Search Results - "Clavier, Aurore"

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    Arts and Grafts: Marianne Moore’s Poetry and the Culture of Exception by Clavier, Aurore

    Published in Miranda (29-10-2021)
    “…Moore is certainly best known for her oddly meticulous plant and animal descriptions, which the phrase “imaginary gardens with real toads in them” has…”
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    Journal Article
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    “Cut Prose”? The Sentence and the Line in Marianne Moore’s Poetry by Clavier, Aurore

    Published in Transatlantica (17-07-2021)
    “…This article seeks to examine Marianne Moore’s line breaks and the formal tensions they reveal or even create between the grammatical sentence and the poetical…”
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    Journal Article
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    The Modernist Poem or the Infinite Prolegomena by Clavier, Aurore

    Published in Transatlantica (16-12-2020)
    “…Starting from Giorgio Agamben’s observation that “the end of the poem” is threatened by generic indefiniteness, this article explores what occurs when, on the…”
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    Journal Article
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    Lytle Shaw, Narrowcast: Poetry and Audio Research by Clavier, Aurore

    Published in Transatlantica (15-05-2019)
    “…Underlying Lytle Shaw’s study Narrowcast: Poetry and Audio Research is a fertile operation of critical recording. If, Shaw explains, narrowcasting has come to…”
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    Journal Article
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    “New contours suggested by old words”: la modernité américaine au tamis de l’archéologie poétique by Clavier, Aurore

    Published in IdeAs (Vanves, France) (21-06-2018)
    “…In the first half of the 20th century, modernity was equally characterized by its willful amnesia of the immediate past and by its fascination for deep time,…”
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    “Radical”: Marianne Moore and the Revision of Modernism by Clavier, Aurore

    Published in Transatlantica (06-02-2017)
    “…From the editorial birth of Imagism to the preliminary pruning of The Waste Land, the dominant narratives of Modernism have often been built on foundational…”
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    An Octopus / of ice » : stratigraphies d’un poème by Clavier, Aurore

    Published in Transatlantica (01-08-2015)
    “…Fascinated by living and rock surfaces, and by their hidden depths, shaped by its multiple layers of discourse, “An Octopus,” the long poem Marianne Moore…”
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    La figure dans le poème : traits et retraits by Clavier, Aurore

    Published in Caliban (Toulouse, France : 2014) (01-10-2016)
    “…In the wake of the hidden figures which, from James to Gilman, tormented narrators of the late 19th century, modernist poets were obsessed with images, whether…”
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    “New contours suggested by old words”: la modernité américaine au tamis de l’archéologie poétique by Clavier, Aurore

    Published in IdeAs (Vanves, France) (21-06-2018)
    “…La modernité du premier XXesiècle s’est tout autant définie par ses amnésies volontaires quant au passé immédiat, que par son attrait pour le temps long, les…”
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    Journal Article
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    The raw material of poetry »: Marianne Moore à l'examen de la vérité by Clavier, Aurore

    Published in Revue française d'études américaines (01-09-2012)
    “…"True," "precise," "exact," "genuine," "original," "raw" or "natural"— the words which qualify Marianne Moore's work are recurrent as well as ambiguous. It…”
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    The raw material of poetry: Marianne Moore to examine the truth by Clavier, Aurore

    Published in Revue française d'études américaines (01-01-2012)
    “…True, precise, exact, genuine, original, raw or natural - the words which qualify Marianne Moore's work are recurrent as well as ambiguous. It would seem that…”
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    Journal Article
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    An Octopus / of ice » : stratigraphies d’un poème by Clavier, Aurore

    Published in Transatlantica (11-12-2015)
    “…Fasciné par les surfaces de la roche et du vivant et par les profondeurs qu’elles recèlent, façonné par les multiples strates de discours qui le composent,…”
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    Journal Article
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    Cœur de l'État, lieu de tension: Le tournant archivistique vu de Venise (XV e -XVII e siècle) by De Vivo, Filippo, Clavier, Aurore

    “…Depuis plusieurs années, une nouvelle tendance historiographique s'intéresse aux archives non pas comme simples réserves de documents, mais comme objets…”
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