WILLIAM CARLOS WILLIAMS REVIEW最新文献

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“This Is Just to Say This Is the End of Art: Williams and the Aesthetic Attitude” “这只是说这是艺术的终结:威廉姆斯和审美态度”
WILLIAM CARLOS WILLIAMS REVIEW Pub Date : 2016-12-22 DOI: 10.1353/WCW.2016.0004
D. Morris
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引用次数: 1
Painting Williams, Reading Demuth: “The Great Figure” and I Saw the Figure 5 in Gold 绘画威廉姆斯,阅读德穆斯:“伟大的人物”和我看到了黄金中的数字5
WILLIAM CARLOS WILLIAMS REVIEW Pub Date : 2016-12-22 DOI: 10.1353/WCW.2016.0002
Daniel R. Schwarz
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引用次数: 1
Form and Experience: Williams, Dewey, and the Origins of American Postmodernism 形式与经验:威廉斯、杜威与美国后现代主义的起源
WILLIAM CARLOS WILLIAMS REVIEW Pub Date : 2016-12-22 DOI: 10.1353/WCW.2016.0003
S. Fredman
{"title":"Form and Experience: Williams, Dewey, and the Origins of American Postmodernism","authors":"S. Fredman","doi":"10.1353/WCW.2016.0003","DOIUrl":"https://doi.org/10.1353/WCW.2016.0003","url":null,"abstract":"ABSTRACT: In my article, I examine the relationship between the work of William Carlos Williams and John Dewey’s Art as Experience (1934) and show how their shared concerns create links to post-Second World War performance artists such as Laurie Anderson, the theatrical storyteller Spalding Gray, as well as Happenings master Allan Kaprow. I examine Williams’s impact on what is regarded as early postmodernism in the United States, by tracing Williams connections to Objectivists such as Louis Zukofsky and George Oppen from the 1930s and other culture workers who display what I call a “performative ethos” indebted to John Dewey. I contextualize poetry in relation to everyday experience, but also focus on the semantics of form, in which form emerges through exigencies of a work’s creation. Context and experience produce organic forms, as in the writings of Black Mountain and West Coast poets such as Charles Olson, Robert Creeley and Robert Duncan, each of whom emphasized breath groups and the visual “field” of the page when imagining a prosody that was structural, but antithetical to accentual syllabic verse. Like performance artists who followed in his wake, I argue that Williams challenged readers to co-create texts to re-evaluate experience as art and art as experience.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"32 1","pages":"33 - 52"},"PeriodicalIF":0.0,"publicationDate":"2016-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/WCW.2016.0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66552853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
The Abstract Expressionist Housewife: Fracture, Transposition, Williams and the Three Phases of Modernism 抽象表现主义家庭主妇:断裂、换位、威廉姆斯与现代主义的三个阶段
WILLIAM CARLOS WILLIAMS REVIEW Pub Date : 2016-12-22 DOI: 10.1353/WCW.2016.0010
S. Miller
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引用次数: 1
Thin and Tantalizing: The Armory Show at 100 瘦而诱人:100年的军械库展览
WILLIAM CARLOS WILLIAMS REVIEW Pub Date : 2016-12-22 DOI: 10.1353/wcw.2016.0001
L. Siraganian
{"title":"Thin and Tantalizing: The Armory Show at 100","authors":"L. Siraganian","doi":"10.1353/wcw.2016.0001","DOIUrl":"https://doi.org/10.1353/wcw.2016.0001","url":null,"abstract":"ABSTRACT: In this article I argue that the 2013 Armory show retrospective hosted by the New York Historical Society missed an opportunity to put the original 1913 show in an adequate historical context. The show did not as fully integrate its rich historical material as it might have, and thus failed to give today’s visitors a fuller sense of the kind of environment artists and writers, such as William Carlos Williams, were then working in. It also did not allow contemporary spectators to uncover surprising connections between the great variety of artists who exhibited in 1913 but who were not referenced in the retrospective. Had the original contents been more comprehensively featured it would have provided an opportunity to offer a sense of the art historical context in which these works would have made sense—or would have entirely baffled their early twentieth-century American audience. In this way the show might also have been a boon to scholars of modernism of all stripes, enabling them to rejuvenate older critical conversations with fresh eyes. I argue that the real gem of the show was not in the show at all. Instead, it was the expansive, richly illustrated, and knowledgably written book collection, Armory Show at 100: Modernism and Revolution, edited by Marilyn Satin Kushner and Kimberly Orcutt and released along with the show, which presents an in-depth reexamination of the 1913 event, including an account of its key players.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"32 1","pages":"12 - 16"},"PeriodicalIF":0.0,"publicationDate":"2016-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/wcw.2016.0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66552819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
The Poem on the Page, or the Visual Poetics of William Carlos Williams 《书页上的诗》或《威廉·卡洛斯·威廉姆斯的视觉诗学
WILLIAM CARLOS WILLIAMS REVIEW Pub Date : 2016-12-22 DOI: 10.1353/WCW.2016.0007
