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"At Naropa University's Jack Kerouac School of Disembodied Poetics, there has long been an illuminating, dynamic, ongoing exchange of ideas about the history and legacy of the Beat Generation--an exchange fortunately that has been carefully archived and preserved. This valuable anthology does not further embalm the 'legend' of the Beats. Instead it allows its readers to hear authentic voices --Allen Ginsberg, William Burroughs, John Clellon Holmes, Diane di Prima, Philip Whalen, etc.--as well as introducing the thoughtful and responsible work of leading Beat scholars."--Joyce Johnson Amassed from the riches of the Naropa University audio archives, this collection offers an exciting new look at the Beats--whose influence lives on in the art and politics of our time. In this often spontaneous, conversational book, readers are introduced to the hard truths behind being a Beat woman, the haunting accuracy of William Burroughs's world-view, the passion and energy of Allen Ginsberg and Anne Waldman, Jack Kerouac's unexpected musicality, Diane DiPrima's foray into small press publishing, Michael McClure's account of the famous first reading of "Howl," and, most of all, the inspirations behind America's most provocative and prescient thinkers. Contributors include: David Amram Amiri Baraka Ted Berrigan Junior Burke William S. Burroughs Lorna Dee Cervantes Ann Charters Clark Coolidge Gregory Corso Diane di Prima Lawrence Ferlinghetti Rick Fields Allen Ginsberg David Henderson Abbie Hoffman John Clellon Holmes Joyce Johnson Hettie Jones Edie Parker Kerouac Joanne Kyger Michael McClure William S. Merwin John Oughton Marjorie Perloff David Rome Edward Sanders Gary Snyder Janine Pommy Vega Steven Taylor Chögyam Trungpa, Rinpoche Anne Waldman Philip Whalen Laura Wright Joshua Zim
With incisive energy, wit, and wisdom, these powerful essays explore the intersection between poetry and politics.
New from celebrated poet and performer Anne Waldman - an edgy, visionary collection that meditates on gender, existence, passion and activism Mythopoetics, shape shifting, quantum entanglement, Anthropocene blues, litany and chance operation play inside the field of these intertwined poems, which coalesced out of months of protests with some texts penned in the streets. Anne Waldman looks to the imagination of mercurial possibility, to the spirits of the doorway and of crossroads, and to language that jolts the status quo of how one troubles gender and outwits patriarchy. She summons Tarot's Force Arcana, the passion of the suffragettes, and various messengers and heroines of historical, hermetic, and heretical stance, creating an intersectionality of lived experience: class, sexuality, race, politics all enter the din. These are experiments of survival.
A trumpet call from our most iconoclastic poet that tears down the walls of prescribed creative processes.
The shape, lineation, and prosody of postmodern poems are extravagantly inventive, imbuing both form and content with meaning. Through a survey of American poetry and poetics from the end of World War II to the present, Michael Golston traces the proliferation of these experiments to a growing fascination with allegory in philosophy, linguistics, critical theory, and aesthetics, introducing new strategies for reading American poetry while embedding its formal innovations within the history of intellectual thought. Beginning with Walter Benjamin's explicit understanding of Surrealism as an allegorical art, Golston defines a distinct engagement with allegory among philosophers, theorists, and critics from 1950 to today. Reading Fredric Jameson, Angus Fletcher, Roland Barthes, and Craig Owens, and working with the semiotics of Charles Sanders Pierce, Golston develops a theory of allegory he then applies to the poems of Louis Zukofsky and Lorine Niedecker, who, he argues, wrote in response to the Surrealists; the poems of John Ashbery and Clark Coolidge, who incorporated formal aspects of filmmaking and photography into their work; the groundbreaking configurations of P. Inman, Lyn Hejinian, Myung Mi Kim, and the Language poets; Susan Howe's "Pierce-Arrow," which he submits to semiotic analysis; and the innovations of Craig Dworkin and the conceptualists. Revitalizing what many consider to be a staid rhetorical trope, Golston positions allegory as a creative catalyst behind American poetry's postwar avant-garde achievements.
Is poetry still relevant today, or is it merely a dwindling historical art? How have poets of the recent past dealt with challenges to poetics? Seeking to chart the poetic act in a period not so much hostile as indifferent to poetry, Language at the Boundaries outlines spaces where poetry and poetics emerge in migration, translation, world literature, canon formation, and the history of science and technology. One can only come so close to fully possessing or explaining everything about the poetic act, and this book grapples with these limits by perusing, analyzing, deconstructing, and reconstructing creativity, implementing different approaches in doing so. Peter Carravetta consolidates historical epistemological positions that have accrued over the last several decades, some spurred by the modernism/postmodernism debate, and unpacks their differences--juxtaposing Vico with Heidegger and applying the approaches of translation studies, decolonization, indigeneity, committed literature, and critical race theory, among others. What emerges is a defense and theory of poetics in the contemporary world, engaging the topic in a dialectic mode and seeking grounds of agreement.