Background
Perloff, Marjorie Gabrielle was born on September 28, 1931 in Vienna, Austria. Arrived in the United States, 1998. Daughter of Maximilian and Ilse (Schueller) Mintz.
( The fourteen essays that make up this collection have a...)
The fourteen essays that make up this collection have as their common theme a reconsideration of the role historical and cultural change has played in the evolution of twentieth-century poetry and poetics. Committed to the notion that, in John Ashbery's words, "You can't say it that way anymore," Poetry On & Off the Page describes the formations and transformations of literary and artistic discourses, and traces these discourses as they have evolved in their dialogue with history, culture, and society. The volume is testimony to the important role that contemporary artistic practice will continue to play as we move into the twenty-first century.
http://www.amazon.com/gp/product/0810115611/?tag=2022091-20
( How the negotiation between poetic and media discourses...)
How the negotiation between poetic and media discourses takes place is the subject of Marjorie Perloff's groundbreaking study. Radical Artifice considers what happens when the "natural speech" model inherited from the great Modernist poets comes up against the "natural speech" of the Donahue "talk show," or again, how visual poetics and verse forms are responding to the languages of billboards and sound bytes. Among the many poets whose works are discussed are John Ashbery, George Oppen, Susan Howe, Clark Coolidge, Lyn Hejinian, Leslie Scalapino, Charles Bernstein, Johanna Drucker, and Steve McCaffery. But the strongest presence in Perloff's book is John Cage, a "poet" better known as a composer, a philosopher, a printmaker, and one who understood, almost half a century ago, that from now on no word, musical note, painted surface, or theoretical statement could ever again escape "contamination" from the media landscape in which we live. It is under his sign that Radical Artifice was composed.
http://www.amazon.com/gp/product/0226657345/?tag=2022091-20
(This text considers what happens when the "natural speech...)
This text considers what happens when the "natural speech" model inherited from the Modernist poets comes up against the "natural speech" of the "Donahue" talk show, or again, how visual poetics and verse forms are responding to the languages of billboards and sound bytes.
http://www.amazon.com/gp/product/B00ECJG8N8/?tag=2022091-20
( Marjorie Perloff's stunning book was one of the first t...)
Marjorie Perloff's stunning book was one of the first to offer a serious and far-reaching examination of the momentous flourishing of Futurist aesthetics in the European art and literature of the early twentieth century. Offering penetrating considerations of the prose, visual art, poetry, and carefully crafted manifestos of Futurists from Russia to Italy, Perloff reveals the Moment's impulses and operations, tracing its echoes through the years to the work of "postmodern" figures like Roland Barthes. This updated edition, with its new preface, reexamines the Futurist Moment in the light of a new century, in which Futurist aesthetics seem to have steadily more to say to the present.
http://www.amazon.com/gp/product/0226657388/?tag=2022091-20
( Must poetic form be, as Yeats demanded, "full, sphere-l...)
Must poetic form be, as Yeats demanded, "full, sphere-like, single," or can it accommodate the impurities Yeats and his Modernist generation found so problematic? Sixty years later, these are still open questions, questions Marjorie Perloff addresses in these essays.
http://www.amazon.com/gp/product/0810113805/?tag=2022091-20
(What if, despite the current predominance of a tepid and ...)
What if, despite the current predominance of a tepid and unambitious Establishment poetry, there were a powerful avant-garde that takes up, once again, the experimentation of the early twentieth-century? Marjorie Perloff's manifesto argues that it is only at the turn of our own century that the powerful lessons of the avant-garde - an avant-garde cruelly disrupted by the Great War and subsequent political upheavals - are being learned. In detailed readings of T.S. Eliot, Gertrude Stein, Marcel Duchamp, and Velimir Khlebnikov, Perloff studies the strains which were to become so important today: the Eliotic understanding that form is meaning, Stein's revisionary treatment of syntax and everyday language, Duchamp's conceptualism, with its transformation of the ontology of the 'work of art' itself, and Khlebnikov's poetics of etymology, sound play, and spatial design. These individual but related poetic concerns are then examined in the work of a number of poets writing today. 'To imagine a language', said Wittgenstein, 'is to imagine a form of life'. This revisionist narrative studies such key poetic 'imaginings' both at the beginning of the twentieth century and at the millennium, so as to discover how their respective 'forms of life' both converge and cross.
http://www.amazon.com/gp/product/0631219706/?tag=2022091-20
(In her seminal study, first published in 1981, Marjorie P...)
In her seminal study, first published in 1981, Marjorie Perloff argues that the map of Modernist poetry needs to be redrawn to include a central tradition which cannot properly be situated within the Romantic-Symbolist tradition dominating the early twentieth century.
http://www.amazon.com/gp/product/B00FBBQSE0/?tag=2022091-20
( In her seminal study, first published in 1981, Marjorie...)
In her seminal study, first published in 1981, Marjorie Perloff argues that the map of Modernist poetry needs to be redrawn to include a central tradition which cannot properly be situated within the Romantic-Symbolist tradition dominating the early twentieth century.
http://www.amazon.com/gp/product/0810117649/?tag=2022091-20
( What is the place of individual genius in a global worl...)
