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Painterly Abstraction in Modernist American Poetry: The Contemporaneity of Modernism [Mīkstie vāki]

  • Formāts: Paperback / softback, 538 pages, height x width x depth: 229x152x29 mm, weight: 857 g, 10 Halftones, black and white
  • Sērija : Literature and Philosophy
  • Izdošanas datums: 14-Dec-1994
  • Izdevniecība: Pennsylvania State University Press
  • ISBN-10: 0271014199
  • ISBN-13: 9780271014197
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Painterly Abstraction in Modernist American Poetry: The Contemporaneity of ModernismPalielināt
  • Formāts: Paperback / softback, 538 pages, height x width x depth: 229x152x29 mm, weight: 857 g, 10 Halftones, black and white
  • Sērija : Literature and Philosophy
  • Izdošanas datums: 14-Dec-1994
  • Izdevniecība: Pennsylvania State University Press
  • ISBN-10: 0271014199
  • ISBN-13: 9780271014197
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9780271014197.html
Keywords:
Painterly Abstraction in Modernist American Poetry concentrates on the challenges posed to poetry by modernist painting: how could the poets adapt to the painters' abilities to recast our understanding of the psyche's needs, powers, and social dependencies, and how could they share the painters' efforts to find alternatives to what seemed the inescapably ideological grounds for all value claims? By stressing the poets' ways of making the syntax of artworks carry semantic force, this orientation generates a much more dynamic, philosophically stimulating sense of modernist poetry than the ones offered by the dominant styles of political critique.

Recenzijas

Painterly Abstraction in Modernist American Poetry is full of valuable insights and analyses. What Altieri offers here is an exhaustive discussion of modernist abstraction, beginning with an analysis of abstractionist (particularly constructivist) aesthetics and practice and the roots of abstraction in the romantic tradition and in Kant, before moving to close readings of several poets. . . . [ T]his book is a study rich in insights and an important addition to current debates about modernism.American Literature Painterly Abstraction in Modernist American Poetry still waits to be recognized as the best recent intervention in literary studys agony about the relation of poetryindeed of art in generalto social and political liberation. . . . Moving across debates among philosophy, poetry, painting, literary criticism, and politics, Altieri shows that both the conscientious impulses that have innovated literary study for two decades and the cultureor the cultof postmodernism do not have to belittle art or aesthetics for the sake of promoting liberating social and historical causes.Modern Language Quarterly

Acknowledgments vii
Introduction 1(11)
It Must Be Abstract
12(30)
Self-subsuming Artifacts: The Logic of Constructivist Abstraction
42(17)
Knowledge Enormous Denies the God in Me: Abstraction and the Romantic Tradition
59(49)
Modernist Irony and the Kantian Heritage
108(34)
Eliot's Symboliste Subject as End and Beginning
142(22)
``The Abstraction of the Artist'': Three Painterly Models for the Constructivist Will
164(58)
Modes of Abstraction in Modernist Poetry
222(61)
Modernist Abstraction and Pound's First Cantos: The Ethos for a New Renaissance
283(38)
Why Stevens Must Be Abstract
321(38)
Afterword: The End(s) of Modernism
359(21)
Appendix 1 Postmodernist Poetics Unfair to Modernist Poetry 380(6)
Appendix 2 A Conceptual Grammar for Constructivist Abstraction 386(37)
Notes 423(84)
Works Consulted 507(18)
Index 525


Charles Altieri is Professor of English at the University of California, Berkeley. His books include Self and Sensibility in Contemporary American Poetry (1984), Canons and Consequences: Reflections on the Ethical Force of Imaginative Ideals (1990), and Subjective Agency (1994).