Charles Altieri – författare

Charles Altieri's book sets modernist American poetry in a precise cultural context by analysing how major poets reacted to the challenge posed by modernist painting's radical critique of traditional representational models for art. It argues that modernist poets have tended to resist the received values of their contemporary culture by finding idealising principles in modes of pure abstraction. It traces the use of such abstraction in literature from Wordsworth, through Baudelaire and Mallarme, to T. S. Eliot, William Carlos Williams, Marianne Moore, and Gertrude Stein. There are summary chapters also on Wallace Stevens and Ezra Pound, considerations of Cezanne and the Cubists, and a substantial theoretical discussion of the nature of abstract art.

Self and Sensibility in Contemporary American Poetry is an inquiry into the cultural roles lyric poetry does and can play in our age. Charles Altieri first establishes a dominant mode in 'serious' American poetry by identifying current assumptions inherent in the teaching of creative writing and the awarding of prizes and contracts. The dominant mode is seen not as a prescribed style but as a set of styles that share assumptions and that tend to seek the same narrow audience. Altieri views this mode as essentially scenic, presenting in brief dramatic settings subdued, carefully wrought emotions that build to a climactic tactile image. In examining why the style appeals, the author suggests that we find in the dominant mode models of the self, of the power of language, and of the nature of emotions that are very close to the prudential narcissism of the professional classes. Two theses follow: that contemporary poetry can be approached as a paradigm for analysing literature in cultural terms (since we know the culture well on independent grounds); and that the cultural analogies help demonstrate the pressures on younger poets to explore styles that break from or attempt to overthrow the dominant mode.

Charles Altieri's book sets modernist American poetry in a precise cultural context by analysing how major poets reacted to the challenge posed by modernist painting's radical critique of traditional representational models for art. It argues that modernist poets have tended to resist the received values of their contemporary culture by finding idealising principles in modes of pure abstraction. It traces the use of such abstraction in literature from Wordsworth, through Baudelaire and Mallarme, to T. S. Eliot, William Carlos Williams, Marianne Moore, and Gertrude Stein. There are summary chapters also on Wallace Stevens and Ezra Pound, considerations of Cezanne and the Cubists, and a substantial theoretical discussion of the nature of abstract art.

This brilliant, penetrating, and ambitious book by a well-known literary theorist studies the complex relationship between the emotions on the one side and literary works and paintings on the other. A central aim of Charles Altieri's is to rescue our understanding of the affects from philosophical theories that subordinate them to cognitive control and ethical judgment. Altieri concentrates on two fundamental aspects of aesthetic experience: the first describes how representative texts and paintings compose intricate affective states; the second engages how we might generalize from the values involved in the affects made articulate by works of art. He addresses a range of affective states, distinguishing carefully among sensations, feelings, moods, emotions, and passions. He shows how art solicits, organizes, and reflects upon affective energies and how many of the qualities of the affects developed within artworks simply disappear when observers are content with adjectival labels such as "sad," "angry," or "happy." The Particulars of Rapture proposes treating affects in adverbial rather than in adjectival terms, emphasizing the way in which text and paintings shape distinct affective states. Such an emphasis places the manner in which artwork acts upon the emotions central to the quality of the resulting affect. And that emphasis in turn enables Altieri to show how a more general expressivist model for establishing and assessing values can compete with perspectives based on rationality.

Charles Altieri, one of our foremost analysts of modernism, has in his recent work argued for the importance of the affects, which philosophy has too long subordinated to cognition and ethics. In Wallace Stevens and the Demands of Modernity, Altieri focuses his attention on modernist poetry, especially that of Wallace Stevens. He argues that critics have failed to appreciate the degree to which modernist poetry, like modernist art, breaks from the epistemology that arose from cultures of empiricism. If we recognize the limits of that authority we can also recognize the close positive affinities between how we feel and how we value.Nineteenth-century writing wanted to build values out of ways of looking at what could be established as fact. Early modernist poetry, particularly that of Stevens and Pound, labors to adapt Nietzschean attitudes toward poetry. Then Stevens embarked on an imaginative journey to find in linguistic activity itself a sufficient model for how we compose values. In both stages of his career facts must be respected, but they will not bear values simply by virtue of their connectedness to the world. We have to understand the constructive power taking place on intimate levels as we pursue that connectedness. Stevens matters, Altieri argues, because of the range and depth and intelligence by which he explores what such connectedness might involve. Stevens offers elaborate and moving experiments exploring how imaginative writing can help human beings grapple with questions about values that are at the very heart of our common experience.

