By Krystyna Mazur
This e-book examines the functionality of repetition within the paintings of Walt Whitman, Wallace Stevens and John Ashbery. All 3 poets widely hire and remark upon the consequences of repetition, but characterize 3 distinctive poetics, significantly faraway from each other in stylistic and historic phrases. even as, the 3 are engaged in a hugely fascinating relation to one another - a relation readers are inclined to clarify by way of repetition, by means of positing Whitman and Stevens because the replacement 'beginnings' out of which Ashbery emerges. Krystyna Mazur analyses the paintings of the 3 poets to figure styles which could function throughout a comparatively wide spectrum of examples, in addition to to think about the diversity of how during which repetition can constitution a poetic textual content.
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Extra info for Poetry and Repetition: Walt Whitman, Wallace Stevens, John Ashbery (Literary Criticism and Cultural Theory)
Deleuze, DR, 15) In the case of Freudian repression, “that which repeats does so only by dint of not ‘comprehending,’ not remembering, not knowing or not being conscious” (Deleuze, DR, 16). ” In his critique of Freud, Deleuze rejects the presupposition of an originary “hidden” meaning which, according to Freud, gives rise to the repetitive enactments. For Deleuze’s there is no originary term; the masks Freud’s patients put on as they conceal their “real” selves are, Deleuze argues, as real as what is said to lie “beyond” them.
The task of radical modern philosophers is, then, to think difference and repetition in affirmative terms. In Deleuze’s philosophical project, repetition becomes the mechanism which releases and authenticates difference; it allows for non-mediated difference which cannot be subsumed under the category of the Same. As Michel Foucault observes in his review of Difference and Repetition and The Logic of Sense, Deleuze’s philosophy successfully resists mastering difference: What if [thought] conceived of difference differentially, instead of searching out the common elements underlying difference?
This type of (apparently redundant) repetition seems indeed a marker of Stein’s style which insists on jarring juxtapositions; for it is not only the unorthodox use of punctuation that makes the Stein sentence so difficult to follow, but also the lack of transition between elements one would not expect to be coupled. The repetitions of “that that” and “like, like” could easily be avoided (we expect writers to avoid them, and they usually do) by substituting a synonym or an equivalent phrase for one of the repeated elements.
Poetry and Repetition: Walt Whitman, Wallace Stevens, John Ashbery (Literary Criticism and Cultural Theory) by Krystyna Mazur