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A superbly made hybrid photobook on the stories that objects invite us to tell In July of 2017, photographer Matthew Connors (born 1976) and novelist and critic Lucy Ives (born 1980) embarked on a strange project: to remove and catalog all the contents of Connors's car, a 1992 Volvo 240 station wagon. Although the New York-based duo began the endeavor without knowing where it would lead, their investigation--of parts, tools, ephemera, litter, personal items, unidentifiable disjecta, among other objects--lasted more than two years and resulted in a series of photographs by Connors and an essay by Ives on narrative forms and temporalities inherent to contemporary media. This collaborative publication, designed by Elana Schlenker, poses questions about where narrative originates and how we establish our stories in relation to the objects and timescales that carry, ground and surround us.
This book sets out to explore the way, with the onset of a new and integral relationship between text and image, the modern poster is able to evolve distinctive persuasive strategies that will transform modern advertising. The book shows how this fundamental development is closely related to contemporary developments in the visual arts - in particular Futurism and Art Deco - and reflects the increasing cross-fertilisation and symbiosis between art and graphic design. The book focuses in particular on the way conventional textual strategies - metaphor, metonymy, rebus - are adapted by the modern poster to produce visual or textual/visual equivalents which, through their employment of combined pictorial and linguistic elements maximise their attractive or persuasive power over the viewer/reader. A key aim of the book is to clarify the assumptions on which semiology (the study of signs) is based in the context of modern poster artists' practice. The text/image relation is explored through five chapters focussing on (1) the rhetoric of image/text in general; (2) text and image in airline logos: British Airways and Air France; (3) visual metonymies in boxing posters; (4) text and image in posters expressing speed; (5) text/image in Swiss tourist posters. There are approximately 120 colour illustrations arranged in groups that reflect the different orientations of the chapters.
First published in 1919 by Ezra Pound, Ernest Fenollosa’s essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound’s understanding—it is fair to say, his appropriation—of the text. Fenollosa’s manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North America and East Asia. Pound’s editing of the essay obscured two important features, here restored to view: Fenollosa’s encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry. This book is the definitive critical edition of Fenollosa’s important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound’s deletions, insertions, and alterations to Fenollosa’s sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the developmentof Fenollosa’s ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition. This masterfully edited book will be an essential resource for scholars and poets and a starting point for a renewed discussion of the multiple sources of American modernist poetry.
Ekphrasis is the art of describing works of art, the verbal representation of visual representation. Profoundly ambivalent, ekphrastic poetry celebrates the power of the silent image even as it tries to circumscribe that power with the authority of the word. Over the ages its practitioners have created a museum of words about real and imaginary paintings and sculptures. In the first book ever to explore this museum, James Heffernan argues that ekphrasis stages a battle for mastery between the image and the word. Moving from the epics of Homer, Virgil, and Dante to contemporary American poetry, this book treats the history of struggle between rival systems of representation. Readable and well illustrated, this study of how poets have represented painting and sculpture is a major contribution to our understanding of the relation between the arts.
Pomorska (1928-1986) a noted specialist in Slavic literature and literary theory, is best known for her pioneering work in applying Roman Jakobson's theories of poetics to prose narratives. This collection brings together her writings over two decades (some of them appearing in English for the first time). She treats a wide range of Slavic literary works, including those by Puskin, Tolstoi, Pasternak, Chekhov, and Solzhenitsyn, as well as examples from Polish and Ukrainian folklore. Annotation copyright by Book News, Inc., Portland, OR
Badiou and American Modernist Poetics explores the correspondence between Alain Badiou's thinking on art and that of the canonical modernists T.S. Eliot, Wallace Stevens, and Ezra Pound. Utilizing a multidisciplinary approach, the text engages with themes of the void, mastery, and place present in both modernist poetry and in Badiou’s philosophy. Through an examination of classic modernist texts, Cameron MacKenzie reveals that where Badiou hopes to go, the modernists have already been.
The most important poetry reference for more than four decades—now fully updated for the twenty-first century Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more. Now this landmark work has been thoroughly revised and updated for the twenty-first century. Compiled by an entirely new team of editors, the fourth edition—the first new edition in almost twenty years—reflects recent changes in literary and cultural studies, providing up-to-date coverage and giving greater attention to the international aspects of poetry, all while preserving the best of the previous volumes. At well over a million words and more than 1,000 entries, the Encyclopedia has unparalleled breadth and depth. Entries range in length from brief paragraphs to major essays of 15,000 words, offering a more thorough treatment—including expert synthesis and indispensable bibliographies—than conventional handbooks or dictionaries. This is a book that no reader or writer of poetry will want to be without. Thoroughly revised and updated by a new editorial team for twenty-first-century students, scholars, and poets More than 250 new entries cover recent terms, movements, and related topics Broader international coverage includes articles on the poetries of more than 110 nations, regions, and languages Expanded coverage of poetries of the non-Western and developing worlds Updated bibliographies and cross-references New, easier-to-use page design Fully indexed for the first time
The Beats, Black Mountain, and New Modes of American Poetry explores correspondences amongst the Black Mountain and Beat Generation writers, two of most well-known and influential groups of poets in the 1950s. The division of writers as Beat or Black Mountain has hindered our understanding of the ways that these poets developed from mutual influences, benefitted from direct relations, and overlapped their boundaries. This collection of academic essays refines and adds context to Beat Studies and Black Mountain Studies by investigating the groups’ intersections and undercurrents. One goal of the book is to deconstruct the Beat and Black Mountain labels in order to reveal the shifting and fluid relationships among the individual poets who developed a revolutionary poetics in the 1950s and beyond. Taken together, these essays clarify the radical experimentation with poetics undertaken by these poets.
"This book presents the first comprehensive introduction to arts-based research (ABR) practices, which scholars in multiple disciplines are fruitfully using to reveal information and represent experiences that traditional methods cannot capture. Each of the six major ABR genres/m-/narrative inquiry, poetry, music, performance, dance, and visual art/m-/is covered in chapters that introduce key concepts and tools and present an exemplary research article by a leading ABR practitioner. Patricia Leavy discusses the kinds of research questions these innovative approaches can address and offers practical guidance for applying them in all phases of a research project, from design and data collection to analysis, interpretation, representation, and evaluation. Chapters include checklists to guide methodological decision making, discussion questions, and recommended print and online resources"--