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Marjorie Perloff here explores this intriguing development in contemporary poetry: the embrace of "unoriginal" writing. Paradoxically, she argues, such citational and often constraint-based poetry is more accessible and, in a sense, "personal" than was the hermetic poetry of the 1980's and 90's. --
Can techniques traditionally thought to be outside the scope of literature, including word processing, databasing, identity ciphering, and intensive programming, inspire the reinvention of writing? The Internet and the digital environment present writers with new challenges and opportunities to reconceive creativity, authorship, and their relationship to language. Confronted with an unprecedented amount of texts and language, writers have the opportunity to move beyond the creation of new texts and manage, parse, appropriate, and reconstruct those that already exist. In addition to explaining his concept of uncreative writing, which is also the name of his popular course at the University of Pennsylvania, Goldsmith reads the work of writers who have taken up this challenge. Examining a wide range of texts and techniques, including the use of Google searches to create poetry, the appropriation of courtroom testimony, and the possibility of robo-poetics, Goldsmith joins this recent work to practices that date back to the early twentieth century. Writers and artists such as Walter Benjamin, Gertrude Stein, James Joyce, and Andy Warhol embodied an ethos in which the construction or conception of a text was just as important as the resultant text itself. By extending this tradition into the digital realm, uncreative writing offers new ways of thinking about identity and the making of meaning.
In Modris Eksteins’s hands, the interlocking stories of Vincent van Gogh and art dealer Otto Wacker reveal the origins of the fundamental uncertainty that is the hallmark of the modern era. Through the lens of Wacker’s sensational 1932 trial in Berlin for selling fake Van Goghs, Eksteins offers a unique narrative of Weimar Germany, the rise of Hitler, and the replacement of nineteenth-century certitude with twentieth-century doubt. Berlin after the Great War was a magnet for art and transgression. Among those it attracted was Otto Wacker, a young gay dancer turned art impresario. His sale of thirty-three forged Van Goghs and the ensuing scandal gave Van Gogh’s work unprecedented commercial value. It also called into question a world of defined values and standards that had already begun to erode during the war. Van Gogh emerged posthumously as a hero who rejected organized religion and other suspect sources of authority in favor of art. Self-pitying Germans saw in his biography a series of triumphs—over defeat, poverty, and meaninglessness—that spoke to them directly. Eksteins shows how the collapsing Weimar Republic that made Van Gogh famous and gave Wacker an opportunity for reinvention propelled a third misfit into the spotlight. Taking advantage of the void left by a gutted belief system, Hitler gained power by fashioning myths of mastery. Filled with characters who delight and frighten, Solar Dance merges cultural and political history to show how upheavals of the early twentieth century gave rise to a search for authenticity and purpose.
Copyright and Piracy by Lionel Bently,Jennifer Davis,Jane C. Ginsburg Pdf
An understanding of the changing nature of the law and practice of copyright infringement is a task too big for lawyers alone; it requires additional inputs from economists, historians, technologists, sociologists, cultural theorists and criminologists. Where is the boundary to be drawn between illegal imitation and legal inspiration? Would the answer be different for creators, artists and experts from different disciplines or fields? How have concepts of copyright infringement altered over time and how do such changes relate, if at all, to the cultural norms operating amongst creators in different fields? With such an approach, one might perhaps begin to address the vital and overarching question of whether strong copyright laws, rigorously enforced, impede rather than promote creativity. And what can be done to avoid any such adverse consequences, while maintaining the effectiveness of copyright as an incentive-mechanism for those who need it?
Explores the intricate relationships of postmodern poetics to the culture of network television, advertising layout, and the computer. Perloff argues that poetry today, like the visual arts and theater, is always "contaminated" by the language of mass media. Among the many poets Perloff discusses are John Ashbery, George Oppen, Susan Howe, Clark Coolidge, Lyn Hejinian, Leslie Scalapino, Charles Bernstein, Johanna Drucker, Steve McCaffery, and preeminently, John Cage--Publisher.
