The Constructivist Moment

The Constructivist Moment
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<P><B>Winner of the American Comparative Literature Association's Rene Wellek Prize (2004)</B></P><P>As one of the founding poets and editors of the Language School of poetry and one of its central theorists, Barrett Watten has consistently challenged the boundaries of literature and art. In The Constructivist Moment, he offers a series of theoretically informed and textually sensitive readings that advance a revisionist account of the avant-garde through the methodologies of cultural studies. His major topics include American modernist and postmodern poetics, Soviet constructivist and post-Soviet literature and art, Fordism and Detroit techno—each proposed as exemplary of the social construction of aesthetic and cultural forms. His book is a full-scale attempt to place the linguistic turn of critical theory and the self-reflexive foregrounding of language by the avant-garde since the Russian Formalists in relation to the cultural politics of postcolonial studies, feminism, and race theory. As such, it will provide a crucial revisionist perspective within modernist and avant-garde studies.</P>

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Barrett Watten. The Constructivist Moment

the. constructivist moment

CONTENTS

ACKNOWLEDGMENTS

INTRODUCTION. FROM MATERIAL TEXT. TO CULTURAL POETICS

1. NEW MEANING AND POETIC VOCABULARY. FROM COLERIDGE TO. JACKSON MAC LOW

POETIC VOCABULARY

COLERIDGE’S DESYNONYMY

ZUKOFSKY’S DICTIONARY

MAC LOW’S LEXICONS

NEW MEANING

2. THE SECRET HISTORY OF THE EQUAL SIGN. L=A=N=G=U=A=G=E BETWEEN DISCOURSE AND TEXT

AVANT-GARDE PARADOX

POSTREVOLUTIONARY POETICS

LEGEND’S TEXT

MULTIAUTHORS (M)

MULTIAUTHORS (F)

MULTIAUTHORS AND THE LISTSERV

3. THE BRIDE OF THE ASSEMBLY LINE. RADICAL POETICS IN CONSTRUCTION

THE DESCENT

CULTURAL POETICS

STEIN’S FORD

ASSEMBLING THIS

THE BRIDE

4. THE CONSTRUCTIVIST MOMENT. FROM EL LISSITZKY TO DETROIT TECHNO

THE GREAT DIVIDE

LISSITZKY’S EXAMPLES

CONSTRUCTIVIST! POETICS

DETROIT TECHNO

MOMENTS

5. NONNARRATIVE AND THE CONSTRUCTION OF HISTORY. AN ERA OF STAGNATION, THE FALL OF SAIGON

NONNARRATIVE POETICS

THE CONSTRUCTION OF HISTORY

AN ERA OF STAGNATION

THE FALL OF SAIGON

NONNARRATIVE ENDING

6. NEGATIVE EXAMPLES. THEORIES OF NEGATIVITY. IN THE AVANT-GARDE

NEGATIVITY

DARK MATTER

THE NOTHING THAT IS

LIMIT SITUATIONS

NEGATIVITIES

7. POST-SOVIET SUBJECTIVITY IN ARKADII DRAGOMOSHCHENKO AND ILYA KABAKOV

AFTER THE FALL

DRAGOMOSHCHENKO’S METAPOETICS

KABAKOV’S KOMMUNALKA

POST-SOVIET/POSTMODERN

8. ZONE. THE POETICS OF SPACE IN. POSTURBAN DETROIT

ZONE 1: THE POSTMODERN TURN

ZONE 2: THE OBJECT OF SPATIAL FANTASY

ZONE 3: THE MODERN AS SPATIAL FANTASY

ZONE 4: BOUNDARIES AS SUBJECT

ZONE 5: SOCIAL SPACE AND NEGATIVITY

ZONE 6: GAPS BETWEEN TERRAINS

ZONE 7: ART AND NEGATIVITY

ZONE 8: NEGATIVITY AND SOCIAL SPACE

ZONE 9: FOR A CRITICAL REGIONALISM

ZONE 10: SITE AND NONSITE

ZONE 11: DOUGLAS’S LE DÉTROIT

ZONE 12: POSTURBAN DETROIT

NOTES

BIBLIOGRAPHY

INDEX

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the constructivist moment

BARRETT WATTEN

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A visiter [sic] making a visit goes where it is visitable. Where it is visitable. IT makes visitation socially acceptable. The visiter lifts his vizor. He wears it naturally to protect his eyes. Moreover, when the visiter lifts his vizor, it is visual. And like a vista. IT has become visitatorial. . . . (279)

Here Zukofsky is parodying the ostensive definition at the heart of BASIC English at the same time that he draws attention to the criteria for suitable interpreters that come along with it. Agreeing on what is meant by the ostensive “IT” would make visitation — presumably, an agreed-on sense of embodied presence in meaning — “socially acceptable”; the Jew can leave his calling card on the dining room table or office desk of the cultural elite. Zukofsky patches in definientia after the manner of BASIC English as a stylistically neutral (if absurdist) way to continue the demonstration of his argument — why the “visiter” wears a “vizor,” if not explained by the contiguity of nouns, appears to be simply the “vizor’s” function.37 There is nothing culpable about wanting to protect one’s eyes from interlocutors; definition supplies explanation for the cultural opacity the visitor feels. If definition could explain social relations, it would seem that merely learning a language would provide adequate criteria for cultural legitimacy. The fact that Zukofsky knows that to be an absurdity (and as it was elided by technocrats like Ogden and Richards) gives the work its hidden drive to present cultural meanings as disarmingly linguistic:

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