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Poetic Machinations - Allegory, Surrealism, and Postmodern Poetic Form (Hardcover)
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Poetic Machinations - Allegory, Surrealism, and Postmodern Poetic Form (Hardcover)
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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.
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