Conceptions and practices of poetry change not only from time to time and from place to place but also from poet to poet. This has never been more the case than in recent years. Gerald Bruns’s magisterial What Are Poets For? explores typographical experiments that distribute letters randomly across a printed page, sound tracks made of vocal and buccal noises, and holographic poems that recompose themselves as one travels through their digital space. Bruns surveys one-word poems, found texts, and book-length assemblies of disconnected phrases; he even includes descriptions of poems that no one could possibly write, but which are no less interesting (or no less poetic) for all of that. The purpose of the book is to illuminate this strange poetic landscape, spotlighting and describing such oddities as they appear, anomalies that most contemporary poetry criticism ignores. Naturally this breadth raises numerous philosophical questions that Bruns also addresses—for example, whether poetry should be responsible (semantically, ethically, politically) to anything outside itself, whether it can be reduced to categories, distinctions, and the rule of identity, and whether a particular poem can seem odd or strange when everything is an anomaly. Perhaps our task is simply to learn, like anthropologists, how to inhabit such an anarchic world. The poets taken up for study are among the most important and innovative in the late twentieth and early twenty-first centuries: John Ashbery, Charles Bernstein, Paul Celan, Kenneth Goldsmith, Lyn Hejinian, Susan Howe, Karen Mac Cormack, Steve McCaffery, John Matthias, J. H. Prynne, and Tom Raworth.What Are Poets For? is nothing less than a lucid, detailed study of some of the most intractable writings in contemporary poetry.
The Poetics of Indeterminacy by Marjorie Perloff Pdf
She traces this tradition from its early "French connection" in the poetry of Rimbaud and Apollinaire as well as in Cubist, Dada, and early Surrealist painting; through its various manifestations in the work of Gertrude Stein, William Carlos Williams, and Ezra Pound; to such postmodern "landscapes without depth" as the French/English language constructions of Samuel Beckett, the elusive dreamscapes of John Ashbery, and the performance works of David Antin and John Cage.".
“[Perloff] has brilliantly adapted Wittgenstein’s conception of meaning and use to an analysis of contemporary language poetry.” —Linda Voris, Boston Review Marjorie Perloff, among our foremost critics of twentieth-century poetry, argues that Ludwig Wittgenstein provided writers with a radical new aesthetic, a key to recognizing the inescapable strangeness of ordinary language. Taking seriously Wittgenstein’s remark that “philosophy ought really to be written only as a form of poetry,” Perloff begins by discussing Wittgenstein the “poet.” What we learn is that the poetics of everyday life is anything but banal. “This book has the lucidity and the intelligence we have come to expect from Marjorie Perloff.” —Linda Munk, American Literature “Wittgenstein’s Ladder offers significant insights into the current state of poetry, literature, and literary study. Perloff emphasizes the vitality of reading and thinking about poetry, and the absolute necessity of pushing against the boundaries that define and limit our worlds.” —David Clippinger, Chicago Review “Majorie Perloff has done more to illuminate our understanding of twentieth century poetic language than perhaps any other critic . . . Entertaining, witty, and above all highly original.” —Willard Bohn, SubStance
Discarded by archivists and disregarded by scholars despite its cultural impact on post–World War II Europe, the film photonovel represents a unique crossroads. This hybrid medium presented popular films in a magazine format that joined film stills or set pictures with captions and dialogue balloons to re-create a cinematic story, producing a tremendously popular blend of cinema and text that supported more than two dozen weekly or monthly publications. Illuminating a long-overlooked ‘lowbrow’ medium with a significant social impact, The Film Photonovel studies the history of the format as a hybrid of film novelizations, drawn novels, and nonfilm photonovels. While the field of adaptation studies has tended to focus on literary adaptations, this book explores how the juxtaposition of words and pictures functioned in this format and how page layout and photo cropping could affect reading. Finally, the book follows the film photonovel's brief history in Latin America and the United States. Adding an important dimension to the interactions between filmmakers and their audiences, this work fills a gap in the study of transnational movie culture.
The Dance of the Intellect by Marjorie Perloff Pdf
Must poetic form be, as Yeats demanded, "full, sphere-like, single", or can it accommodate the "impurities" Yeats and his Modernist generation found so problematic? Sixty years later, these are still open questions, questions to which Marjorie Perloff addresses herself in the essays collected here. The first group of essays deals with Pound's own poetics as that poetics related to two of his great contemporaries, Stevens and Joyce, as well as to the visual arts of his day. The second group deals with the more technical aspects of verse and prose. In the last four essays, Perloff takes up broader issues, including the current pessimism about the state of poetry, and the work of experimental poets and conceptual poets.