Much current theorizing about literature involves efforts to renew our sense of aesthetic values in reading. Such is the case with new formalism as well as recent appeals to the notion of "surface reading." While sympathetic to these efforts, Charles Altieri believes they ultimately fall short because too often they fail to account for the values that engage literary texts in the social world. In Reckoning with the Imagination, Altieri argues for a reconsideration of the Kantian tradition of Idealist ethics, which he believes can restore much of the power of the arguments for the role of aesthetics in art. Altieri finds a perspective for that restoration in a reading of Wittgenstein's later work that stresses Wittgenstein's parallel criticisms of the spirit of empiricism.Altieri begins by offering a phenomenology of imagination, because we cannot fully honor art if we do not link it to a distinctive, socially productive force. That force emerges in two quite different but equally powerful realizations in his reading of John Ashbery's "Instruction Manual," which explicitly establishes a model for a postromantic view of imagination, and William Butler Yeats's "Leda and the Swan." He then turns to Wittgenstein with chapters on the role of display as critique of Enlightenment thinking, the honoring of qualities like sensitivity and the ability to attune to the actions of others, the role of expression in the building of models, and the contrast between ethical and confessional modes of judgment. Finally, Altieri produces his own model of aesthetic experience as participatory valuation and makes an extended argument for the social significance of appreciation as a way to escape the patterns of resentment fundamental to our current mode of politics. A masterful work by one of our foremost literary and philosophical theorists, Reckoning with the Imagination will breathe new life into ongoing debates over the value of aesthetic experience.

Much current theorizing about literature involves efforts to renew our sense of aesthetic values in reading. Such is the case with new formalism as well as recent appeals to the notion of "surface reading." While sympathetic to these efforts, Charles Altieri believes they ultimately fall short because too often they fail to account for the values that engage literary texts in the social world. In Reckoning with the Imagination, Altieri argues for a reconsideration of the Kantian tradition of Idealist ethics, which he believes can restore much of the power of the arguments for the role of aesthetics in art. Altieri finds a perspective for that restoration in a reading of Wittgenstein's later work that stresses Wittgenstein's parallel criticisms of the spirit of empiricism.Altieri begins by offering a phenomenology of imagination, because we cannot fully honor art if we do not link it to a distinctive, socially productive force. That force emerges in two quite different but equally powerful realizations in his reading of John Ashbery's "Instruction Manual," which explicitly establishes a model for a postromantic view of imagination, and William Butler Yeats's "Leda and the Swan." He then turns to Wittgenstein with chapters on the role of display as critique of Enlightenment thinking, the honoring of qualities like sensitivity and the ability to attune to the actions of others, the role of expression in the building of models, and the contrast between ethical and confessional modes of judgment. Finally, Altieri produces his own model of aesthetic experience as participatory valuation and makes an extended argument for the social significance of appreciation as a way to escape the patterns of resentment fundamental to our current mode of politics. A masterful work by one of our foremost literary and philosophical theorists, Reckoning with the Imagination will breathe new life into ongoing debates over the value of aesthetic experience.

Charles Altieri, one of our foremost analysts of modernism, has in his recent work argued for the importance of the affects, which philosophy has too long subordinated to cognition and ethics. In Wallace Stevens and the Demands of Modernity, Altieri focuses his attention on modernist poetry, especially that of Wallace Stevens. He argues that critics have failed to appreciate the degree to which modernist poetry, like modernist art, breaks from the epistemology that arose from cultures of empiricism. If we recognize the limits of that authority we can also recognize the close positive affinities between how we feel and how we value.Nineteenth-century writing wanted to build values out of ways of looking at what could be established as fact. Early modernist poetry, particularly that of Stevens and Pound, labors to adapt Nietzschean attitudes toward poetry. Then Stevens embarked on an imaginative journey to find in linguistic activity itself a sufficient model for how we compose values. In both stages of his career facts must be respected, but they will not bear values simply by virtue of their connectedness to the world. We have to understand the constructive power taking place on intimate levels as we pursue that connectedness. Stevens matters, Altieri argues, because of the range and depth and intelligence by which he explores what such connectedness might involve. Stevens offers elaborate and moving experiments exploring how imaginative writing can help human beings grapple with questions about values that are at the very heart of our common experience.

