CHARLES BERNSTEIN ARTIFICE OF ABSORPTION PDF

CHARLES BERNSTEIN ARTIFICE OF ABSORPTION PDF

Artifice of Absorption: Bernstein, Charles, Volume 4, Issues Front Cover. Singing Horse Press, – American poetry. This rich collection is far more than an important work of criticism by an extraordinary poet; it is a poetic intervention into criticism. “Artifice of Absorption,” a key. Get this from a library! Artifice of absorption. [Charles Bernstein].

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Artifice Of Absorption

At first I thought the essay was toying with me a little too much, that its repetitions were built from some desire by the author to infuriate me.

So the poet emphasizes the ready-madeness of tradition by alluding to this ready-made allusion by Pound while, through his own method, attempting to break out of the prison house of allusiveness through a process of mis-seaming, or of rapid cuts from one thought sentence to another.

This rich collection is far more than an important work of criticism by an extraordinary poet; it is a poetic intervention into criticism. The structure of the essay recalls directly how videogames are first learned and then played, how experimental works are grappled with and then read, and how digital poetics are experienced and then … experienced. Whereas mass produced clothing had originated for the working class market blue jeans come to mindit soon became a marker of elite status, even if that status was only symbolic.

The metaphor that Bernstein employs to link conventional thinking to nineteenth-century industrialization is apt, as is his attempt to inoculate the language against conformity through his own, almost homeopathic, use of “styles.

Style of thinking, style of work, style of planning and organizing, style of language” In arguing against ready-mades, of course, Bernstein is also setting himself against the model of his father and of Pound, for whom the allusion was a kind of ready-made to be slipped into the piggy-bank of poetry.

In literature, in art, in poetics, and everywhere.

Artifice of absorption – Charles Bernstein – Google Books

All at once Bernstein was “authorized” both vharles a critic, who used the jargon of the profession well before he entered it, and as an academic poet – or, at the least, a poet in the academy. He is, even more importantly, and as a result of these successes, the creator and propagator of a style.

Aesthetic values became less important for their own sakes and more so for the sake of promotion; as advertising man Ernest Elmo Calkins wrote, “Beauty is introduced into material objects to enhance them in the eyes of the purchaser” Toward the end of the poem, Bernstein takes the anaesthetist as a paradoxical hero in the fight against style-as-self.

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In that sense, the fashion that Bernstein seeks to wear and write is an anti-fashion like the one described by Dick Hebdige in his important study, Subculture: The fashion industry creates and stokes that desire through a number of marketing strategies aimed at pointing out defects and proposing solutions through the use of their products. And yet the poem, by artificce and mis-seaming its way from sentence to sentence, critiques that language and the “form” of life that it at abssorption creates and mirrors.

His critiques of poetry strangely become defenses of its importance, as he exposes the ironies of discussing art as if it were merchandise. And, as Barthes states it, using the feminine as his subject: Then, in much the way that Barthes describes the actual garment being transformed into the “written garment” 3Egon Friedell in saw fit to declare: The modernist masculine poetics of a writer like James Joyce, commenting that The Waste Land meant the end of poetry for “ladies,” was based on a spareness of style if in manifesto onlya getting away from the “frilly” sentimentality of the Romantics.

It is no accident that what often seems, in a Bernstein poem, to be or to have been a literary allusion, is a mis-copy, a flagrant mangling of the actual lines from a prior poem into something new, and very strange. Jackson, which is introduced by Charles Bernstein, one finds this conflation: He was for a time the publisher of the Segue catalogue of experimental poetry books, and he now “owns” the Poetics list at SUNY-Buffalo and moderates a radio show on poetry, Linebreak.

Bernstein, then, is interested in breaking certain taboos about language, taboos not often discussed openly but held very strongly by cultural conservatives and others. Click on the note numeral to be taken to it; likewise to return to the text. Shetley has problems with poems written under the rubric of Language writing, that they are sometimes “all meaning or all randomness, but the interesting area, and the area of genuine difficulty, lies between” The digital Loeb Classical Library loebclassics.

Perhaps everything I knew, but nothing I had ever set to paper myself. Femininity became associated with kitsch, which was associated with popular, rather than high, culture. And as Jennifer Craik comments, “Women are fashionable but men are not.

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That is to say, I have wanted to bring poetry into the “petty, commercial,” indeed material and social world of everyday life rather than make it a ansorption in which I could remain “free” of these things, or, better to say, chained to an illusion of such freedom. But why, and to what end?

To see what your friends thought of this book, please sign up. The garment industry, initially a supplier of clothes designed explicitly for workers, and for worknow began absorpption dress its public in wares that suggested the common accessibility of prosperity and leisure” arifice Within the scholarly or poetic marketplace, then, the writing garment signifies little more than its fact as a commodity to be bought or argued over.

The values of elite culture were simultaneously upheld and undermined by this peculiar variant of democracy. AP 46 Elsewhere he defines “frame lock” as “an insistence on artifkce univocal surface, minimal shifts of mood either within paragraphs or between paragraphs, exclusion of extraneous or contradictory material, and tone restricted to the narrow affective envelope of sobriety, neutrality, objectivity, authoritativeness, or deanimated abstraction” “Frame” Writing Poetry in the Age of Media.

For Bernstein realizes that he has entered into another consumer economy, that poetry in and out of the academy is marketed like any commodity, and that there is, to follow Barthes, not just an image poem but also a written poem. I developed some sort of paranoia that the essay was deliberately irritating, a sensation that probably follows anyone who has read too much Derrida.

At artificd same time that fashion is reparative, writing about fashion is what makes fashion fashionable; the fashion editor is one who “invests nothing of himself in his speech. The response comes in the guise of a self-help transcript: Non-absorptive poetry is, of necessity, a poetry that values style as least as much as substance; the artifixe of substance want to sell the content of their work and aim to find as simple a vehicle as possible to convey that substance.

From my experience as a reader, the essay began more beernstein and then developed into an absorptive piece.