Reviewed Medium: book
 Authors: Linda Hutcheon
 Year: 2000
 Pages: xx + 143
 Publisher: University of Illinois Press
 Prices: $14.95

A Theory of Parody: The Teachings of Twentieth-Century Art Forms

Uses of Literature.

Follow up what we will offer in this article about visible word experimental typography and modern art 1909 1923. You know really that this book is coming as the best seller book today. So, when you are really a good reader or you're fans of the author, it does will be funny if you don't have this book. It means that you have to get this book. For you who are starting to learn about something new and feel curious about this book, it's easy then. Just get this book and feel how this book will give you more exciting lessons.

The Visible Word: Experimental Typography and Modern Art, 1909-1923

Date of Award 1-1-2017 Document Type Dissertation Degree Name Ph.D. Department Religious Studies First Advisor Pamela Eisenbaum, Ph.D.

Bible as Interface

Against Expression: An Anthology of Conceptual Writing. Eds. Craig Dworkin and Kenneth Goldsmith. Evanston, IL: Northwestern UP, 2011. 593 pp. $45Craig Dworkin and Kenneth Goldsmith's claim that conceptual writing is our contemporary instantiation of avant-garde poetry and that Against Expression is its official debut assumes that the manipulation of literary institutions from within their centers of power is a vanguardist enterprise. This anthology is therefore an experiment in the mobilization of academic institutions not as patron of innovative poetry but as manager of literary history in real time. As their respective introductions attest, Dworkin and Goldsmith are highly self-aware of the sociological function of the literary anthology. Anthologists typically determine literary value by judging what constitutes good or significant writing; Dworkin and Goldsmith leverage the power of the anthology to determine simply what counts as literature. For Dworkin, the category of the literary is a function of specific publishing histories. "Context is everything," he writes repeatedly. This means that Against Expression includes writing previously published by definitively literary presses, as well as "non-literary" writing now constituted as literary by virtue of context. "Even in the case of the few exceptions to our [literary] focus," writes Dworkin, "all of the texts included are presented here, in the new context of this anthology, as literary." One can almost hear Dworkin echoing Robert Rauschenberg's infamous telegram to Iris Clert: "THE TEXTS PRESENTED HERE ARE LITERARY IF I SAY SO."The editorial focus on the category of the literary is meant to be recuperative, to take upon itself the task of bringing literary history up to speed with art history and restaging the same interventions within institution literature that the historical avant-garde staged within institution art in the last century. In a 2010 interview, Lytle Shaw asked Goldsmith why conceptual writing had become increasingly synonymous with the technique of appropriation. In response, Goldsmith told a familiar story: in 1959, Brion Gysin claimed that writing was fifty years behind painting, and fifty years later his statement still holds true. This time Goldsmith went so far as to argue that, with the emergence of Pop Art in the 60s and Consumer Art in the 80s, "the art world went through postmodernism and poetry didn't." In the introduction to Against Expression, Goldsmith's rhetoric makes the situation seem dire: "From Napster to gaming, from karaoke to BitTorrent files, the culture appears to be embracing the digital and all the complexity it entails-with the exception of writing."The paradox of conceptual writing is that its radical break with supposedly retrograde literary institutions needs authorization-not antagonism- from those institutions before it can become visible as Uterary practice in the first place. Against Expression contains evidence everywhere of its roots in the academy. It is no secret that Marjorie Perloff and Charles Bernstein have played a significant role in nurturing the reception of conceptual writing within the academy. Even so, the size of their presence in and around Against Expression is remarkable. Perloff is one of the volume's dedicatees, and one of the general editors of the series in which the book appears, Northwestern University's Avant-Garde and Modernism CoUection. Meanwhile, Bernstein is one of only three core Language poets who appear in the anthology (Steve McCaffery and Ron SilUman are the other two); at twenty-five pages, his work ties Goldsmith's for the largest portfoUo in the volume. Bernstein's name also opens the publisher's bookjacket copy. Conceptual writing has come to name an insider's game among writers officiaUy sanctioned by-and marketed by-prominent poetry critics.A different kind of academicism characterizes Dworkin's earlier Ubu Web Anthology of Conceptual Writing (a coUection housed in Goldsmith's online avant-garde art database, Ubu Web). …

