In Poetic Operations artist and theorist micha cárdenas considers contemporary digital media, artwork, and poetry in order to articulate trans of color strategies for safety and survival. Drawing on decolonial theory, women of color feminism, media theory, and queer of color critique, cárdenas develops a method she calls algorithmic analysis. Understanding algorithms as sets of instructions designed to perform specific tasks (like a recipe), she breaks them into their component parts, called operations. By focusing on these operations, cárdenas identifies how trans and gender-non-conforming artists, especially artists of color, rewrite algorithms to counter violence and develop strategies for liberation. In her analyses of Giuseppe Campuzano's holographic art, Esdras Parra's and Kai Cheng Thom's poetry, Mattie Brice's digital games, Janelle Monáe's music videos, and her own artistic practice, cárdenas shows how algorithmic analysis provides new modes of understanding the complex processes of identity and oppression and the intersection of gender, sexuality, and race.

A fresh perspective on the eighteenth-century poetics of Lord Shaftesbury and Mark Akenside, exploring the two authors' debt to Roman Stoic spiritual exercises, early modern conceptions of the care of the self, and ideas of imaginative enthusiasm and its poetic regulation.

Offers a new conception of modernist autonomy by focusing on Wallace Stevens, one of the renowned poets of the twentieth century.

Combining literary analysis and theoretical linguistics, Tiffany Beechy's timely and engaging study provides a critical reassessment of Old English texts that challenges the distinction between Anglo-Saxon prose and verse, ultimately recognizing an inherent poetic nature present in all Old English texts. While the poetic nature of Beowulf, due to the regular meter and heroic story, is recognized, this study demonstrates that poetry is a more widespread phenomenon than previously thought; poetic patterning can be found across the Old English corpus, both in verse and in so-called prose. Informed by Jakobsonian linguistics and oral theory, Beechy's analysis focuses on the text itself to identify unique poetic strategies. This demonstration includes a comparison between King Alfred's Old English version of Boethius' Consolatio Philosophiae and the Latin original; the poetic quality of prose homilies; poetic epistemology in law codes, riddles, and charms; and unconventional poetics even in traditional verse texts, such as the short lyric 'Deor' and the long poem Christ I. The Poetics of Old English brings interrelated developments in linguistics and literary theory to the study of Anglo-Saxon language and culture, showing that Old English texts, when considered at the level of language, are surprisingly sophisticated.

In his philosophical project, aesthetic orientation and political leanings, Alain Badiou is a product of, and a leading advocate for, European modernism. From the milieu of May 1968 to the contemporary 'postmodern' ethos, Badiou returns, time and again, to avant-garde modernist texts – aesthetic, political, philosophical and scientific – as inspiration for his response to present situations. Drawing upon disciplines as varied as architecture, cinema, theatre, music, history, mathematics, poetry and philosophy, Understanding Badiou, Understanding Modernism shows how Badiou's contribution to philosophy must be understood within the context of his decades-long conversation with modernist thinking. As with other volumes in the series, Understanding Badiou, Understanding Modernism follows a three part structure. The first section explores Badiou's readings of aesthetic, political and scientific modernities; both introducing his system and pointing to how Badiou offers manifold readings of modernism. The middle portion of the book connects Badiou's thought with the various strands of aesthetic, philosophical, amorous and political modernisms in relation to which it can be extended. The final section is a glossary of key concepts and categories that Badiou uses in his interface with modernism.

The texts presented in Proportion Harmonies and Identities (PHI) - Progress(es) - Theories and Practices were compiled with the intent to establish a platform for the presentation, interaction and dissemination of research. It aims also to foster the awareness of and discussion on the topics of Harmony and Proportion with a focus on different progress visions and readings relevant to Architecture, Arts and Humanities, Design, Engineering, Social and Natural Sciences, Technology and their importance and benefits for the community at large. Considering that the idea of progress is a major matrix for development, its theoretical and practical foundations have become the working tools of scientists, philosophers, and artists, who seek strategies and policies to accelerate the development process in different contexts.

The Age of the Poets revisits the age-old problem of the relation between literature and philosophy, arguing against both Plato and Heidegger’s famous arguments. Philosophy neither has to ban the poets from the republic nor abdicate its own powers to the sole benefit of poetry or art. Instead, it must declare the end of what Badiou names the “age of the poets,” which stretches from Hölderlin to Celan. Drawing on ideas from his first publication on the subject, “The Autonomy of the Aesthetic Process,” Badiou offers an illuminating set of readings of contemporary French prose writers, giving us fascinating insights into the theory of the novel while also accounting for the specific position of literature between science and ideology.

Since the cultural conflicts over the Vietnam War and civil rights protests, poets and poetry have consistently raised questions surrounding public address, social relations, friction between global policies and democratic institutions, and the interpretation of political events and ideas. In Poets Beyond the Barricade: Rhetoric, Citizenship, and Dissent after 1960, Dale Smith makes meaningful links among rhetoric, literature, and cultural studies, illustrating how poetry and discussions of it shaped public consciousness from the socially volatile era of the 1960s to the War on Terror of today. The book begins by inspecting the correspondence and poetry of Robert Duncan and Denise Levertov, which embodies competing perspectives on the role of writers in the Vietnam War and in the peace movement. The work addresses the rational-critical mode of public discourse initiated by Jürgen Habermas and the relevance of rhetorical studies to literary practice. Smith also analyses letters and poetry by Charles Olson that appeared in a New England newspaper in the 1960sand drew attention to city management conflicts, land-use issues, and architectural preservation. Public identity and U.S. social practice are explored in the 1970s and ‘80s poetry of Lorenzo Thomas and Edward Dorn, whose poems articulate tensions between private and public life. The book concludes by examining more recent attempts by poets to influence public reflection on crucial events that led to the wars in Iraq and Afghanistan. By using digital media, public performance, and civic encounters mediated by texts, these poetic initiatives play a critical role in the formation of cultural identity today.

The Politics of Speech in Later Twentieth-Century Poetry: Local Tongues in Heaney, Brooks, Harrison, and Clifton argues that local speech became a central facet of English-language poetry in the second half of the twentieth century. It is based on a key observation about four major poets from both sides of the Atlantic: Seamus Heaney, Gwendolyn Brooks, Tony Harrison, and Lucille Clifton all respond to societal crises by arranging, reproducing, and reconceiving their particular versions of local speech in poetic form. The book’s overarching claim is that “local tongues” in poetry have the capacity to bridge aesthetic and sociopolitical realms because nonstandard local speech declares its distinction from the status quo and binds people who have been subordinated by hierarchical social conditions, while harnessing those versions of speech into poetic structures can actively counter the very hierarchies that would degrade those languages. The diverse local tongues of these four poets marshaled into the forms of poetry situate them at once in literary tradition, in local contexts, and in prevailing social constructs.

Beginning with a reassessment of contemporary romantic studies, this book provides a modern critical comparison of Keats and Shelley. The study offers detailed close readings of a variety of literary genres (including the romance, lyric, elegy and literary fragment) adopted by Keats and Shelley to explore their poetic treatment of self and form. The poetic careers of Keats and Shelley embrace a tragic affirmation of those darker elements latent in the earlier writings to meditate on their own posthumous reception and reputation. Fresh readings of Keats and Shelley show how they conceive of the self as fictional and anticipate Nietzsche's modern theories of subjectivity. Nietzsche's conception of the subject as a site of conflicting fictions usefully measures this emergent sense of poetic self and form in Keats and Shelley. This Nietzschean perspective enriches our appreciation of the considerable artistic achievement of these two significant second-generation romantic poets.