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PARTIAL ARTS: POETIC OBSESSIONS WITH THE FRAGMENT
by
Andrew Allport
A Dissertation Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF PHILOSOPHY
(LITERATURE AND CREATIVE WRITING)
May 2010
Copyright 2010 Andrew Allport
Object Description
| Title | Partial arts: Poetic obsessions with the fragment |
| Author | Allport, Andrew |
| Author email | allport@usc.edu; allport@alum.dartmouth.org |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | Literature & Creative Writing |
| School | College of Letters, Arts and Sciences |
| Date defended/completed | 2010-03-02 |
| Date submitted | 2010 |
| Restricted until | Unrestricted |
| Date published | 2010-04-15 |
| Advisor (committee chair) | St. John, David |
| Advisor (committee member) |
Russett, Margaret Irwin, Mark Muske-Dukes, Carol Habinek, Thomas |
| Abstract | Through a series of interrelated fragment texts that include Romantic and contemporary authors, this dissertation investigates the genealogy and the elasticity of the fragment poem as a formal conceit in poetry. Where does the fragment come from, and where does it go? Using texts ranging from High Romanticism to contemporary altered books, this study links the fragment form to poetry’s ambivalent attitudes toward legibility and to its interrogation of the usefulness of form itself. Far from a Romantic anachronism, the fragment is still a vital poetic form. In fact, this dissertation argues that the fragment is to the form by which the contemporary understands and reconstructs its past. As such, it is the ideal form in which to locate contemporary poetic attitudes toward literary history and heritage. From Samuel Taylor Coleridge's "Kubla Khan" the remnant of an imagined longer poem, to Radi Os, a version of Paradise Lost made by cutting away Milton's language, I locate a tradition that continually reinvents the relationship between author and reader, and between author and history.; Also included in this dissertation is a volume of original poetry which echoes some of the formal questions of the essays. Its title, Litter, refers in one sense to the fragments and discarded bits which have been the focus of the critical section. Using excerpts from the notebooks and unpublished work of George Oppen, Ezra Pound, Paul Celan, and others, the poetry here provides another way of examining and resolving questions of form and fragment. |
| Keyword | Coleridge; fragment; form; poetry; romanticism; Brenda Hillman; Anne Carson; Tom Phillips; Keats; fragment poem; Kubla Khan |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m2928 |
| Rights | Allport, Andrew |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | http://www.usc.edu/isd/libraries/services/ask_a_librarian/email/ |
| Filename | etd-Allport-3503 |
| Archival file | uscthesesreloadpub_Volume51/etd-Allport-3503.pdf |
Description
| Title | Page 1 |
| Full text | PARTIAL ARTS: POETIC OBSESSIONS WITH THE FRAGMENT by Andrew Allport A Dissertation Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (LITERATURE AND CREATIVE WRITING) May 2010 Copyright 2010 Andrew Allport |
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