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Keywords = concrete or visual poetry

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12 pages, 247 KiB  
Article
Read with Me/While We Wait—A Community of Voices in Percival Everett’s Trout’s Lie
by Anne-Laure Tissut
Humanities 2023, 12(5), 99; https://doi.org/10.3390/h12050099 - 15 Sep 2023
Viewed by 1238
Abstract
In Trout’s Lie, Percival Everett seems to be once more exploring pure form as part of a quest for abstraction. Yet the effect of the poems in the collection largely relies on the materiality of language characterizing all poetry—mostly a play on [...] Read more.
In Trout’s Lie, Percival Everett seems to be once more exploring pure form as part of a quest for abstraction. Yet the effect of the poems in the collection largely relies on the materiality of language characterizing all poetry—mostly a play on sounds and the visual dimension of the text. How to conciliate the quest for pure form and the unruliness of the bodily? It will be argued that Everett brings them together through a work on forms not only in space but also in time, focusing on endings in both the abstract and the concrete sense of the term. Full article
(This article belongs to the Special Issue The Continuing Challenges of Percival Everett)
21 pages, 694 KiB  
Article
An Archeology of Fragments
by Gerald L. Bruns
Humanities 2014, 3(4), 585-605; https://doi.org/10.3390/h3040585 - 24 Oct 2014
Viewed by 7860
Abstract
This is a short (fragmentary) history of fragmentary writing from the German Romantics (F. W. Schlegel, Friedrich Hölderlin) to modern and contemporary concrete or visual poetry. Such writing is (often deliberately) a critique of the logic of subsumption that tries to assimilate whatever [...] Read more.
This is a short (fragmentary) history of fragmentary writing from the German Romantics (F. W. Schlegel, Friedrich Hölderlin) to modern and contemporary concrete or visual poetry. Such writing is (often deliberately) a critique of the logic of subsumption that tries to assimilate whatever is singular and irreducible into totalities of various categorical or systematic sorts. Arguably, the fragment (parataxis) is the distinctive feature of literary Modernism, which is a rejection, not of what precedes it, but of what Max Weber called “the rationalization of the world” (or Modernity) whose aim is to keep everything, including all that is written, under surveillance and control. Full article
(This article belongs to the Special Issue New Encounters between Literature and Philosophy)
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