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Hannah weiner research paper
Introduction from Psychodrama Training Tips— from eleven to twelve at night sits up, apparently asleep, and writes, with her paper against the wall. linz presented a paper entitled "cruel mothers during the grande noirceur period in quebec" at the northeastern modern language association conference in new brunswick, new jersey (april 9, 2011). “[u]nanimously undone […] / formality […] / abandoned / surplus / power” (21) could be weiner’s description of a work accessible only via “varieties of wild concentration” (19) or by “just let[ting] the voices drift over” us (90)., weiner sought to translate the private, coded vision of the voices she and only she saw into the public, readable language of type. saint maurice presented a paper entitled "quatre mots pour définir le théâtre d'antonin artaud: sensibilité, force, surprenants alliages et précision" at the 2010 colloque de la société des professeurs français et francophones d'amérique (spffa), held at fordham university, october 29-30, 2010. scattered premonitions — or lost memories — of disaster on an unimaginable scale enter weiner’s language, itself at times sharing semiotic space with the languages of subatomic physics and revelation: “what if the universe dissolved” (69), “somewhere the end is coming” (107), “as a rule waves cause trouble” (59), “temperatures rise above normal” (18), “things form and split apart” (60), “the disappearance of meaning / the images of the dead appear” (71). even the light erasures and overwriting that appear on many pages, evidence of weiner’s persistent need to revise her translation, seem part of the flow of script. wilson presented a paper entitled "a 31st century odyssey in 1980s france: the case of ulysse 31 at the 2012 film & history conference in september, 2012. once appearing essentially as a form of quotation within her printed works, an “other” within her typescripts — “you can’t tell what they’re saying” (60) — weiner’s very script is now a kind of whispering and sussuration. in the end, “hannah weiner” vanishes into what she unveils: “a future destined to be blue” (39). john perreault, co-coordinator of the fashion show poetry event in 1969 and comrade-in-arms of hannah weiner, commented, her language “research” on the shift of one’s idiosyncratic perception in radical self experiments also had an existential drawback:When i met her she had a loft on w.. for a deeply nuanced discussion of weiner’s psychological condition and its relation to her poetics, see patrick f.
Student Activitiesby weiner’s own accounts, she “became extremely psychic” in 1970, first feeling and seeing auras, and then, in 1972, seeing words, initially one by one, later as short phrases. or, one might imagine it as an opening and closing fan, at once a container for weiner’s words in motion as well as an instrument for winnowing them. april 2011 laila pedro presented a paper entitled, evolving corpus: the transformation of the figurative in wifredo lam 1942-1950 at the international conference on body image and identity, jointly organized by the office of the university dean for health and human services, cuny, and the pandora research group of the centre de recherches psychanalyse, médecine et société, université paris-diderot, france. the unforeseen appearance of the words —“i see words on my forehead in the air on other people on the typewriter on the page” — was experienced ecstatically by weiner: “delightful. pedro presented a paper entitled "framing fragmenting figures: implied bodies and différance in three paintings of wifredo lam" at bodies, the 12th annual comparative literature conference at the university of south carolina, columbia. van cook presented a paper entitled "the madness and surrealism of unica zürn, conflicted reading in the shadow of a diagnosis" at the university of virginia department of french graduate conference in april. donaldson presented a paper entitled "[en]gendering chocolate consumption: representations of ambivalent effects on 17th-century women" at the "consumption: pleasures of the text, materiality, and cultural practices" colloquium presented by the french graduate student association of columbia university. made up of a collection of dairy pages from the year 1974, weiner reworked her manuscript pages again and again and oversaw them with additional instructions to barry watten, the editor of angel hair. sheer speed of the words as they appeared to weiner in the 1970s led in the clairvoyant journal to a style in extremis. most importantly for this late work, what weiner passes outside of is history and the assertions and abstractions that drive it; and this passage outside is synonymous with deliverance: “the elimination of god is historical […] / cease believing in history / step aside and save your life” (69–71). wilson presented a paper entitled "deaf sexy: crime, love, and the denial of deafness in read my lips" at the 2010 film & history conference in november, 2010., at the very end of the book of revelations, weiner affirms the randomness and sovereignty of both these acts — how at any moment we may lift our eyes or our pencil from the page and fall out of relation to the text forever: “my life is granted / upon a page / listener / silence” (92).
