This study of Marianne Moore and the visual arts focuses on how art productions serve to break down and re-create cultural practice, proving that culture is a mutable organism, reluctant to change, but not impervious to it. In doing so, author Elisabeth W. Joyce shows that, even though Moore may have restricted herself to the quiet, provincial life of Brooklyn, her poetry attests to her resistance to the constrictions imposed by the predominating bourgeoisie. This study presents the bifurcation between modernism and the avant-garde where, while the modernists retreated from engagement in society, the avant-gardistes remained focused on political and social issues in order to critique stifling cultural phenomena so that art could effect cultural changes. In taking this stance, instead of viewing Moore's poetry as typically and provincially American, Joyce places her in the international and radical art movements of the early twentieth century.
This work relies extensively on Susan Howe's manuscript materials housed in the Mandeville Special Collections Library at the University of California, San Diego. It also turns to multiple disciplines, including art history, mathematics, anthropology and philosophy, in order to establish a comprehensive study of poetry and spatial organization systems. --Book Jacket.
In "A Serpentine Gesture": John Ashbery's Poetry and Phenomenology Elisabeth W. Joyce examines John Ashbery's poetry through the lens of Maurice Merleau-Ponty's conception of phenomenology. For Merleau-Ponty, perception is a process through which people reach outside of themselves for sensory information, map that experiential information against what they have previously encountered and what is culturally inculcated in them, and articulate shifts in their internal repositories through encounters with new material. Joyce argues that this process reflects Ashbery's classic statement of poetry being the "experience of experience." Through incisive close readings of Ashbery's poems, Joyce examines how he explores this process of continual reverberation between what is sensed and what is considered about that sensation and, ultimately, how he renders these perceptions into the "serpentine gesture" of language.
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