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Setting: Postwar Poetics and Genres ...

Williams, Cameron.

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Setting: Postwar Poetics and Genres of Notation.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Setting: Postwar Poetics and Genres of Notation./
Author:	Williams, Cameron.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	277 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-02, Section: A.
Contained By:	Dissertations Abstracts International80-02A.
Subject:	American literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10751098
ISBN:	9780438171480

Setting: Postwar Poetics and Genres of Notation.
Williams, Cameron.

Setting: Postwar Poetics and Genres of Notation. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 277 p.

Source: Dissertations Abstracts International, Volume: 80-02, Section: A.

Thesis (Ph.D.)--New York University, 2018.

This item must not be sold to any third party vendors.

"Setting" offers a critique of interdisciplinary aesthetics and scholarship by looking to gay, Black, and feminist poets who have used disciplines as sites to contest the broader social determinations of their lives. In case studies of the work of Frank O'Hara, Russell Atkins, Lisa Robertson, and C. S. Giscombe, I offer snapshots of poets working through the relationship of poetry to other arts, in a period when the rules of art and literary value were changing to the extent that the difference between a text and performance could be difficult to determine. I rewrite the history of postwar poetry around its adaptation of formal problems from other art media. This dynamic of avant-garde art-its amoeba-like cooptation of other forms-has not previously been used to understand poetry. As I frame it, the act of setting one medium in relation to another offers a larger view of the context or situation of poetry and the poet. The sociohistorical boundaries of disciplines include race and gender. Disciplines are not merely academic silos to be transcended, but as social formations that contain historical information, they are valuable as archives and as sites for poetic events. What emerges is a central problem of genre indeterminacy in postwar art, one that requires that we think text and performance together. My readings do so by taking terms from other media-extramusical, indeterminacy, gesture, and setting-as heuristics. Further, through its discussions of Atkins and Giscombe, "Setting" makes African-American experimental poetry central to the New American poetry, bringing critical race theory to bear on a history of the avant-garde; at the same time, I find new archives for African-American studies in Giscombe's "gestural landscape" and Atkins's "musical objects." I reframe a central problem in the reception of postwar poets: how to define contexts for their work. I frame this work in terms of its aesthetic engagements, such as the perversity of Atkins's music theory that argues that music be written for the eye and not the ear, but also argue that aesthetics doesn't exclude life. Giscombe's gestural poetics brings biography and text together: the gesture of "going there" allows me to account for a whole category of activity-research trips-that are otherwise hard to incorporate into assessments of poetry.

ISBN: 9780438171480Subjects--Topical Terms:

523234
American literature.

Setting: Postwar Poetics and Genres of Notation.
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506 $a This item must not be sold to any third party vendors.
520 $a "Setting" offers a critique of interdisciplinary aesthetics and scholarship by looking to gay, Black, and feminist poets who have used disciplines as sites to contest the broader social determinations of their lives. In case studies of the work of Frank O'Hara, Russell Atkins, Lisa Robertson, and C. S. Giscombe, I offer snapshots of poets working through the relationship of poetry to other arts, in a period when the rules of art and literary value were changing to the extent that the difference between a text and performance could be difficult to determine. I rewrite the history of postwar poetry around its adaptation of formal problems from other art media. This dynamic of avant-garde art-its amoeba-like cooptation of other forms-has not previously been used to understand poetry. As I frame it, the act of setting one medium in relation to another offers a larger view of the context or situation of poetry and the poet. The sociohistorical boundaries of disciplines include race and gender. Disciplines are not merely academic silos to be transcended, but as social formations that contain historical information, they are valuable as archives and as sites for poetic events. What emerges is a central problem of genre indeterminacy in postwar art, one that requires that we think text and performance together. My readings do so by taking terms from other media-extramusical, indeterminacy, gesture, and setting-as heuristics. Further, through its discussions of Atkins and Giscombe, "Setting" makes African-American experimental poetry central to the New American poetry, bringing critical race theory to bear on a history of the avant-garde; at the same time, I find new archives for African-American studies in Giscombe's "gestural landscape" and Atkins's "musical objects." I reframe a central problem in the reception of postwar poets: how to define contexts for their work. I frame this work in terms of its aesthetic engagements, such as the perversity of Atkins's music theory that argues that music be written for the eye and not the ear, but also argue that aesthetics doesn't exclude life. Giscombe's gestural poetics brings biography and text together: the gesture of "going there" allows me to account for a whole category of activity-research trips-that are otherwise hard to incorporate into assessments of poetry.
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