Spectral Conversions: James Merrill and Hannah Weiner - Springernotebook containing the book of revelations was also given to weiner, rosenthal recalls, during such a period of worrisome blocked or diminished creativity. brook center for music research and documentation and will launch later this year. from the metrical experimentation that marks all of weiner’s writings at last issues a “measure of useless words unmeaning” (22), an imagination of language’s ultimate latening and annihilation: “unto language alls my tired (94) / there’s nothing to write about” (64). yet the losses are offset by the notebook’s still deeper intimations of what the disaster has spared or set aside: “[t]he desert,” weiner writes, “has plenty to offer” (62). the very first word hannah weiner claims to have seen was the word “wrong,” and as charles bernstein writes, “in her work [of this period] weiner has explored — come upon — the language that fills, and often enough, controls our lives. long crisis that inaugurated weiner’s late clair-style did not in the end lead to a total rejection of its earlier characteristics. there is no sign of the “tyrannical prehension” that sometimes grips the writer and refuses to let her release the pencil; rather, weiner exhibits that rare power to stop writing, to, as blanchot writes in “the solitude of the work,” to “interrupt what is being written, thereby restoring the present instant its rights, its decisive trenchancy” (25). april 6, wilson décembre presented a paper entitled "unité et multiplicité dans traversée de la mangrove de maryse condé" at the conference of the société des professeurs français et francophones d'amérique held at new york university. the time loop of weiner’s apocalyptic writing we seem to be in two times/places at once: transported beyond earth’s end and returned to its chaotic origins. yet in place of the illumination of ultimate mysteries, in place of the parousia that lies at time’s end, weiner instead reveals the way in which the world comes into being — or rather, into hiding — as an unseeable totality. by permission of charles bernstein for hannah weiner in trust. clarke presented a paper, "the impact of constraint visibility on the translation of constraint-based texts," at johns hopkins university on october 10th, during a conference entitled "translating constrained literature/traduire la littérature à contraintes.
Hannah Weiner, Joseph Ceravolo, and Bernadette Mayer from Tapeclarke presented a paper entitled "étienne dolet and the ciceronian stylistics of the vulgar tongue" at ‘translation theory today,' an interdisciplinary conference held at the cuny graduate center, ny. karakaya presented a paper entitled "annie ernaux's ecriture plate: a link between two worlds" at the cuny graduate center comparative literature conference "in trans: reading between and beyond. waite presented a paper entitled "transparent and transgressive bodies: the physical, the erotic, and psychological representations of eunuchs in montesquieu's persian letters at the cuny graduate center comparative literature conference "in trans: reading between and beyond. in the course of this research the gross of her writing was digitalized and made accessible online. is tempting to think of weiner’s writing as foreseeing its readers. later readings of the notebook will surely take up the critical question of the relationship between the text’s material divisions and textual limits — the way, at times, a physical section seems organized around a cluster of repeating themes or images, or the way a change startling shift in mood or scene by weiner appears suddenly on an angle shift in rosenthal’s tearing pattern.” the book of revelations is weiner’s report on what she saw in the interval where time falters and spins.«i see words» – in 1970 hannah weiner started to envision auras and fields of energy. march 28, phillip griffith presented a paper entitled "“la grâce des choses fanées”: spectral materiality in cyprien gaillard’s geographical analogies" at the 20th and 21st century french and francophone studies international colloquium in atlanta, georgia. by permission of charles bernstein for hannah weiner in trust. it was only in the early 2000s that charles bernstein, a close friend of the artist and important representative of the language poets, together with patrick durgin, the founder of kenning editions, evaluated and processed the artist’s legacy, laying open the true magnitude of weiner’s clairvoyant writings of over one hundred journals. weiner, still from semaphore poems, video by barbara rosenthal from concept and book of weiner by same title.
