This book is a critical experiment that tracks the literary and poetic uses of musical notation and notational methods in North American long poems from the middle of last century to the contemporary moment. Poets have readily referred to their poems as “scores.” Yet, in this study, Carruthers argues that the integration of musical scores in expansive works of this period does more work than previously thought, offering both resolution and escape from the demands placed on long poem form. The five case studies, on Langston Hughes, Armand Schwerner, BpNichol, Joan Retallack and Anne Waldman, offer approaches to reading literary scores in what might be described as a critical stave or a critical “fugue” of instances. In differing ways, musical notation and notational methods impact the form, time and sometimes the ethical and political stances of these respective long poems.

Phenomenology and the Late Twentieth-Century American Long Poem reads major figures including Charles Olson, Lyn Hejinian, Nathaniel Mackey, Susan Howe and Rachel Blau DuPlessis within a new approach to the long poem tradition. Through a series of contextualised close readings, it explores the ways in which American poets developed their poetic forms by engaging with a variety of European phenomenologists, including Hannah Arendt, Maurice Merleau-Ponty, Martin Heidegger, Emmanuel Levinas and Jacques Derrida. Consolidating recent materials on the role of Continental Philosophy in American poetics, this book explores the theoretical and historical contexts in which avant-garde poets have developed radically new methods of making poems long. Matthew Carbery offers a timely commentary on a number of major works of American poetry whilst providing ground-breaking research into the wider philosophical context of late twentieth-century poetic experimentation.

The argument of this book is a simple one: that criticism after theory is a single movement of thought defined by synthesis and continuity rather than by conflict and change. The most influential figures in criticism since Saussure—Bakhtin, Derrida, and Foucault—are wholly consistent with Saussure's foundational Course in General Linguistics (1916) no matter the traditions of complaint that have followed in Saussure's wake from Bakhtin forward. These complaints vitiate—despite themselves and often hilariously so—the misconceptions that have made cottage industries out of quarrels with Saussurean semiology that are based on notions of Saussure that are incorrect. The materialist criticism dominant today is actually dependent upon on the legacy of a presumably formalist structuralism rather than a step beyond it. New Historicism, postcolonialism, gender studies, environmental criticism, archive studies, even shared and surface reading are, like deconstruction, the by-products of Saussure's structuralism, not its foils. Saussure's sign is sensory and concrete. Language and materiality are not distinct but one and the same—history, society, the psychological subject, even the environment are systems of signs, material archives read and reread by futures that produce the past after the fact. Without Saussure, contemporary criticism would have no identifiable or effective source. The book begins with chapters on Saussure and Derrida, Bakhtin and Shakespeare, and Freud and Foucault followed by chapters on Victorian and American fiction, D.H. Lawrence and modern poetry, Virginia Woolf and Melanie Klein, and the historicist tropology of psychoanalysis. It concludes with a coda in life writing on the author's epileptic disability.

Tincture Journal is a quarterly literary journal based in Brisbane, Australia and collecting interesting new works of fiction, poetry and non-fiction from Australia and the world.

Collage and Literature analyzes how and why the history of literature and art changed irrevocably beginning in the early years of the twentieth century, and what that change has meant for late modernism and postmodernism. Starting from Pablo Picasso’s 1912 gesture, breaking the fundamental logic of representation, of pasting a piece of oilcloth onto a canvas, and moving up to Kenneth Goldsmith’s 2015 reading of an autopsy report of an unarmed young black man shot by police (which he framed as a poem entitled Michael Brown’s Body) this volume moves through a series of case studies encapsulating issues of juxtaposition and framing, the central ways identify collage. Its thesis is that collage—and, in fact, only collage—meaningfully overcomes formal and generic boundaries between the literary and the non-literary. The overwriting of these traditional boundaries happens in the service of collage’s anti-narrative drive, a drive that may be, in turn, interruptive or destructive. The expansion of collage’s horizons— broadly, to include the use of radical juxtaposition in the arts—reveals a surprisingly wide range of American artists and writers using the logic of juxtaposition as they imagine new worlds, disrupt accepted narratives about society and art, and create meaning through form as much as through paraphrasable content. In addressing a wide range of contested issues, recent artists realize the shocking force of collage. By recovering this shock, Collage and Literature restores collage to its multimedia origins in order to reveal its powerful and political affects.

How does coding change the way we think about architecture? This question opens up an important research perspective. In this book, Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books. Focusing on the intersection of information technology and architectural formulation, the authors create an evolving intellectual reflection on digital architecture and computer science.

This book is a critical experiment that tracks the literary and poetic uses of musical notation and notational methods in North American long poems from the middle of last century to the contemporary moment. Poets have readily referred to their poems as “scores.” Yet, in this study, Carruthers argues that the integration of musical scores in expansive works of this period does more work than previously thought, offering both resolution and escape from the demands placed on long poem form. The five case studies, on Langston Hughes, Armand Schwerner, BpNichol, Joan Retallack and Anne Waldman, offer approaches to reading literary scores in what might be described as a critical stave or a critical “fugue” of instances. In differing ways, musical notation and notational methods impact the form, time and sometimes the ethical and political stances of these respective long poems.

A History of Twentieth-Century American Women's Poetry explores the genealogy of modern American verse by women from the early twentieth century to the millennium. Beginning with an extensive introduction that charts important theoretical contributions to the field, this History includes wide-ranging essays that illuminate the legacy of American women poets. Organized thematically, these essays survey the multilayered verse of such diverse poets as Edna St Vincent Millay, Marianne Moore, Anne Sexton, Adrienne Rich, and Audre Lorde. Written by a host of leading scholars, this History also devotes special attention to the lasting significance of feminist literary criticism. This book is of pivotal importance to the development of women's poetry in America and will serve as an invaluable reference for specialists and students alike.

This Companion presents lucid and exemplary critical essays, introducing readers to the major ideas and practices of world literary studies.

This book collects experimental “visual poetry.” With The Last Vispo Anthology, Fantagraphics spotlights the intersection of art and language in this innovative new collection ― without peer in English ― that gathers the work of visual poets from around the world into one stunning volume. The alphabet is turned on its head and inside-out and the results culminate in a compilation of daring and surprising verbo-visual gems. The Last Vispo is composed of visual poetry (a portmanteau of the words “visual” and “poetry) from the years 1998 to 2008, during a burst of creative activity fueled by file sharing and e-mail, which made it possible for the vispo community to establish a more heightened and sophisticated dialogue with one another. The collection extends the dialectic between art and literature that began with ancient “shaped text,” medieval pattern poetry, and dada typography, pushing past the concrete poetics of the 1950s and the subsequent mail art movement of the 1980s to its current incarnation. Rather than settle into predictable, unchallenged patterns, this vibrant poetry seizes new tools to expand the body of work that inhabits the borderlands of visual art and poetic language. The Last Vispo features 148 contributors from 23 countries on five continents. It includes 12 essays that illuminate the abundant history and the state of vispo today. The anthology offers a broad amalgam of long-time practitioners and poets new to visual poetry over the last decade, underscoring the longevity and the continued vitality of the art form.