XMind

Study Guide 327 Midterm FA2011

1. Steve McCaffery

   1. Tender Buttons Unit

      1. Tender Buttons by Gertrude Stein

         1. The Purse

         2. The Purse -en francais

      2. Steve McCaffery's Homolinguistic Translation of Tender Buttons

         1. The Purse

            1. It's a totally individual record, a response to the perceptual act of the purse.

            2. Hay and Gold Fairy Tale References

            3. Playing with non-viewer effect that Stein did.

            4. links of association

            5. all are unique to the writer

            6. the fantasy that the hml translator can achieve the same intention as the original writer and thus create a concurrent document

            7. A commentary

         2. Introduction

            1. Gertrude Stein used "cubist perceptual method" emphasizing the subjective experience's equality to the inherent qualities of the object itself's description.

            2. These Poems are ""recontextualization" of Stein's surrealist praxis within the existing discursive methods of translation.

            3. The resultant poems use other texts to generate their content with "allusive references and connotational structures and possibilites" referencing the old text.

   2. Language Writing: Productive to Libidinal Economy

      1. Dualisms

         1. Texts

            1. Writerly Text

               1. Ambiguous

               2. "Resistant to Habitual Reading"

                  1. Breaks out of normal reading conceptions forces a new kind of interpretative apparatus

               3. Killing the

                  1. Owner

                  2. Producer

                  3. Author

            2. Readerly Text

               1. Customer

               2. User

               3. Reader

               4. Production!

               5. Authorial Intent

                  1. Creates Submission in the reader

         2. Language

            1. of Ownership

            2. Of User and Production

      2. A Readerly Text uses the traditional form of transmission

         1. What happens when you destroy or fragment or block transmission

         2. Language Poets: You are freed

         3. Everyone else: Na

      3. What alternative approaches are open to the opaque text than semantic production?

      4. Problems in Language Poetry

         1. Semantic Production and the Unreadable Text

            1. Semantic Production is not the way

         2. From Word to Sign

            1. Saussuran Sign is basic unit of Language Poetry

            2. Diacritical Dependency of Meaning is the basic unit of Language Decentered

         3. Fom Writing As Meta-Sign to Writing as Writing

            1. Charles Olson almost started it in 1950's projective verse.

            2. But he failed because he fell back on sound as solid

            3. Signifier must be left without any signified so it can stand alone and be material and isness of itself instead of pointing.