P. Halter
{"title":"The Poem on the Page, or the Visual Poetics of William Carlos Williams","authors":"P. Halter","doi":"10.1353/WCW.2016.0007","DOIUrl":"https://doi.org/10.1353/WCW.2016.0007","url":null,"abstract":"I demonstrate how a key material feature of verse—the line— becomes for William Carlos Williams a visual element of prosodic innovation through which he breaks (or enjambs) the line. I suggest that Williams, taking a clue from modernist arts, was by no means a proponent of “free verse” and that contrary to Marjorie Perloff’s statement that Williams “never quite understood the workings of his own prosody,” Williams’s understanding of the workings of a line is based on the fact that the ear is not a slave to the eye, while the visual response of the reader is one thing, and the aural response another. Even when one reads a poem silently, the ear is still there, though as a counterpart to the eye rather than in alignment with it. I argue that Williams’s approach to prosody assumes that the aural and the visual coexist and interact in his poems, although often in terms of tension rather than mutual support. Through comparisons with poems by Wallace Stevens and close reading of Williams’s lineation and syntax in poems such as “Good Night” and “Bird” I demonstrate Williams’s conviction that there is a fundamental connection between seeing and naming, and that in order to properly and effectively name our experiences and stay in touch with the real we constantly have to renew our language, in and outside poetry.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"42 1","pages":"115 - 95"},"PeriodicalIF":0.0,"publicationDate":"2016-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/WCW.2016.0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66552904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Destruction and Universals in William Carlos Williams’s The Wedge 威廉·卡洛斯·威廉姆斯的《楔子》中的毁灭与普遍性
WILLIAM CARLOS WILLIAMS REVIEW Pub Date : 2016-12-22 DOI: 10.1353/WCW.2016.0011
Barrett Watten
{"title":"Destruction and Universals in William Carlos Williams’s The Wedge","authors":"Barrett Watten","doi":"10.1353/WCW.2016.0011","DOIUrl":"https://doi.org/10.1353/WCW.2016.0011","url":null,"abstract":"My article offers a reading of the relations between materialist poetics and global universals in William Carlos Williams’s 1944 collection The Wedge. In this key-stone collection of mid-century modernism, the poet “represent[s] the negative” through a wide range of scenes of destruction as anticipation of and response to the Second World War and the nuclear age. I focus on the libidinal dynamics of Williams’s attention to destruction as prelude to cultural renewal in his work, seeing the “self-shattering” of sexuality, after Leo Bersani, as a life-long aesthetic concern. At the same time, I argue for the importance of The Wedge in periodizing, historicist terms, while recovering from the archive under-acknowledged value in work from the poet’s middle period. The Wedge, in my view, anticipates the turn to language in poetry, but in historicist as much as formalist terms; in both cases “language splits off from matter as the remains of what can be looked at but not comprehended.” Similarly, I see Williams’s thematic of destruction in the little-known cover image of The Wedge, from the celebrated Cummington Press edition, by Wightman Williams. My approach thus offers interarts comparisons along with a revisionary consideration of the relations between history, violence, formalism, and what I regard as the anti-formalist unity of The Wedge. Throughout my discussion, a concern with art’s materiality leads directly to Williams’s invocation of universals, connecting Williams and Critical Theory in the same period.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"32 1","pages":"197 - 214"},"PeriodicalIF":0.0,"publicationDate":"2016-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/WCW.2016.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66552458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Improvisation at the Armory Show: An Approach to Understanding Wassily Kandinsky’s Influence on the Writings of William Carlos Williams 军械库展览中的即兴创作:解读瓦西里·康定斯基对威廉·卡洛斯·威廉姆斯作品的影响
WILLIAM CARLOS WILLIAMS REVIEW Pub Date : 2016-12-22 DOI: 10.1353/WCW.2016.0006
Paul R. Cappucci
{"title":"Improvisation at the Armory Show: An Approach to Understanding Wassily Kandinsky’s Influence on the Writings of William Carlos Williams","authors":"Paul R. Cappucci","doi":"10.1353/WCW.2016.0006","DOIUrl":"https://doi.org/10.1353/WCW.2016.0006","url":null,"abstract":"ABSTRACT: In this article I approach William Carlos Williams’s poetry in the context of international modernism with special emphasis on Wassily Kandinsky, the Russian abstract painter and theorist of the relation of color to spirit. What Williams found in Kandinsky, I argue, are qualities of liberation and spontaneous laughter as a response to pleasure at desublimating repressed desires for a visual mediation that signaled a break with the past and an embrace of the new. In Kandinsky, Williams embraced an artist for whom color was an expressive dimension