Eisuke came from a long line of samurai warrior-scholars. Ono was enrolled in piano lessons from the age of 4.
The Pros and Cons of Against Expression: One rarely likes to be told how to read, where to position a text in the context of its literary theory and formal practices, or who the writing owes its legacy to. In this anthology, each author selection is beautifully cradled by an intro passage which tells us about the work we are about to read in such a way as to make us feel as smart as Dworkin and Goldsmith.
Most importantly, these informative prefaces are not overdidactic.
They are astoundingly well informed but presented in a conversational tone. Thus this book is an excellent teaching resource for professors seeking new ways to see quickly into the vast array of conceptual writing being composed today in North America and England.
It is also a great resource for creative writing instructors in search of conceptual writing techniques to try out as exercises with students. Additionally, this collection of works helps those well-versed in conceptual writing enjoy the techniques being explored, seeing perhaps past these texts to their original conception, or towards writings by the author or other authors which the reader will be delighted to go and discover on their own.
For any great anthology is an amuse-bouche, whetting the appetite, making you salivate as you crave more. Here, therefore, readers will be enticed to go back to the full books by the authors whose selections are anthologized and to enjoy uncovering more conceptual work.
Like many recent anthologies, Against Expression at first looks daunting—it is massive and its title made me fear that everything inside would be heady and devoid of emotion or attachment to the world around. Immediately, I felt a bit put off, figuring the anthologists could not put in the time to think about how to organize the works they had selected in a useful manner.
But as I read, I realized the strength of this lack of organization was that it allowed the works to butt up against each other, grating formally in ways that kept the reading dynamic. All of the sections and authors speak as much or as little to each other.
Each work manages, peculiarly, to stand on its own. To try to group the authors by technique would likely have heightened a gimmicky aspect rather than do justice to the works.
In short, Dworkin and Goldsmith were wise not to try and categorize the works by technique or formal exploration. Instead, positioning them one against another allowed the entirely or primarily visual texts—such as those by Monica Aasprong, Derek Beaulieu, Yedda Morrison and Elizabeth S.
Clark—to create breathing and thinking spaces between the reading of texts that demanded longer attention because of their dense intertextuality and formatting in visual blocks—such as work by Brian Joseph Davis, Dan Farrell, Peter Jaeger, John Cage, Fiona Banner or Peter Manson.
Furthermore, the anthology does a nice job of presenting the complexities and divergence in ideas about what conceptual writing is today in its two book prefaces.
For him, conceptual writing owes its current dominance to the age of the computer, the easy cut-paste-reproduction possibilities offered up by the digital era.
Words very well might be written not to be read but rather to be shared, moved, and manipulated.
It is a preface which is slippery, hard to pin down, often declaring what conceptual writing is not, though not necessarily establishing what it is or where it is at today. Like Goldsmith, however, Dworkin seems keen on the notions of how words are used.In text citation essay in anthology bungalow.
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UBUWEB:: Anthology of Conceptual Writing. 2 38 Tomoko Minami. 3 Introduction to 38 Tomoko Minami The New Shakespeare exposes and explores the rhythmical foundation of William Shakespeare’s writing.
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Against Expression, the premier anthology of conceptual writing, presents work that is by turns thoughtful, funny, provocative, and disturbing. Dworkin and Goldsmith, two of the leading spokespersons and practitioners of conceptual writing, chart the trajectory of the conceptual aesthetic from early precursors including Samuel Beckett and Marcel Duchamp to the most prominent of today’s writers.
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