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Speaking the unspoken: Silence, lang...

Paretti, Marie Christine.

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Speaking the unspoken: Silence, language, and form in contemporary poetry (Trinidad and Tobago, Louise Glueck, Marlene Nourbese Philip, Michael Palmer, Jorie Graham).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Speaking the unspoken: Silence, language, and form in contemporary poetry (Trinidad and Tobago, Louise Glueck, Marlene Nourbese Philip, Michael Palmer, Jorie Graham)./
作者:	Paretti, Marie Christine.
面頁冊數:	304 p.
附註:	Source: Dissertation Abstracts International, Volume: 59-02, Section: A, page: 0489.
Contained By:	Dissertation Abstracts International59-02A.
標題:	Literature, American. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9810361
ISBN:	9780591776782

Speaking the unspoken: Silence, language, and form in contemporary poetry (Trinidad and Tobago, Louise Glueck, Marlene Nourbese Philip, Michael Palmer, Jorie Graham).
Paretti, Marie Christine.

Speaking the unspoken: Silence, language, and form in contemporary poetry (Trinidad and Tobago, Louise Glueck, Marlene Nourbese Philip, Michael Palmer, Jorie Graham). - 304 p.

Source: Dissertation Abstracts International, Volume: 59-02, Section: A, page: 0489.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 1997.

This dissertation examines the relationship between thematic explorations of silence and formal developments in contemporary poetry. In particular, I analyze the work of four diverse poets: Louise Gluck, Marlene Nourbese Philip, Jorie Graham, and Michael Palmer. These poets represent a spectrum of formal practices in contemporary English-language poetry, with Gluck the most mainstream and Palmer the most experimental, but similar techniques are at play in each case. I argue that despite their differences, these poets all use form in strategically parallel ways, deploying it as a means of attending to and articulating one or more forms of silence. Their formal practices arise not from an a priori political or aesthetic agenda, but from a desire to enable readers to attend to silences drowned out by the noise of contemporary culture. Gluck explores the silences of women in interpersonal relationships; Philip explores the historical and cultural silences and silencings of Afra-Caribbeans; Graham explores the silence embedded in acts of representation, particularly in art and in history; and Palmer explores the theoretical and philosophical silences inherent in the signifying process and the slippages of language. Though silence has long been a poetic concern, these particular issues are distinctively inflected by the postmodern concerns of feminism, postcolonialism, and post-structural semiotics circulating in late-twentieth century thought. And although each poet attends to a different arena, all implicitly argue that the silences they grapple with are created and reinforced by the boundaries of conventional contemporary American discourse; dominant ideologies, including patriarchy, colonialism, and consumerism, coupled with a reliance on soundbites, teleology, linear logic, and univocality, obscure certain voices within the culture and destroy our ability to attend to the silences these poets find crucial. In response, they develop formal structures that operate outside the familiar patterns; they craft poetry characterized by non-linearity, non-normative syntax, disrupted (or obliterated) narrative, and an expansive multivocality. Gluck, Philip, Graham, and Palmer, along with many of their contemporaries, rely on such formal innovations to foster in their readers the habits of thinking, and listening necessary to hear the unspoken.

ISBN: 9780591776782Subjects--Topical Terms:

1017657
Literature, American.

Speaking the unspoken: Silence, language, and form in contemporary poetry (Trinidad and Tobago, Louise Glueck, Marlene Nourbese Philip, Michael Palmer, Jorie Graham).
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520 $a This dissertation examines the relationship between thematic explorations of silence and formal developments in contemporary poetry. In particular, I analyze the work of four diverse poets: Louise Gluck, Marlene Nourbese Philip, Jorie Graham, and Michael Palmer. These poets represent a spectrum of formal practices in contemporary English-language poetry, with Gluck the most mainstream and Palmer the most experimental, but similar techniques are at play in each case. I argue that despite their differences, these poets all use form in strategically parallel ways, deploying it as a means of attending to and articulating one or more forms of silence. Their formal practices arise not from an a priori political or aesthetic agenda, but from a desire to enable readers to attend to silences drowned out by the noise of contemporary culture. Gluck explores the silences of women in interpersonal relationships; Philip explores the historical and cultural silences and silencings of Afra-Caribbeans; Graham explores the silence embedded in acts of representation, particularly in art and in history; and Palmer explores the theoretical and philosophical silences inherent in the signifying process and the slippages of language. Though silence has long been a poetic concern, these particular issues are distinctively inflected by the postmodern concerns of feminism, postcolonialism, and post-structural semiotics circulating in late-twentieth century thought. And although each poet attends to a different arena, all implicitly argue that the silences they grapple with are created and reinforced by the boundaries of conventional contemporary American discourse; dominant ideologies, including patriarchy, colonialism, and consumerism, coupled with a reliance on soundbites, teleology, linear logic, and univocality, obscure certain voices within the culture and destroy our ability to attend to the silences these poets find crucial. In response, they develop formal structures that operate outside the familiar patterns; they craft poetry characterized by non-linearity, non-normative syntax, disrupted (or obliterated) narrative, and an expansive multivocality. Gluck, Philip, Graham, and Palmer, along with many of their contemporaries, rely on such formal innovations to foster in their readers the habits of thinking, and listening necessary to hear the unspoken.
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