This brilliant, penetrating, and ambitious book by a well-known literary theorist studies the complex relationship between the emotions on the one side and literary works and paintings on the other. A central aim of Charles Altieri's is to rescue our understanding of the affects from philosophical theories that subordinate them to cognitive control and ethical judgment. Altieri concentrates on two fundamental aspects of aesthetic experience: the first describes how representative texts and paintings compose intricate affective states; the second engages how we might generalize from the values involved in the affects made articulate by works of art. He addresses a range of affective states, distinguishing carefully among sensations, feelings, moods, emotions, and passions. He shows how art solicits, organizes, and reflects upon affective energies and how many of the qualities of the affects developed within artworks simply disappear when observers are content with adjectival labels such as "sad," "angry," or "happy." The Particulars of Rapture proposes treating affects in adverbial rather than in adjectival terms, emphasizing the way in which text and paintings shape distinct affective states. Such an emphasis places the manner in which artwork acts upon the emotions central to the quality of the resulting affect. And that emphasis in turn enables Altieri to show how a more general expressivist model for establishing and assessing values can compete with perspectives based on rationality.

The Fate of Difficulty in the Poetry of Our Time offers original readings of poems composed in this century—poems that are challenging to follow, challenging to understand, challenging to discuss, and challenging to enjoy. Difficult poetry of the past relied on allusion, syntactic complexity, free association, and strange juxtapositions. The new poetry breaks with the old in its stunning variety; its questioning of inherited values, labels, and narratives; its multilingualism; its origin in and production of unnamed affects; and its coherence around critical and social theorists as much as other poets.The essays in this volume include poets writing on the works of a younger generation (Lyn Hejinian on Paolo Javier, Bob Perelman on Rachel Zolf, Roberto Tejada on Rosa Alcalá), influential writers addressing the work of peers (Ben Lerner on Maggie Nelson, Michael W. Clune on Aaron Kunin), critics making imaginative leaps to encompass challenging work (Brian M. Reed on Sherwin Bitsui, Siobhan Philips on Juliana Spahr), and younger scholars coming to terms with poets who continue to govern new poetic experimentation (Joseph Jeon on Myung Mi Kim, Lytle Shaw on Lisa Robertson).In pairings that are both intuitive (Marjorie Perloff on Craig Dworkin) and unexpected (Langdon Hammer on Srikanth Reddy), The Fate of Difficulty in the Poetry of Our Time illuminates the myriad pathways and strategies for exploring difficult poetry of the present.

The Fate of Difficulty in the Poetry of Our Time offers original readings of poems composed in this century—poems that are challenging to follow, challenging to understand, challenging to discuss, and challenging to enjoy. Difficult poetry of the past relied on allusion, syntactic complexity, free association, and strange juxtapositions. The new poetry breaks with the old in its stunning variety; its questioning of inherited values, labels, and narratives; its multilingualism; its origin in and production of unnamed affects; and its coherence around critical and social theorists as much as other poets.The essays in this volume include poets writing on the works of a younger generation (Lyn Hejinian on Paolo Javier, Bob Perelman on Rachel Zolf, Roberto Tejada on Rosa Alcalá), influential writers addressing the work of peers (Ben Lerner on Maggie Nelson, Michael W. Clune on Aaron Kunin), critics making imaginative leaps to encompass challenging work (Brian M. Reed on Sherwin Bitsui, Siobhan Philips on Juliana Spahr), and younger scholars coming to terms with poets who continue to govern new poetic experimentation (Joseph Jeon on Myung Mi Kim, Lytle Shaw on Lisa Robertson).In pairings that are both intuitive (Marjorie Perloff on Craig Dworkin) and unexpected (Langdon Hammer on Srikanth Reddy), The Fate of Difficulty in the Poetry of Our Time illuminates the myriad pathways and strategies for exploring difficult poetry of the present.

In Modernist Poetry and the Limitations of Materialist Theory, Charles Altieri skillfully dissects the benefits and limitations of Materialist theory for works of art. He argues that while Materialist theory can intensify our awareness of how art can foreground sensual dimensions of experience, it does not yet serve as an adequate description of much of what we experience as mental activity--especially in the domain of art, which depends on active imaginations and constructive energies for which no Materialist theory is yet adequate. He carefully shows how constructive imaginations operate in a range of modernist poetry that is especially attentive to the mind's powers because it provides alternatives to Impressionist sensibilities, which thrive on Materialist modes of attention. These modernists turned to versions of Hegel's idea of the ""inner sensuousness,"" stressing how a work's very construction can provide different levels of sensuousness inseparable from the work of self-consciousness.