         4. From Poem to Text

            1. the Scriptive work is not a text, but a field

            2. Langauge Poetry offers a field of signifiers

               1. No signified

               2. Open play of signification

            3. Lack an identifiable author.

               1. Detached, but recoverable source of origin

            4. Language Poems cannot be read

               1. Only Produced!

         5. Other Guys

            1. Their poetics leads to the myth of transparent signification

               1. Where the signifier is the clear and unambigious sign-post to something in real life.

               2. Not Arbitrary

      5. Alternatives to User-Producer Econoy

         1. Libinial Intensity

            1. oppositionally related to the fixity of the written

            2. point where langauge is simulaaneously composed and disolved

            3. Made and Unmade

            4. Consumed and Regurgitated

            5. Language connects to Unconscience

            6. Instinctual

               1. Non-Semantic

               2. Destroy Linguistic Structures

               3. Language has a double dispoition

                  1. Naming

                  2. Localizing

                  3. Predicating

                  4. Pre-linguistic gestures semiotic order

                  5. Exceeds the linguistic

            7. The libido is pure, instrasative desire.

               1. Suggests the dynamic of the sign

         2. General Economy

            1. Soverignity

               1. Where the past and future

               2. communicable and incommunicable

               3. and high and low aren't in contradiction to one another

               4. sound like an LSD trip

               5. Prose makes us feel penetrable, but is in fact darknesss

   3. Rational Geomancy

      1. The idea of Translation

         1. No total unity in the subject of language

         2. Determines Reality

         3. Translation works if

            1. the two languages share a body of identical conceptualizations

            2. Because there's two aims for translation

               1. Idea

               2. Emotion

      2. The Translator's Role

         1. Active, Subject Position Front and Center

      3. Homolinguistic Translation

         1. Solves the problem by providing the same langauge of ideological description

         2. Leaves the translator to play with form and notational forms

         3. Geomancy Relationship

            1. Translation is geomancy because both are playing with balance of space and already existing phenomemna

      4. Auditory Axis

      5. Spatial Axis

2. Lee Bartlett

   1. What is Language Poetry

      1. Steve Fredman says

         1. One

            1. Critical Intelligence

            2. Orphic, Bardich Impulse

         2. Two

            1. Critical Thinking

            2. Mythopeodic Imagination

         3. The Examination of Language as mediatory function

         4. Deconstruction as a means of poetic creation

      2. Against the "Workshop" Poem

         1. double meaning

            1. Workshop as in Iowa Workshop

            2. Workshop as in Industrial, Production, workshop

         2. Perlman

            1. On Stafford's Traveling Through the Dark

               1. "voice" poem

               2. stafford found his voice

               3. leaving responsibility with nature

               4. "I" speak for us all, submission of the reader

               5. Self as the primary decisive subject in the creation of a poem

         3. Wordsworthian Idea

            1. Recall an experience through a fixed and definable identity

               1. Sending that experience to you.

            2. Implied: Experience Exists before Languge

         4. Self-ish-ness

            1. Michael Palmer

               1. Myself is not useful

               2. Poetry of Personality is quickly extinguished

            2. American Poetry Review

               1. Pictures of the Poets

               2. Distinguishing them

               3. Creating this false "I"

         5. Ron Silliman

            1. LANGUAGE has poetic consequences

            2. Voice poets are ignorant of their political repurcussions

         6. Perloff

            1. Capitalism places the individual as a passive cipher into a series of more or less indentical units

      3. Language Poetry

         1. Untranslatable Experience

         2. Bernstein and Andrews

            1. Relate Writing to Politics

            2. Language's facets

         3. Sum of specific conditions of experience, time, place, order, mood, etc

         4. Poetry is Referential

            1. Says Silliman

            2. Says Mac Low

            3. Says Palmer

         5. Language Poets want to diminish the referential quality's importance

         6. Bernstein

            1. multivalent references!

            2. Renergize the word!

         7. Text as Text

            1. not score for oral performance

         8. Intertextuality

            1. No Definition between Poetry and Prose

            2. Barthes' Death of the Author

            3. Pound's referential poetry

         9. Bernstein

            1. Poets must entered into multi-discourse where politics, autobio, fiction philosophy, common sense, songs, come together

            2. Layer ontop

3. Charles Bernstein

   1. Disfrutes

      1. Of It....

         1. No Being

         2. No Reference

         3. Only Pronouns and Prepositions

         4. Expectations of things there are useless

         5. Alienation

         6. Referential Infinity

      2. My High

         1. Parans

            1. infinity possibilities of insertion

         2. insertions

         3. disable communication

         4. short circuit ideology

         5. "regimes" of meaning

         6. materiality of language

4. Lyn Henjian

   1. The question of closure is the question of where is the writer's subject position.

   2. Paradox of Openness and Closure

      1. The Writer wants closure and hugs

      2. The Writer also wants openness of experience!

   3. Duals

      1. One

         1. Open Text

            1. Maximally Excited

         2. Closed Text

            1. Singular

            2. Unambigious

            3. Monaural

      2. Two

         1. Intention of the Writer

         2. Accessibility of the Reader

      3. Three

         1. Participation of the Reader

         2. Authority of the Writer

      4. Four

         1. Generative texts

         2. Directive texts

      5. Resists

         1. Reduction

            1. Translation?

            2. Paraphrase?

         2. Commodificatoin

   4. Resistance

      1. Poetry that embraces two fields

         1. Maximum Horizontal Extensivity

         2. Maximum Vertical Intensivty

      2. the paragraph is the unit of a single moment in time

      3. Idea of the Field

         1. The creation of artificial limits creates the idea that it continues on

            1. Creates a limitless field which we only see a limited portion

   5. Language is our psychological condition