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商品詳細
Imperfect Fit : Aesthetic Function, Facture, and Perception in Art and Writing since 1950.
・ISBN 978-0-8173-5872-3 paper US$ 49.95
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★★★
| 著者・編者 | Fisher, Allen, |
|---|---|
| シリーズ | Modern & Contemporary Poetics |
| 出版社 | (The University of Alabama Press, US) |
| 出版年月 | 2016 |
| ページ数 | 304 pp. |
| 言語 | ENG |
| ニュース番号 | ＜L25-39912＞ |
解説
Imperfect Fit: Aesthetic Function, Facture, and Perception in Art and Writing since 1950 is an expansive and incisive examination of the patterns of connectedness in contemporary art and poetry. Allen Fisher-a highly accomplished poet, painter, critic, and art historian as well as a key figure in the British poetry revival of the 1960s and 1970s-has a close and discerning connection to his subjects.
In Imperfect Fit, Fisher focuses on the role of fracturing, ruptures, and breakages in many traditional ties between art and poetry, as well as the resulting use of collage and assemblage by practitioners of those arts. Fisher addresses, among other subjects, destruction as a signifier in twentieth-century art; the poetic employment of bureaucratic vocabularies and "business speak"; and the roles of public performance and memory loss in the fashioning of human knowledge and art.
Commonplace notions of coherence, logic, and truth are reimagined and deconstructed in this study, and Fisher concludes by suggesting that contemporary culture offers a particularly robust opportunity-and even necessity-to engage in the production of art as a pragmatic act. Scholars of art, poetry, and aesthetics will be engaged and challenged by this insightful work.
In Imperfect Fit, Fisher focuses on the role of fracturing, ruptures, and breakages in many traditional ties between art and poetry, as well as the resulting use of collage and assemblage by practitioners of those arts. Fisher addresses, among other subjects, destruction as a signifier in twentieth-century art; the poetic employment of bureaucratic vocabularies and "business speak"; and the roles of public performance and memory loss in the fashioning of human knowledge and art.
Commonplace notions of coherence, logic, and truth are reimagined and deconstructed in this study, and Fisher concludes by suggesting that contemporary culture offers a particularly robust opportunity-and even necessity-to engage in the production of art as a pragmatic act. Scholars of art, poetry, and aesthetics will be engaged and challenged by this insightful work.