Painterly abstraction in modernist American poetry : the contemporaneity of modernism
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Bibliographic Information
Painterly abstraction in modernist American poetry : the contemporaneity of modernism
（Cambridge studies in American literature and culture）
Cambridge University Press, 2009, c1989
- : pbk
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Note
"First published 1989. This digitally printed version 2009"--T.p. verso
"Paperback re-issue"--Back cover
Includes bibliographical references (p. 507-524) and index
Description and Table of Contents
Description
Charles Altieri's book sets modernist American poetry in a precise cultural context by analysing how major poets reacted to the challenge posed by modernist painting's radical critique of traditional representational models for art. It argues that modernist poets have tended to resist the received values of their contemporary culture by finding idealising principles in modes of pure abstraction. It traces the use of such abstraction in literature from Wordsworth, through Baudelaire and Mallarme, to T. S. Eliot, William Carlos Williams, Marianne Moore, and Gertrude Stein. There are summary chapters also on Wallace Stevens and Ezra Pound, considerations of Cezanne and the Cubists, and a substantial theoretical discussion of the nature of abstract art.
Table of Contents
- 1. It must be abstract
- 2. Self-subsuming artifacts: the logic of constructivist abstraction
- 3. Knowledge enormous denies the god in me: abstraction and the Romantic tradition
- 4. Modernist irony and the Kantian heritage
- 5. Eliot's Symbolists subject as end and beginning
- 6. 'The abstraction of the artist': three painterly models for the constructivist will
- 7. Modes of abstraction in Modernist poetry
- 8. Modernist abstraction and Pound's first Cantos: the ethos for a new Renaissance
- 9. Why Stevens must be abstract
- 10. Afterword: the end(s) of Modernism.
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