Titlebook: Intuitions in Literature, Technology, and Politics; Parabilities Alan Ramón Clinton Book 2012 Palgrave Macmillan, a division of Nature Amer

Heresy

笨重

秘传

Expressly

不开心

,From Spectacle to Fascicle: Walter Benjamin, Carolyn Forché, and Messianic History,iters who, in her own words, has combated the “self-censorship operative among American poets and writers that seemed to preclude writing about… historical events when those events were still unsafe.”. Her third book of poems, . (published 13 years later), however, represents a new turn for her work

expunge

Sylvia Plath and Electracy: Spectral Poetics With(out) Specters,eged by “literacy.” Combining this theory with close readings of Plath’s poems, personal history, and the epistemology of computing, this chapter will argue that Plath’s later work—which did not emerge all of a sudden as many critics like to assume—pioneered a new form of political poetics, what I c

visceral-fat

The Wireless Spaces of Ashbery and Eigner, we think of ideology as the “language” of a culture, only in order to transform it into, respectively, subversive play and the word that Eigner taught me without using it, parability, which was provisionally defined in chapter 1 as the ability, and implicitly the courage, to tell the wrong stories.

现任者

Louis Zukofsky and Quantum Criticism (A/One Conclusion),ven if we are constantly experimenting with new technologies of conjuring. One could say that parability is neither waiting nor conjuring, neither objective nor subjective, but is placed in the present ambiguities of interpretation which are the counterpart to the complexities, explored in various w

Hay-Fever

: Methodologies,ity and literature and decided that with Eigner what I was encountering was better defined as parability. Eigner’s poems— characterized as they are by a sort of spatial topography that, noting their influence from American “projective verse” and resemblance to Mallarmé’s ., only more fragmented, yet

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