----- 犯罪的巧妙:摩尔,康奈尔,Ashbery,和艺术之间的斗争
ACKNOWLEDGMENTS ABBREVIATIONS INTRODUCTION Chapter I. BORROWING PAINTS FROM A GIRL: GREENBERG, ELIOT, MOORE AND THE STRUGGLE BETWEEN THE ARTS i. "Academic feeling" vs. "the museum" ii. Moore between poetry and painting iii. The professional, the academic, and "the real poetry lover" iv. What's in a name? Museum, market, art world v. The end of Modernism As We Know It: poetry in the age of Pollock vi. Self-critique and the struggle for dominance II. "NO POET HAS BEEN SO CHASTE": MOORE AND THE POETICS OF AMBIVALENCE i. "Institution" or "enterprise"? ii. The place of the token woman iii. "Unsheathed gesticulation": the attack of the token woman iv. Moore's mirror phase: "Those Various Scalpels" v. The poetics of ambivalence vi. The case for Moore's late "love" lyrics vii. Moore's imperishable wish: "Armor's Undermining Modesty" III. AN INCONSEQUENTIAL PAST: JOSEPH CORNELL AFTER MARIANNE MOORE i. Elephants and divas: Cornell's position, modernism's impasse ii. The materialist and the monster: history according to Moore and Benjamin iii. Collage and class fractions iv. Amateurs and aristocrats v. The collector and the criminal: Cornell and Moore's imaginary economy IV. SURREALISM IN "THE SECOND, OPEN SENSE": THE POETS OF THE NEW YORK SCHOOL i. "A confusion of painting with literature": Greenberg vs. the surrealists ii. "Stupid paintings" and "old-fashioned literature": Ashbery's regressive avant-garde iii. Institutions of freedom: the coterie and the art world iv. "Dear New York City Ballet, you are quite like a wedding yourself!": institution as form in the poems of Frank O'Hara V. "A MEDIUM IN WHICH IT IS POSSIBLE TO RECOGNIZE ONESELF": ASHBERY BETWEEN POETRY AND PAINTING i. Breathing space: Ashbery in and out of the art world ii. The adventures of "the personality": "Definition of Blue" iii. The case of the fairy decorator: Robert Lowell and the New York School iv. Cornell/ Parmigianino v. Facing pages: The Vermont Notebook WORKS CITED
{{comment.content}}