲家大卫·格拉布合作的《Frolic Architecture》的一首诗的录音中。为了解释在录音中使用自由浮动的音节音作为诗歌的奥尔甫斯关注的强化,文章首先转向声学声音的起源及其与古代神秘崇拜的关系:作曲家和声音理论家皮埃尔·谢弗声称,听到声音而不看到它的来源将听者置于与毕达哥拉斯崇拜的初学者相当的位置。布莱恩·凯恩(Brian Kane)在2014年对战后时期混凝土音乐(包含录制的声音)的起源进行了研究,《看不见的声音》(Sound Unseen),该作品声称声学不仅来自毕达哥拉斯,也来自俄耳甫斯。人们认为,植根于声学的俄耳甫斯诗学在豪晚期达到了顶峰。Howe自己对毕达哥拉斯的回忆,以及她自己对声学的神话化,都被考察了,特别是关于她的拼贴法,这种拼贴法经常如此重大地隐藏或消除了发音音节的视觉来源。与作曲家David Grubbs的合作强化了Howe文本的听觉诗学,有人认为,这是这首诗的最终实现。
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引用次数: 0
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CounterText-A Journal for the Study of the Post-Literary
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