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The aesthetic of an artist: Cummings...

Nunn, Lisa Ann.

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The aesthetic of an artist: Cummings as poet/painter.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The aesthetic of an artist: Cummings as poet/painter./
Author:	Nunn, Lisa Ann.
Description:	215 p.
Notes:	Source: Dissertation Abstracts International, Volume: 59-07, Section: A, page: 2494.
Contained By:	Dissertation Abstracts International59-07A.
Subject:	Biography. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9841327
ISBN:	0591953617

The aesthetic of an artist: Cummings as poet/painter.
Nunn, Lisa Ann.

The aesthetic of an artist: Cummings as poet/painter. - 215 p.

Source: Dissertation Abstracts International, Volume: 59-07, Section: A, page: 2494.

Thesis (Ph.D.)--University of Missouri - Columbia, 1997.

A study of E. E. Cummings' (1894-1962) published and unpublished work in poetry, prose, and visual art shows the relationship between his aesthetic theories and his artistic production. Cummings challenged the boundaries between verbal and visual art and high and low art. His work reveals an evolution from visual and verbal models as well as a theory that attempted to unify poetry and painting. Cummings' experiments with "perceptual ambiguity" in both poetry and painting reveal an artist passionately concerned with individualism who challenges his audience to actively participate in the interpretation of his art. The Introduction, "Redefining Cummings," aims at a more complete view of his production in the verbal and visual arts and discusses his role as an aesthetic theorist whose stated goal was to unify the arts. It also surveys the salient events of Cummings' life. Chapter One, "Cummings and the Critics," positions the study in relation to the history of Cummings criticism, which has not examined the archival material at the HRC. Chapter Two, "The Experimental Aesthetic," relies on Cummings' published and unpublished statements regarding his aesthetic goals, then analyzes five poems from the twenties through the fifties to examine the range of techniques and variety of models he used for major and minor poems. It also examines a workbook version of "all in green went my love riding" to reveal the experimental aesthetic at work. Chapter Three, "Reading the Poems and Paintings," analyzes the relative success of Cummings' attempt to unify the verbal and visual arts through a reading of three poems and a painting Cummings produced in the twenties. Chapter Four, "Breaking Boundaries," examines Cummings' goal of breaking down barriers between the work of art and the audience through his implication of the active audience in his 1927 play Him, the incorporation of phonetic dialect and slang in poetry, and his inclusion of illustrations as an integral part of The Enormous Room. Chapter Five, "Cummings in Context: Eimi," explores his most stylistically complex novel, which can be seen as the culmination of Cummings' lifelong attempt to unify the arts. Chapter Six, "Containing Opposites," reveals the numerous ways Cummings continues to resist the labels romantic, modernist, and transcendentalist, despite the similarities he shares with each.

ISBN: 0591953617Subjects--Topical Terms:

531296
Biography.

The aesthetic of an artist: Cummings as poet/painter.
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100 1 $a Nunn, Lisa Ann. $3 1256500
245 1 0 $a The aesthetic of an artist: Cummings as poet/painter.
300 $a 215 p.
500 $a Source: Dissertation Abstracts International, Volume: 59-07, Section: A, page: 2494.
500 $a Supervisor: Timothy Materer.
502 $a Thesis (Ph.D.)--University of Missouri - Columbia, 1997.
520 $a A study of E. E. Cummings' (1894-1962) published and unpublished work in poetry, prose, and visual art shows the relationship between his aesthetic theories and his artistic production. Cummings challenged the boundaries between verbal and visual art and high and low art. His work reveals an evolution from visual and verbal models as well as a theory that attempted to unify poetry and painting. Cummings' experiments with "perceptual ambiguity" in both poetry and painting reveal an artist passionately concerned with individualism who challenges his audience to actively participate in the interpretation of his art. The Introduction, "Redefining Cummings," aims at a more complete view of his production in the verbal and visual arts and discusses his role as an aesthetic theorist whose stated goal was to unify the arts. It also surveys the salient events of Cummings' life. Chapter One, "Cummings and the Critics," positions the study in relation to the history of Cummings criticism, which has not examined the archival material at the HRC. Chapter Two, "The Experimental Aesthetic," relies on Cummings' published and unpublished statements regarding his aesthetic goals, then analyzes five poems from the twenties through the fifties to examine the range of techniques and variety of models he used for major and minor poems. It also examines a workbook version of "all in green went my love riding" to reveal the experimental aesthetic at work. Chapter Three, "Reading the Poems and Paintings," analyzes the relative success of Cummings' attempt to unify the verbal and visual arts through a reading of three poems and a painting Cummings produced in the twenties. Chapter Four, "Breaking Boundaries," examines Cummings' goal of breaking down barriers between the work of art and the audience through his implication of the active audience in his 1927 play Him, the incorporation of phonetic dialect and slang in poetry, and his inclusion of illustrations as an integral part of The Enormous Room. Chapter Five, "Cummings in Context: Eimi," explores his most stylistically complex novel, which can be seen as the culmination of Cummings' lifelong attempt to unify the arts. Chapter Six, "Containing Opposites," reveals the numerous ways Cummings continues to resist the labels romantic, modernist, and transcendentalist, despite the similarities he shares with each.
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773 0 $t Dissertation Abstracts International $g 59-07A.
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