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"Perception of the Object": Toward a...

Penn, Alexandra.

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"Perception of the Object": Toward a Material-discursive Poetics.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"Perception of the Object": Toward a Material-discursive Poetics./
作者:	Penn, Alexandra.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
面頁冊數:	205 p.
附註:	Source: Dissertations Abstracts International, Volume: 81-05, Section: A.
Contained By:	Dissertations Abstracts International81-05A.
標題:	American literature. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=22619215
ISBN:	9781088391143

"Perception of the Object": Toward a Material-discursive Poetics.
Penn, Alexandra.

"Perception of the Object": Toward a Material-discursive Poetics. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 205 p.

Source: Dissertations Abstracts International, Volume: 81-05, Section: A.

Thesis (Ph.D.)--Indiana University, 2019.

This item must not be sold to any third party vendors.

"Perception of the Object": Toward a Material-Discursive Poetics argues that productive conversation between science and poetry is possible but requires an understanding of how discourse and matter, words and things, connect. Using feminist new materialisms as a framework for understanding the connection between matter and discourse, I re-examine a series of interconnected problems in science and poetry studies. Each chapter is connected by the idea that words and things are more intimately connected than we sometimes think, and this connection has to be foregrounded to understand poetry and science-how they connect, where they disagree, and what they can, in the end, genuinely say to one another. More specifically, I argue that John Keats's "Lamia" and Jorie Graham's "Subjectivity"-along with other poems written by both British and American authors throughout the nineteenth and twentieth centuries-suggest that observation is a shared method between scientists and poets, but one that poets find troubling due to implied figurative violence; that Karen Barad's Meeting the Universe Halfway and the poem it draws from-Alice Fulton's "Cascade Experiment"-show that metaphor is a shared method between scientists and poets that scientists find troubling, but that one way out of this impasse is to understand metaphor as a diffractive apparatus; and that highly visual poems, like those of Christian Bok and William Blake, are best understood as the products of material-discursive apparatuses that are themselves apparatuses, capable of producing new modes of viewing in their readers.

ISBN: 9781088391143Subjects--Topical Terms:

523234
American literature.
Subjects--Index Terms:

Apparatus

"Perception of the Object": Toward a Material-discursive Poetics.
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520 $a "Perception of the Object": Toward a Material-Discursive Poetics argues that productive conversation between science and poetry is possible but requires an understanding of how discourse and matter, words and things, connect. Using feminist new materialisms as a framework for understanding the connection between matter and discourse, I re-examine a series of interconnected problems in science and poetry studies. Each chapter is connected by the idea that words and things are more intimately connected than we sometimes think, and this connection has to be foregrounded to understand poetry and science-how they connect, where they disagree, and what they can, in the end, genuinely say to one another. More specifically, I argue that John Keats's "Lamia" and Jorie Graham's "Subjectivity"-along with other poems written by both British and American authors throughout the nineteenth and twentieth centuries-suggest that observation is a shared method between scientists and poets, but one that poets find troubling due to implied figurative violence; that Karen Barad's Meeting the Universe Halfway and the poem it draws from-Alice Fulton's "Cascade Experiment"-show that metaphor is a shared method between scientists and poets that scientists find troubling, but that one way out of this impasse is to understand metaphor as a diffractive apparatus; and that highly visual poems, like those of Christian Bok and William Blake, are best understood as the products of material-discursive apparatuses that are themselves apparatuses, capable of producing new modes of viewing in their readers.
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