This monograph takes on the question of how literary plagiarism is defined, exposed, and sanctioned in Western culture and how appropriating language assigned to another author can be considered a radical subversive act in postmodern US-American literature. While various forms of art such as music, painting, or theater have come to institutionalize appropriation as a valid mode to ventilate what authorship, originality, and the anxiety of influence may mean, the literary sphere still has a hard time acknowledging the unmarked acquisition of words, ideas, and manuscripts. The author shows how postmodern plagiarism in particular serves as a literary strategy of appropriation at the interface between literary economics, law, and theoretical discourses of literature. She investigates the complex expectations surrounding the strong link between an individual author subject and its alienable text, a link that several postmodern writers powerfully question and violate. Identifying three distinct practices of postmodern plagiarism, the book examines their specific situatedness, precepts, and subversive potential as litmus tests for the literary market, and the ongoing dynamic notion of the concepts authorship, originality, and creativity.
A comedic Steampunk sensation inspired by both Shakespeare's Twelfth Night and Oscar Wilde's The Importance of Being Earnest, All Men of Genius follows Violet Adams as she disguises herself as her twin brother to gain entry to Victorian London's most prestigious scientific academy, and once there, encounters blackmail, mystery, and love. Violet Adams wants to attend Illyria College, a widely renowned school for the most brilliant up-and-coming scientific minds, founded by the late Duke Illyria, the greatest scientist of the Victorian Age. The school is run by his son, Ernest, who has held to his father's policy that the small, exclusive college remain male-only. Violet sees her opportunity when her father departs for America. She disguises herself as her twin brother, Ashton, and gains entry. But keeping the secret of her sex won't be easy, not with her friend Jack's constant habit of pulling pranks, and especially not when the duke's young ward, Cecily, starts to develop feelings for Violet's alter ego, "Ashton." Not to mention blackmail, mysterious killer automata, and the way Violet's pulse quickens whenever the young duke, Ernest (who has a secret past of his own), speaks to her. She soon realizes that it's not just keeping her secret until the end of the year faire she has to worry about: it's surviving that long. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
The Routledge Companion to Remix Studies by Eduardo Navas,Owen Gallagher,xtine burrough Pdf
The Routledge Companion to Remix Studies comprises contemporary texts by key authors and artists who are active in the emerging field of remix studies. As an organic international movement, remix culture originated in the popular music culture of the 1970s, and has since grown into a rich cultural activity encompassing numerous forms of media. The act of recombining pre-existing material brings up pressing questions of authenticity, reception, authorship, copyright, and the techno-politics of media activism. This book approaches remix studies from various angles, including sections on history, aesthetics, ethics, politics, and practice, and presents theoretical chapters alongside case studies of remix projects. The Routledge Companion to Remix Studies is a valuable resource for both researchers and remix practitioners, as well as a teaching tool for instructors using remix practices in the classroom.
What is a safe haven? What role should they play in an investment portfolio? Do we use them only to seek shelter until the passing of financial storms? Or are they something more? Contrary to everything we know from modern financial theory, can higher returns actually come as a result of lowering risk? In Safe Haven, hedge fund manager Mark Spitznagel—one of the top practitioners of safe haven investing and portfolio risk mitigation in the world—answers these questions and more. Investors who heed the message in this book will never look at risk mitigation the same way again.
Writing Manuals for the Masses by Anneleen Masschelein,Dirk de Geest Pdf
This open access collection of essays examines the literary advice industry since its emergence in Anglo-American literary culture in the mid-nineteenth century within the context of the professionalization of the literary field and the continued debate on creative writing as art and craft. Often dismissed as commercial and stereotypical by authors and specialists alike, literary advice has nonetheless remained a flourishing business, embodying the unquestioned values of a literary system, but also functioning as a sign of a literary system in transition. Exploring the rise of new online amateur writing cultures in the twenty-first century, this collection of essays considers how literary advice proliferates globally, leading to new forms and genres.