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001			197779
003			IT-RoAPU
005			20221214233018.0
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008			220302t20132013nyu fo d z eng d
019			_a(OCoLC)979627940
020			_a9780801451577 _qprint
020			_a9780801469589 _qPDF
024	7		_a10.7591/9780801469589 _2doi
035			_a(DE-B1597)9780801469589
035			_a(DE-B1597)478548
035			_a(OCoLC)857069266
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aPS326 _b.R44 2016
072		7	_aLIT014000 _2bisacsh
082	0	4	_a811.609 _223
084			_aonline - DeGruyter
100	1		_aReed, Brian M. _eautore
245	1	0	_aNobody's Business : _bTwenty-First Century Avant-Garde Poetics / _cBrian M. Reed.
264		1	_aIthaca, NY : _bCornell University Press, _c[2013]
264		4	_c©2013
300			_a1 online resource (248 p.)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tPreface: What Now? -- _t1. In Praise of Obsolescence -- _t2. New Consensus Poetics and the Avant-Garde -- _t3. Mechanical Form and Avant-Garde Aesthetics -- _t4. Flarf, Folly, and George W. Bush -- _t5. Andrea Brady's Peculiar Dissidence -- _t6. Danny Snelson's Disco Operating System -- _tAcknowledgments -- _tNotes -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aSince the turn of the new millennium English-language verse has entered a new historical phase, but explanations vary as to what has actually happened and why. What might constitute a viable avant-garde poetics in the aftermath of such momentous developments as 9/11, globalization, and the financial crisis? Much of this discussion has taken place in ephemeral venues such as blogs, e-zines, public lectures, and conferences. Nobody's Business is the first book to treat the emergence of Flarf and Conceptual Poetry in a serious way. In his engaging account, Brian M. Reed argues that these movements must be understood in relation to the proliferation of digital communications technologies and their integration into the corporate workplace.Writers such as Andrea Brady, Craig Dworkin, Kenneth Goldsmith, Danny Snelson, and Rachel Zolf specifically target for criticism the institutions, skill sets, and values that make possible the smooth functioning of a postindustrial, globalized economy. Authorship comes in for particular scrutiny: how does writing a poem differ in any meaningful way from other forms of "content providing"? While often adept at using new technologies, these writers nonetheless choose to explore anachronism, ineptitude, and error as aesthetic and political strategies. The results can appear derivative, tedious, or vulgar; they can also be stirring, compelling, and even sublime. As Reed sees it, this new generation of writers is carrying on the Duchampian practice of generating antiart that both challenges prevalent definitions or art and calls into question the legitimacy of the institutions that define it.
530			_aIssued also in print.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)
650		0	_aAmerican poetry _xHistory and criticism _x21st century.
650		0	_aAmerican poetry _y21st century _xHistory and criticism.
650		0	_aExperimental poetry, American _xHistory and criticism.
650		0	_aPoetics _xHistory _x21st century.
650		0	_aPoetics _xHistory _y21st century.
650		4	_aAmerican Studies.
650		4	_aLiterary Studies.
650		4	_aPoetry & Criticism.
650		7	_aLITERARY CRITICISM / Poetry. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.7591/9780801469589
856	4	0	_uhttps://www.degruyter.com/isbn/9780801469589
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780801469589/original
942			_cEB
999			_c197779 _d197779