In this significant contribution to aesthetic philosophy from one of the foremost writers on American poetry, Charles Altieri champions the neglected, non-cognitive aspects of our encounters with works of art.In contrast to literary critics and philosophers who subordinate the importance of aesthetic experience to knowledge and practical concerns, Altieri defends a view of subjective imaginative experience as important in itself, and already socially oriented. To do so, he proposes a distinction between “experience of” and “experience as,” discriminating between cognitive practices and no less valuable practices involving enhanced attention to particular qualities of experience. Throughout the book, Altieri tests his concepts about the nature of aesthetic experience against readings of canonical poems, novels, and paintings by Langston Hughes, Giorgione, Cézanne, Silvia Plath, Emily Dickinson, Baudelaire, Virginia Woolf, William Carlos Williams, and Mina Loy, to name but a few. Carefully argued with exemplary readings of well-known artistic masterpieces, Imaginative Experience in the Arts outlines a new impetus for criticism and liberal education grounded in the way art stimulates our powers of imagination and enriches our experience of the world.

In this significant contribution to aesthetic philosophy from one of the foremost writers on American poetry, Charles Altieri champions the neglected, non-cognitive aspects of our encounters with works of art. In contrast to literary critics and philosophers who subordinate the importance of aesthetic experience to knowledge and practical concerns, Altieri defends a view of subjective imaginative experience as important in itself, and already socially oriented. To do so, he proposes a distinction between experience of and experience as, discriminating between cognitive practices and no less valuable practices involving enhanced attention to particular qualities of experience. Throughout the book, Altieri tests his concepts about the nature of aesthetic experience against readings of canonical poems, novels, and paintings by Langston Hughes, Giorgione, C zanne, Silvia Plath, Emily Dickinson, Baudelaire, Virginia Woolf, William Carlos Williams, and Mina Loy, to name but a few. Carefully argued with exemplary readings of well-known artistic masterpieces, Imaginative Experience in the Arts outlines a new impetus for criticism and liberal education grounded in the way art stimulates our powers of imagination and enriches our experience of the world.

In this significant contribution to aesthetic philosophy from one of the foremost writers on American poetry, Charles Altieri champions the neglected, non-cognitive aspects of our encounters with works of art. In contrast to literary critics and philosophers who subordinate the importance of aesthetic experience to knowledge and practical concerns, Altieri defends a view of subjective imaginative experience as important in itself, and already socially oriented. To do so, he proposes a distinction between experience of and experience as, discriminating between cognitive practices and no less valuable practices involving enhanced attention to particular qualities of experience. Throughout the book, Altieri tests his concepts about the nature of aesthetic experience against readings of canonical poems, novels, and paintings by Langston Hughes, Giorgione, C zanne, Silvia Plath, Emily Dickinson, Baudelaire, Virginia Woolf, William Carlos Williams, and Mina Loy, to name but a few. Carefully argued with exemplary readings of well-known artistic masterpieces, Imaginative Experience in the Arts outlines a new impetus for criticism and liberal education grounded in the way art stimulates our powers of imagination and enriches our experience of the world.

In this significant contribution to aesthetic philosophy from one of the foremost writers on American poetry, Charles Altieri champions the neglected, non-cognitive aspects of our encounters with works of art.In contrast to literary critics and philosophers who subordinate the importance of aesthetic experience to knowledge and practical concerns, Altieri defends a view of subjective imaginative experience as important in itself, and already socially oriented. To do so, he proposes a distinction between “experience of” and “experience as,” discriminating between cognitive practices and no less valuable practices involving enhanced attention to particular qualities of experience. Throughout the book, Altieri tests his concepts about the nature of aesthetic experience against readings of canonical poems, novels, and paintings by Langston Hughes, Giorgione, Cézanne, Silvia Plath, Emily Dickinson, Baudelaire, Virginia Woolf, William Carlos Williams, and Mina Loy, to name but a few. Carefully argued with exemplary readings of well-known artistic masterpieces, Imaginative Experience in the Arts outlines a new impetus for criticism and liberal education grounded in the way art stimulates our powers of imagination and enriches our experience of the world.

Written by a leading critic, this invigorating introduction to modernist American poetry conveys the excitement that can be generated by a careful reading of modernist poems. Encourages readers to identify with the modernists’ sense of the revolutionary possibilities of their art. Embraces four generations of modernist American poets up through to the 1980s. Gives readers a sense of the ambitions, the disillusionments and the continuities of modernist poetry. Includes close readings of particular poems which show how readers can use these works to connect with what concerns them.

Written by a leading critic, this invigorating introduction to modernist American poetry conveys the excitement that can be generated by a careful reading of modernist poems. Encourages readers to identify with the modernists’ sense of the revolutionary possibilities of their art. Embraces four generations of modernist American poets up through to the 1980s. Gives readers a sense of the ambitions, the disillusionments and the continuities of modernist poetry. Includes close readings of particular poems which show how readers can use these works to connect with what concerns them.