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Past Present Poetics, Minimalism, an...

Anderson, Timothy.

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Past Present Poetics, Minimalism, and Historiography, 1625-1975.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Past Present Poetics, Minimalism, and Historiography, 1625-1975./
Author:	Anderson, Timothy.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
Description:	291 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-09, Section: A.
Contained By:	Dissertations Abstracts International82-09A.
Subject:	American literature. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27828852
ISBN:	9798582575580

Past Present Poetics, Minimalism, and Historiography, 1625-1975.
Anderson, Timothy.

Past Present Poetics, Minimalism, and Historiography, 1625-1975. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 291 p.

Source: Dissertations Abstracts International, Volume: 82-09, Section: A.

Thesis (Ph.D.)--New York University, 2021.

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

This dissertation redefines the relationship among American poetry, history, and minimalist art in the 1960s and 70s, by exploring the vital resonance of seventeenth-century figures and forms within each of those fields. I return to William Carlos Williams's, Charles Olson's, and Susan Howe's renowned poetic engagements with historiography and reframe them in three primary ways, all of which also underscore poetry's relation to other disciplines during the modern period. First, I show that one of the most innovative collections of poetry interested in the colonial period was produced by someone known primarily as a minimalist sculptor, Carl Andre. Relating this overlooked poet to his literary peers, I then demonstrate how their shared historiographic poetics reflect numerous aspects of minimalism, which in fact and form appear profoundly historicist, contrary to that aesthetic style's common perception as radically presentist. Finally, I propose that the collage historiography developed by these poets establishes some of the key methodologies that characterize subsequent historiographic movements, including New Historicism.The specific return of certain colonial challenges within minimalist works yields more capacious possibilities for encounter between beholder and object, especially when considering how the early-American figures appear as both subjects and models for these later poetic reiterations. I trace how these personas offer sophisticated antecedents and crucial interlocutors for the developments of art and poetry two centuries later. Introducing minimalist concepts via Andre to the constellation of historiographic practices developed by Williams, Olson, and Howe reframes all of their poetics as setting the course for innovations in aesthetic and historiographic practices that follow.

ISBN: 9798582575580Subjects--Topical Terms:

523234
American literature.
Subjects--Index Terms:

Colonial America

Past Present Poetics, Minimalism, and Historiography, 1625-1975.
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500 $a Source: Dissertations Abstracts International, Volume: 82-09, Section: A.
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520 $a This dissertation redefines the relationship among American poetry, history, and minimalist art in the 1960s and 70s, by exploring the vital resonance of seventeenth-century figures and forms within each of those fields. I return to William Carlos Williams's, Charles Olson's, and Susan Howe's renowned poetic engagements with historiography and reframe them in three primary ways, all of which also underscore poetry's relation to other disciplines during the modern period. First, I show that one of the most innovative collections of poetry interested in the colonial period was produced by someone known primarily as a minimalist sculptor, Carl Andre. Relating this overlooked poet to his literary peers, I then demonstrate how their shared historiographic poetics reflect numerous aspects of minimalism, which in fact and form appear profoundly historicist, contrary to that aesthetic style's common perception as radically presentist. Finally, I propose that the collage historiography developed by these poets establishes some of the key methodologies that characterize subsequent historiographic movements, including New Historicism.The specific return of certain colonial challenges within minimalist works yields more capacious possibilities for encounter between beholder and object, especially when considering how the early-American figures appear as both subjects and models for these later poetic reiterations. I trace how these personas offer sophisticated antecedents and crucial interlocutors for the developments of art and poetry two centuries later. Introducing minimalist concepts via Andre to the constellation of historiographic practices developed by Williams, Olson, and Howe reframes all of their poetics as setting the course for innovations in aesthetic and historiographic practices that follow.
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