What is the place of individual genius in a global world of hyper-information— a world in which, as Walter Benjamin predicted more than seventy years ago, everyone is potentially an author? For poets in such a climate, "originality" begins to take a back seat to what can be done with other people’s words—framing, citing, recycling, and otherwise mediating available words and sentences, and sometimes entire texts. Marjorie Perloff here explores this intriguing development in contemporary poetry: the embrace of "unoriginal" writing. Paradoxically, she argues, such citational and often constraint-based poetry is more accessible and, in a sense, "personal" than was the hermetic poetry of the 1980s and 90s. Perloff traces this poetics of "unoriginal genius" from its paradigmatic work, Benjamin’s encyclopedic Arcades Project, a book largely made up of citations. She discusses the processes of choice, framing, and reconfiguration in the work of Brazilian Concretism and Oulipo, both movements now understood as precursors of such hybrid citational texts as Charles Bernstein’s opera libretto Shadowtime and Susan Howe’s documentary lyric sequence The Midnight. Perloff also finds that the new syncretism extends to language: for example, to the French-Norwegian Caroline Bergvall writing in English and the Japanese Yoko Tawada, in German. Unoriginal Genius concludes with a discussion of Kenneth Goldsmith’s conceptualist book Traffic—a seemingly "pure’" radio transcript of one holiday weekend’s worth of traffic reports. In these instances and many others, Perloff shows us "poetry by other means" of great ingenuity, wit, and complexity.
http://www.amazon.com/gp/product/0226660621/?tag=2022091-20
(Ezra Pound termed a fresh strain in Post-Modernist poetry...)
Ezra Pound termed a fresh strain in Post-Modernist poetry 'Logopoeia - the dance of the intellect among words', and in this collection of essays, Marjorie Perloff examines this fresh strain in poetics. These essays focus on the poetry of Swinburne, Yeats, Stevens, Joyce, Williams, Cage, and Pound, among others. Through her analyses, the author traces a distinct direction in Post-Modernist poetry to Pound, whose legacy is present throughout this volume, even in essays not specifically devoted to him. Professor Perloff finds that the Symbolist elements that Yeats rejected - fragments, purely metrical or visual impressions, and theoretical concepts - became increasingly important to later poets. She also argues that the Romantic and Modernist cult of the personality has given way to a denial of the authoritative ego. These developments, combined with other cultural influences which Perloff identifies, such as the art of the Italian Futurists, lead to a fresh strain in poetry.
http://www.amazon.com/gp/product/0521347564/?tag=2022091-20
( A fascinating memoir of refugee flight and survival, in...)
A fascinating memoir of refugee flight and survival, intellectual yet highly personal, by one America's eminent literary critics. The Vienna Paradox is Marjorie Perloff's memoir of growing up in pre-World War II Vienna, her escape to America in 1938 with her upper-middle-class, highly cultured, and largely assimilated Jewish family, and her self-transformation from the German-speaking Gabriele Mintz to the English-speaking Marjorie—who also happened to be the granddaughter of Richard Schüller, the Austrian foreign minister under Chancellor Dollfuss and a special delegate to the League of Nations. Compelling as the story is, this is hardly a conventional memoir. Rather, it interweaves biographical anecdote and family history with speculations on the historical development of early 20th-century Vienna as it was experienced by her parents' generation, and how the loss of their "high" culture affected the lives of these cultivated refugees in a democratic United States that was, and remains, deeply suspicious of perceived "elitism." This is, in other words, an intellectual memoir, both elegant and heartfelt, by one of America's leading critics, a narrative in which literary and philosophical reference is as central as the personal.
http://www.amazon.com/gp/product/0811215717/?tag=2022091-20
English and comparative literature educator
Perloff, Marjorie Gabrielle was born on September 28, 1931 in Vienna, Austria. Arrived in the United States, 1998. Daughter of Maximilian and Ilse (Schueller) Mintz.
AB, Barnard College, 1953. Master of Arts, Catholic University, 1956. Doctor of Philosophy, Catholic University, 1965.
Doctor of Letters (honorary), Bird College, 2008.
Assistant professor English and comparative literature Catholic University, Washington, 1966-1968, associate professor, 1969-1971, University Maryland, 1971-1973, professor, 1973-1976. Florence R. Scott professor English University Southern California, Los Angeles, since 1976. Professor English and comparative literature Stanford (California) University, since 1986, Sadie Dernham professor humanities, since 1990, professor emerita, 2000.
Visiting professor University Utah, 2002. Florence Scott professor English emerita University Southern California, since 2004. Guest professor Beijing Language and Culture University, 2004.
(What if, despite the current predominance of a tepid and ...)
( What is the place of individual genius in a global worl...)
(This text considers what happens when the "natural speech...)
(In her seminal study, first published in 1981, Marjorie P...)
( In her seminal study, first published in 1981, Marjorie...)
( Must poetic form be, as Yeats demanded, "full, sphere-l...)
( Marjorie Perloff's stunning book was one of the first t...)
( The fourteen essays that make up this collection have a...)
(Ezra Pound termed a fresh strain in Post-Modernist poetry...)
(When the avant-gardist John Cage died, he was already the...)
( A fascinating memoir of refugee flight and survival, in...)
( How the negotiation between poetic and media discourses...)
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(Brand New. In Stock. Will be shipped from US. Excellent C...)
(Brand New. In Stock. Will be shipped from US. Excellent C...)
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Fellow American Academy Arts and Sciences. Member Modern Language Association (executive council 1977-1981, American literature section since 1993, 1st vice president 2005, president 2006), Comparative Literature Association (president 1993-1994, member advisory board Library. of America), Literature Studies Academy.
Married Joseph K. Perloff, July 31, 1953. Children— Nancy Lynn, Carey Elizabeth.