L’effet de longueur dans un poème tardif de George Oppen

2016 ◽  
Vol 147 (2) ◽  
pp. 44
Author(s):  
Xavier Kalck
Keyword(s):  
George Oppen

‘Out Past / Self-Dramatization’: Maurice Scully's Several Dances

2016 ◽  
Vol 46 (1) ◽  
pp. 105-118
Author(s):  
Romana Huk
Keyword(s):  
Twentieth Century ◽  
William Carlos Williams ◽  
The Self ◽  
Avant Garde ◽  
George Oppen ◽  
American Poets

What has lyric to do with any radical phenomenology's choreography? Maurice Scully in Several Dances asks that question, as he has for years now, alongside other poets of Ireland's avant-garde whose ‘distinguishing (not inhibiting) feature’, as Sarah Bennett writes (acknowledging the work of Alex Davis and Eric Falci before her) is that in it ‘the lyric subject persists’ – in tandem with, this essay argues, what she names ‘an interest in perception … [which] is perhaps the most compelling commonality in these poets' work’. What distinguishes Scully's from the lyric phenomenology of American poets from William Carlos Williams (invoked throughout the volume) to George Oppen (also invoked) is that he queries existentialism's ‘singular’ approach to phenomena, achieved as Heidegger thought through the phenomenological ‘bracketing’ of individual (and communal) preconceptions from the perception of things. Cosmic – even theological – speculation enters in as Scully's poems move out past both self-centered lyric and twentieth-century cancellations of all preconceptions in the ‘limit-thinking’ and being-toward-death that phenomenology proposed for seeing past the self. Yet Scully works with mortality always in his sights too as he sings ‘the Huuuman / Limit-at-tation Blues’ (p.118) and, more vertiginously, considers both the undelimitability and the fragility of us.

The Objectivists

2018 ◽  
Author(s):  
Paul Jaussen
Keyword(s):  
Second Generation ◽  
William Carlos Williams ◽  
Louis Zukofsky ◽  
George Oppen ◽  
Writing Practices ◽  
Charles Reznikoff ◽  
Lorine Niedecker ◽  
The Usa ◽  
The Many ◽  
First And Second Generation

The Objectivist poets were a group of first- and second-generation modernist writers who emerged in the USA during the 1930s. The writers most commonly associated with the movement are Louis Zukofsky (who first used the term ‘objectivist’ to describe poetry), Charles Reznikoff, George Oppen, Charles Rakosi, the British poet Basil Bunting, and Lorine Niedecker (other poets, such as William Carlos Williams, however, were published under the banner of ‘objectivist’). Most objectivist writing was characterized by an attention to specific particulars and the belief that poems could be material or social objects. Beyond these broad tendencies, however, each writer associated with the movement offered different definitions of ‘objectivist,’ and developed divergent writing practices. Consequently, the term has historical, critical, and evolutionary implications, referring both to specific literary publications, a core of poets whose relationships and affinities continued beyond the early 1930s, and the many subsequent attempts by poets and critics to use ‘objectivist’ as a critical concept.

Thinking Poetics: Essays on George Oppen (review)

2012 ◽  
Vol 66 (1) ◽  
pp. 102-108 ◽  
Author(s):  
Brian F. McCabe
Keyword(s):  
George Oppen

George Oppen and the Limits of Words

2008 ◽  
Vol 15 (3) ◽  
pp. 557-565
Author(s):  
Stephen Burt
Keyword(s):  
George Oppen
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