that connoted harmony, emotion, eroticism, or spirituality. Kandinsky’s art, for Williams, conveyed properties of an open text that left room for creative reception. I argue that Williams followed Kandinsky’s lead in creating hybrid methods that blended the verbal, the visual, and the sonicm, and trace Kandinsky’s influence on works such as the improvisational Kora in Hell, Spring and All, and the Great American Novel, all of which challenge traditional ideas of genre. By tracing a connection to Kandinsky through the work of Williams’s close friend Marsden Hartley, I argue that we can see the initial ways that Williams synthesized his local interests with the growing trend towards abstraction. I conclude that Williams’s interest in abstract art, however, did not end with Kandinsky, as Williams appreciated the work of the later American movement known as Abstract Expressionism and interpreted their work as a continuation of earlier modernist goals.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"32 1","pages":"81 - 94"},"PeriodicalIF":0.0,"publicationDate":"2016-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/WCW.2016.0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66552894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Ecocriticism and the Modern Artist’s Notice of Nature 生态批评与现代艺术家对自然的关注
WILLIAM CARLOS WILLIAMS REVIEW Pub Date : 2016-12-22 DOI: 10.1353/WCW.2016.0008
Iris Ralph
{"title":"Ecocriticism and the Modern Artist’s Notice of Nature","authors":"Iris Ralph","doi":"10.1353/WCW.2016.0008","DOIUrl":"https://doi.org/10.1353/WCW.2016.0008","url":null,"abstract":"By assessing the relationship between William Carlos Williams scholarship and the visual arts my article focuses on how Williams’s aesthetics, influenced by Cubism’s fusion of object with surrounding space, challenged human-centered perspectives. I compare traditions of appropriative art such as Dada that reconditioned, re-used, and redeemed “found” material that had been regarded as waste to perspectives on art, nature, and subjectivity that can be defined as post-human or at least not human-centered. Building on Clement Greenberg’s focus on the materiality of representation—pigments, language itself—I argue that modernists such as Williams drew their medium closer to physical environments and thus away from structuring the picture plane according to Renaissance/Humanist one-point perspective. My article reflects on the ecocritical implications of such work as Williams’s Paterson, and his loyalty to a city characterized historically by abandonment and pollution. A bond, I argue, that was forged partly by Williams’s Dadaist openness to conventionally unaesthetic and “irredeemable” subjects and objects, things that the industrial world used up, transformed into plate glass and automobile, or discarded as slag heap. The poem’s empathy with the Passaic’s “down-at-the-heel,” neglected, spurned, and ordinary beings also extends beyond humans.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"32 1","pages":"116 - 134"},"PeriodicalIF":0.0,"publicationDate":"2016-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/WCW.2016.0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66552913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Ways of Seeing Williams’s “Pictures from Brueghel” 看威廉姆斯“来自勃鲁盖尔的画”的方式
WILLIAM CARLOS WILLIAMS REVIEW Pub Date : 2016-12-22 DOI: 10.1353/WCW.2016.0005
Charlotte Kent
{"title":"Ways of Seeing Williams’s “Pictures from Brueghel”","authors":"Charlotte Kent","doi":"10.1353/WCW.2016.0005","DOIUrl":"https://doi.org/10.1353/WCW.2016.0005","url":null,"abstract":"In this article I focus on a handful of late poems from William Carlos Williams’s 1962 collection Pictures from Brueghel, to demonstrate how Williams’s attention to new beginnings may ignore his debt to what W. H. Auden in the “Musee des Beaux Arts” called the “old masters” such as Pieter Brueghel. I offer close reading techniques to draw interarts comparisons and address the meaning of grammatical elements in “Landscape with the Fall of Icarus,” such as Williams’s use of syntax to “minimize Icarus.” My close reading of grammatical and syntactic features functions not so much to celebrate form for its own sake, but rather as a technical means to locate how Williams repositions Brueghel’s painting through grammatical equivalencies. I emphasize that Williams was a creative reader of Brueghel, with his imaginative renderings of the Flemish master’s paintings unconstrained by documenting the marks on a Brueghel canvas with uninflected veracity. This is true to the point that Williams takes great liberties with his literary impressions of Brueghel. Williams’s creative readings and revisionary writings of Brueghel are thus as much examples of him looking outward as part of an inner dialogue.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"32 1","pages":"66 - 80"},"PeriodicalIF":0.0,"publicationDate":"2016-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/WCW.2016.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66552885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
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