The Poetics of Indeterminacy: Rimbaud to Cage (Avant-Garde & Modernism Studies)

In Her Seminal Study, First Published In 1981, Marjorie Perloff Argues That The Map Of Modernist Poetry Needs To Be Redrawn To Include A Central Tradition Which Cannot Properly Be Situated Within The Romantic-symbolist Tradition Dominating The Early Twentieth Century. She Traces This Tradition From Its Early French Connection In The Poetry Of Rimbaud And Apollinaire As Well As In Cubist, Dada, And Early Surrealist Painting; Through Its Various Manifestations In The Work Of Gertrude Stein, William Carlos Williams, And Ezra Pound; To Such Postmodern Landscapes Without Depth As The French/english Language Constructions Of Samuel Beckett, The Elusive Dreamscapes Of John Ashbery, And The Performance Works Of David Antin And John Cage. In The Poetry Of This Other Tradition, Ambiguity And Complexity Give Way To Inherent Contradiction And Undecidability, Metaphor And Symbol To Metonymy And Synecdoche, The Well-wrought Urn To What Ashbery Calls An Open Field Of Narrative Possibilities, And The Coherent Structure Of Images To Mysteries Of Construction, Nonsense, And Free Play.--jacket. 1. Unreal Cities -- 2. Trouver Une Langue: The Anti-paysage Of Rimbaud -- 3. Poetry As Word-system: The Art Of Gertrude Stein -- 4. Lines Converging And Crossing: The French Decade Of William Carlos Williams -- 5. No Edges, No Convexities: Ezra Pound And The Circle Of Fragments -- 6. The Space Of A Door: Beckett And The Poetry Of Absence -- 7. Mysteries Of Construction: The Dream Songs Of John Ashbery -- 8. No More Margins: John Cage, David Antin, And The Poetry Of Performance. Marjorie Perloff. Includes Bibliographical References And Index. "In her seminal study, first published in 1981, Marjorie Perloff argues that the map of Modernist poetry needs to be redrawn to include a central tradition which cannot properly be situated within the Romantic-Symbolist tradition dominating the early twentieth century. She traces this tradition from its early "French connection" in the poetry of Rimbaud and Apollinaire as well as in Cubist, Dada, and early Surrealist painting; through its various manifestations in the work of Gertrude Stein, William Carlos Williams, and Ezra Pound; to such postmodern "landscapes without depth" as the French/English language constructions of Samuel Beckett, the elusive dreamscapes of John Ashbery, and the performance works of David Antin and John Cage.". "In the poetry of this "other tradition," ambiguity and complexity give way to inherent contradiction and undecidability, metaphor and symbol to metonymy and synecdoche, the well-wrought urn to what Ashbery calls "an open field of narrative possibilities," and the coherent structure of images to "mysteries of construction," nonsense, and free play."--BOOK JACKET. In her seminal study, first published in 1981, Marjorie Perloff argues that the map of Modernist poetry needs to be redrawn to include a central tradition that cannot properly be located within the Romantic-Symbolist tradition that dominated the early twentieth century. She traces this tradition from its early "French connection" in the poetry of Rimbaud and Apollinaire as well as in Cubist, Dada, and early Surrealist painting; through its various manifestations in the work of Gertrude Stein, William Carlos Williams, and Ezra Pound; to such postmodern "landscapes without depth" as the French/English language constructions of Samuel Beckett, the elusive dreamscapes of John Ashbery, and the performance works of David Antin and John Cage.