By Nicholas Zurbrugg, Warren Burt

ISBN-10: 0203985338

ISBN-13: 9780203985335

ISBN-10: 9057010623

ISBN-13: 9789057010620

Imprint. In those essays, Nicholas Zurbrugg charts the advancements in past due 20th-century multimedia paintings. He demanding situations money owed of postmodern techno-culture, and interweaves literary and cultural conception and visible experiences to illustrate the neutering of mass-media tradition and the exceptions to it. Warren Burt is Melbourne-based.

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Additional info for Critical Vices: The Myths of Postmodern Theory (Critical Voices in Art, Theory and Culture)

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Secondly, and reciprocally, Gysin’s poetics challenges Barthes’s theory of textual explication, since his work is best explained not so much in terms of a merely verbal or literary mode of intertextuality, as in the extra-verbal, extra-literary context of artworks which employ collage and montage techniques. To argue that written texts, such as Gysin’s poems, are explainable only in terms of “other words” in the literary context of “writing-itself” is surely to assume that writers are peculiarly innocent of extra-literary creativity.

Once again, Culler faithfully paraphrases and synthesizes the theories of his forbears. 13 At this point, intertextuality becomes what Culler—paraphrasing Kristeva— defines as “the sum of knowledge that makes it possible for texts to have meaning” (104). Ironically. the implications of this catholic—or “hybrid”— approach to intertextuality are seldom realized. Culler’s theoretical writings certainly acknowledge the importance of the plurality of codes animating a culture; associate intertextuality with everything facilitating the recognition of pattern and meaning in texts; and confirm Kristeva’s and Jenny’s suggestion that intertextuality designates the sum of knowledge permitting texts to be decoded.

As has been suggested, it is possible to identify two kinds of intercontextual problems. The first of these, exemplified by Gysin’s appropriation of collage and montage techniques from the fine arts, concerns work in which discursive conventions from an extra-literary discursive space are used within a literary discursive space. The advantages of intercontextualizing this kind of problem become particularly clear if one considers the case of concrete poetry, an international movement with practitioners in Europe, North and South America, Australia and Japan.

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Critical Vices: The Myths of Postmodern Theory (Critical Voices in Art, Theory and Culture) by Nicholas Zurbrugg, Warren Burt

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