LEADER 04233oam 2200565 450 001 9910795061003321 005 20230814215635.0 010 $a0-8173-9172-X 035 $a(CKB)4340000000262029 035 $a(OCoLC)1030036847 035 $a(MdBmJHUP)muse66466 035 $a(MiAaPQ)EBC5330090 035 $a(EXLCZ)994340000000262029 100 $a20170928d2018 uy 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aInterruptions $eThe Fragmentary Aesthetic in Modern Literature /$fGerald L. Bruns 210 $aTuscaloosa $cThe University of Alabama Press$d[2018] 215 $a1 online resource (xii, 197 pages) $cillustrations 225 0 $aModern and contemporary poetics 311 $a0-8173-5906-0 320 $aIncludes bibliographical references and index. 327 $aPrologue : The invention of poetry -- An archeology of fragments -- The impossible experience of words : the later fiction of Maurice Blanchot and Samuel Beckett -- Dialectrics : turbulence and contradiction in J.H. Prynne's Kazoo dreamboats -- Metastatic lyricism : John Wilkinson's poetry and poetics -- Apology for stuffed owls : on the virtues of bad poetry -- Paratactics ("pataquerics") of the ordinary : the course of the comic in Charles Bernstein's poetry -- On the words of the Wake (and what to do with them) -- What's in a mirror? James Joyce's phenomenology of misperception -- Epilogue : On incompletion (stopping briefly with Gertrude Stein). 330 $aIn Interruptions: The Fragmentary Aesthetic in Modern Literature, Gerald L. Bruns explores the effects of parataxis, or fragmentary writing as a device in modern literature. Bruns focuses on texts that refuse to follow the traditional logic of sequential narrative. He explores numerous examples of self-interrupting composition, starting with Friedrich Schlegel's inaugural theory and practice of the fragment as an assertion of the autonomy of words, and their freedom from rule-governed hierarchies. Bruns opens the book with a short history of the fragment as a distinctive feature of literary modernism in works from Gertrude Stein to Paul Celan to present-day authors. The study progresses to the later work of Maurice Blanchot and Samuel Beckett, and argues, controversially, that Blanchot's writings on the fragment during the 1950s and early 1960s helped to inspire Beckett?s turn toward paratactic prose. The study also extends to works of poetry, examining the radically paratactic arrangements of two contemporary British poets, J. H. Prynne and John Wilkinson, focusing chiefly on their most recent, and arguably most abstruse, works. Bruns also offers a close study of the poetry and poetics of Charles Bernstein. Interruptions concludes with two chapters about James Joyce. First, Bruns tackles the language of Finnegans Wake, namely the break-up of words themselves, its reassembly into puns, neologisms, nonsense, and even random strings of letters. Second, Bruns highlights the experience of mirrors in Joyce?s fiction, particularly in Dubliners, Portrait of the Artist as a Young Man, and Ulysses, where mirrored reflections invariably serve as interruptions, discontinuities, or metaphorical displacements and proliferations of self-identity. 410 0$aModern and contemporary poetics. 606 $aIntertextuality 606 $aMeaning (Philosophy) in literature 606 $aAesthetics in literature 606 $aPoetics 606 $aLiterature, Experimental$xCriticism, Textual 606 $aLiterature, Modern$xCriticism, Textual 606 $aDiscourse analysis, Literary 615 0$aIntertextuality. 615 0$aMeaning (Philosophy) in literature. 615 0$aAesthetics in literature. 615 0$aPoetics. 615 0$aLiterature, Experimental$xCriticism, Textual. 615 0$aLiterature, Modern$xCriticism, Textual. 615 0$aDiscourse analysis, Literary. 676 $a808.001/4 700 $aBruns$b Gerald L.$0223431 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910795061003321 996 $aInterruptions$93853290 997 $aUNINA