Brendan C Gillott
Dados Biográficos
| ID | 3087825 |
|---|---|
| NOME | Brendan C Gillott |
| PRENOMES | Brendan C |
| SOBRENOME | Gillott |
| ASSINATURA | GILLOTT B C |
| AFILIAÇÕES | Corpus Christi College, University of Cambridge, Cambridge, UK |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 4 |
| TOTAL DE CITAÇÕES | 0 |
| OBRAS COMO AUTOR | 4 |
| OBRAS COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2018 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2023 |
| ÍNDICE H | 0 |
Concrete Poetics and Non-Art in John Cage and Dom Sylvester Houédard
This essay considers the work of John Cage and Dom Sylvester Houédard (dsh) as both concrete poetry and non- or anti-art, paying special attention to their statements of poetics from the early Fifties through to the early Seventies. Although their contribution to the various manifestations of mid-century concrete poetics is well recognised, this recognition has served to obscure their concurrent commitment to anti-art and ‘Neo-Dada’. The inclusio…
T.S. Eliot, Charles Olson and the Occupation of Gloucester
This piece considers T.S. Eliot's 'The Dry Salvages', from Four Quartets, and Charles Olson's The Maximus Poems as examples of poetical occupations, with a focus on their writing on/of the port-town of Gloucester, Massachusetts. It considers questions of place, landscape, history, archaeology, leisure and labour, paying especial attention to the way in which Olson's work finds its impetus in correcting what the younger poet sees as the excessivel…
Random poetry
The latter half of the twentieth century saw increasing interest in the production of aleatoric, ‘chance-determined’ texts. The writing of poetry outside of simplistically naturalised ‘intentional’ paradigms was not of course new, being common to the early century's ‘automatic writing’ and ancient oracular traditions alike; but poets writing in the twentieth century developed new anti-intentional methods under the sign of process philosophies and…
Charles Olson’s ‘Projective Verse’ and the Inscription of the Breath
Charles Olson’s hugely influential essay-manifesto ‘Projective Verse’ is usually understood as proposing a close - and a necessary—link between poetry and body. Some account of Olson’s as a ‘poetics of embodiment’ or a ‘breath-poetics’ is almost ubiquitous in the extant criticism, yet what this might actually mean or imply for poetry and poetry-reading remains unclear. ‘Projective Verse’ is deeply ambivalent about print, seeing in it the ‘closed …
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Charles Olson’s ‘Projective Verse’ and the Inscription of the Breath
Charles Olson’s hugely influential essay-manifesto ‘Projective Verse’ is usually understood as proposing a close - and a necessary—link between poetry and body. Some account of Olson’s as a ‘poetics of embodiment’ or a ‘breath-poetics’ is almost ubiquitous in the extant criticism, yet what this might actually mean or imply for poetry and poetry-reading remains unclear. ‘Projective Verse’ is deeply ambivalent about print, seeing in it the ‘closed …
T.S. Eliot, Charles Olson and the Occupation of Gloucester
This piece considers T.S. Eliot's 'The Dry Salvages', from Four Quartets, and Charles Olson's The Maximus Poems as examples of poetical occupations, with a focus on their writing on/of the port-town of Gloucester, Massachusetts. It considers questions of place, landscape, history, archaeology, leisure and labour, paying especial attention to the way in which Olson's work finds its impetus in correcting what the younger poet sees as the excessivel…
Random poetry
The latter half of the twentieth century saw increasing interest in the production of aleatoric, ‘chance-determined’ texts. The writing of poetry outside of simplistically naturalised ‘intentional’ paradigms was not of course new, being common to the early century's ‘automatic writing’ and ancient oracular traditions alike; but poets writing in the twentieth century developed new anti-intentional methods under the sign of process philosophies and…
Concrete Poetics and Non-Art in John Cage and Dom Sylvester Houédard
This essay considers the work of John Cage and Dom Sylvester Houédard (dsh) as both concrete poetry and non- or anti-art, paying special attention to their statements of poetics from the early Fifties through to the early Seventies. Although their contribution to the various manifestations of mid-century concrete poetics is well recognised, this recognition has served to obscure their concurrent commitment to anti-art and ‘Neo-Dada’. The inclusio…
Art (4 obras) · Literature (4 obras) · Poetry (4 obras) · Philosophy (3 obras) · Art history (2 obras) · History (2 obras) · Linguistics (2 obras) · Poetics (2 obras) · Sociology (2 obras) · Aesthetics (1 obra)