Barry Ahearn
Biographic Data
| ID | 5701959 |
|---|---|
| NAME | Barry Ahearn |
| GIVEN NAMES | Barry |
| FAMILY NAME | Ahearn |
| SIGNATURE | AHEARN B |
| AFFILIATIONS | Tulane University |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1978 |
| LATEST PUBLICATION YEAR | 1995 |
| H-INDEX | 0 |
William Carlos Williams and Alterity: The Early Poetry
Many critics have noticed the paradoxes and contradictions in the work of William Carlos Williams, but few have analysed them in detail. Professor Ahearn argues that Williams criticism has not gone far enough in recognizing the uses Williams saw for contradiction. He contends that Williams began to acquire his own voice as a poet when he recognized that he could be a vehicle for contending voices. His reading departs from previous examinations of…
"Zukofsky's "A: An Introduction
Origins of "A": Zukofsky's Materials for Collage
In A-12 Zukofsky obligingly invites the reader to examine paradigm for his own artistry.' He has assembled collage which he introduces as his fetish for building (245).2 At the bottom of the collage stands Duncan Phyfe's house, workshop and store-/ After an old (245).3 To the right and above is a postcard / Of Chardin's House of Cards (246).4 Left of the postcard floats a doodling / On scrap of white paper (246). Three elements then: engraving, p…
No prominent works on this page.
Origins of "A": Zukofsky's Materials for Collage
In A-12 Zukofsky obligingly invites the reader to examine paradigm for his own artistry.' He has assembled collage which he introduces as his fetish for building (245).2 At the bottom of the collage stands Duncan Phyfe's house, workshop and store-/ After an old (245).3 To the right and above is a postcard / Of Chardin's House of Cards (246).4 Left of the postcard floats a doodling / On scrap of white paper (246). Three elements then: engraving, p…
"Zukofsky's "A: An Introduction
William Carlos Williams and Alterity: The Early Poetry
Many critics have noticed the paradoxes and contradictions in the work of William Carlos Williams, but few have analysed them in detail. Professor Ahearn argues that Williams criticism has not gone far enough in recognizing the uses Williams saw for contradiction. He contends that Williams began to acquire his own voice as a poet when he recognized that he could be a vehicle for contending voices. His reading departs from previous examinations of…
Art (3 works) · History (2 works) · Poetry Analysis and Criticism (2 works) · Alterity (1 works) · Art history (1 works) · Art, Politics, and Modernism (1 works) · Latin American and Latino Studies (1 works) · Literature (1 works) · Philosophy (1 works) · Poetry (1 works)