Against Expression: An Anthology of Conceptual Writing

Sumario da Licao apresentado para Provas de Agregacao em Linguas e Literaturas Modernas, na especialidade de Literatura Inglesa, da Faculdade de Letras da Universidade de Coimbra

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The Codex and the Computer as Self-Reflexive Machines

In Scripting Reading Motions, Manuel Portela explores the expressive use of book forms and programmable media in experimental works of both print and electronic literature and finds a self-conscious play with the dynamics of reading and writing. Portela examines a series of print and digital works by Johanna Drucker, Mark Z. Danielewski, Rui Torres, Jim Andrews, and others, for the insights they yield about the semiotic and interpretive actions through which readers produce meaning when interacting with codes. Analyzing these works as embodiments and simulations of the motions of reading, Portela pays particular attention to the ways in which awareness of eye movements and haptic interactions in both print and electronic media feeds back onto the material and semantic layers of the works. These feedbacks, he argues, sustain self-reflexive loops that link the body of the reader to the embodied work. Readers' haptic actions and eye movements coinstantiate the object that they are reading. Portela discusses typographic and graphic marks as choreographic notations for reading movements; examines digital recreations of experimental print literary artifacts; considers reading motions in kinetic and generated texts; analyzes the relationship of bibliographic, linguistic, and narrative coding in Danielewski's novel-poem, Only Revolutions; and describes emergent meanings in interactive textual instruments. The expressive use of print and programmable media, Portela shows, offers a powerful model of the semiotic, interpretive, and affective operations embodied in reading processes.

Scripting Reading Motions: The Codex and the Computer as Self-Reflexive Machines

Writing's visual forms possess an irresolvably dual identity in their material existence as images and their function as elements of language Because of this fundamental dualism, writing is charge

Introducing Visual Text

The research project 'No Problem Has Solution: A Digital Archive of the Book of Disquiet ' aims to produce a digital hypermedia archive of the Book of Disquiet [ LdoD ], by Bernardo Soares/Fernando Pessoa. The archive will contain digital facsimiles of the documentary materials of LdoD , topographic transcriptions of those materials, textual transcriptions of the four critical editions published between 1982 and 2010 (Coelho 1982 [2nd edition, 1997]; Cunha 1990-91 [2nd edition, 2008]; Zenith 1998 [10th edition, 2012]; Pizarro 2010), and also tools for search and textual analysis. This aggregation and electronic encoding of textual fragments combines genetic and social editing of LdoD , showing it both as a network of potential authorial intentions and as a conjectural construction of its successive editors. This digital archive will also provide a space for virtualizing LdoD that encourages new dynamics of reading, editing, research, and writing. This article presents the project in its theoretical, technical, and methodological aspects, contextualizing them within ongoing research in the field.

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'Nenhum Problema Tem Solução': Um Arquivo Digital do Livro do Desassossego

The three main objectives of the research project ‘No Problem Has Solution: A Digital Archive of the Book of Disquiet’ [1][1] are: (1) to represent the dynamics of the acts of writing and editing in the production of the LdoD [2][2]; (2) to explore the potential of the digital medium to simulate the history of this dynamics; and (3) to create a space for virtualizing the LdoD capable of fostering new dynamics of reading, editing, and researching in the encounter between readers and its material corpus of written fragments. This article describes the project’s rationale and proposes a conceptual model of the functions that the software application to be developed should be able to perform. In this model, the electronic encoding of the fragments should support radial configurations that respond to multiple interactions. This model of the dynamic and reconfigurative iterability of the archive will enable users to virtualize the book according to four functions: reader-function, editor-function, book-function, and author-function.

 [1]: #fn-1
 [2]: #fn-2

Manuel Portela

Papers

The Codex and the Computer as Self-Reflexive Machines

Scripting Reading Motions: The Codex and the Computer as Self-Reflexive Machines

Introducing Visual Text

'Nenhum Problema Tem Solução': Um Arquivo Digital do Livro do Desassossego

A model for a virtual LdoD