The landscape of Hannah Weiner's late work | Jacket2chambers-samadi presented a paper at the ecole des hautes etudes des sciences sociales in paris entitled "mémoire(s) collective(s): le 17 octobre 1961 dans le texte contemporain. close reading of weiner’s works reveals both the vast range of formal and expressive problems presented by her writings and the ways in which conflicting and simultaneous styles are in a constant and dynamic process of evolution. scanning words in the air, weiner misses a beat, and the earth sinks back. the region we have entered in weiner’s late work is undefined by elements or boundaries. in many of her text works it seems as if weiner were not the subject at all. someone as sui generis as “hannah weiner” appears, we go in search of her predecessors. muzart, patricia winter, anna soo-hoo, parfait kouacou, marguerite van cook and rebecca raitses were awarded doctoral student research grants (dsrg), a program to foster a research-oriented academic culture among doctoral students at cuny graduate center. towards the beginning of the notebook, weiner affirms, “the lead comes from the heart / the suddenness of capitulation” (27); in its final pages, she again connects writing with “the right ventricle” (82): “now when there is the last place […] / go toward the bum at the corner / the unthought speaking other […] / when it rains the trees wave / love come to a” (108–109). following the technique of automatic writers, such as the surrealists, who had methodically used this form for the creation of art during the beginning 20th century, weiner intended to experience language differently and dive into a deeper working of words. while frank o’hara, a widely acknowledged poet of the new york school poets uses the phrasing i am doing this, i am doing that – characteristic for subjective poetry –, weiner in country girl persues her clairvoyant perception in “her” relation to concrete forms or, in the case of clothes, in the relation to her inhabiting forms or formations:Shopping is not easy. blank, cut notebook in which weiner composed revelations is a syncopal object. in 1972 she also started to perceive words, floating in the air, or perched on her forehead (as seen from the inside), in her surroundings, on walls, on paper, on a dog’s fur coat. Resume and cover letter for bank teller
Hannah Weiner (1928–1997). «I am clairvoyantin the fast, weiner offered the following beautiful description of her hands: “i began to see little green and blue and yellow candles come out of my fingertips. it is a late work, not simply or primarily because it belongs to a far moment in the trajectory of her career or the century’s, or because it was composed during a period of ill health, which, after all, had plagued weiner much of her life, but, rather, because its deepest concern is lateness: the end of the world, the irreversible conclusion of history at the conjuncture of heaven and earth. thereafter i typed the large printed words i saw in capitals, the words that appeared on the typewriter or the paper i was typing on in underlines (italics) and wrote the part of the journal that was unseen, my own words, in regular upper case. weiner composed her texts on the turnable segments rosenthal calls “pagels,” but the texts may also be read full-size by continuing down onto the longer pagels (what rosenthal calls “slabs”) revealed underneath. at last, to translate these messages, weiner relied on another collaborator — her electric typewriter, that object-muse known to so many of her modern predecessors and so long associated with “écriture automatique. in weiner’s case, the most obvious division may be between the works composed before she began to “see” words — for example, her early world works and street works, the magritte poems, the code poems, and the remarkable transitional work the fast — and those composed after her engagement of the gift — for example, the clairvoyant journal, generally considered the work in which weiner’s clair-style finds its furthest expression, and the many works that followed, including the unpublished book of revelations. laila also presented a paper at the carolina conference on romance literatures at the university of north carolina, chapel hill entitled "(im)mutable dance: melting boundaries around the represented body of salomé. time, wrote raymond cummings, “is what keeps everything from happening at once,” or, to use weiner’s words, “from one time to another we / consequently there is medium” (23). march 28, chris brandon presented a paper entitled "spatially traced: marking interaction with kinetic and media poetry" at the 20th and 21st century french and francophone studies international colloquium in atlanta, georgia. what is discarded in the late clair-style is, rather, the trial of writing, the grappling and tension enacted by the dialectical method that governed weiner’s works of the 1970s and early 1980s even as they sought an escape from it. griffith received a research stipend for summer 2014 from the center for the humanities and lost & found: the cuny poetics document initiative in support of his research on hannah weiner. griffith presented a paper entitled "'ma suzanne': the anamorphic gaze in works by suzanne doppelt and anne portugal" at the cuny graduate center comparative literature conference "in trans: reading between and beyond. Resume for interview purpose
BIG SENSIBLE, introductory remarks on Hannah Weiner'sthere is no question that the book of revelations is clairvoyantly composed, that the words, with their “rhymes and their reasons […] their histories and longings,” were once more visible to weiner. clair-style itself developed slowly and adjacently to weiner’s experience of “schizophrenia. although materially it is clearly a holograph “notebook,” it is not included in the primary sequences of weiner’s notebooks (1971–1975, 1976–1979, and 1990–1992), but classified instead as a “manuscript” (box 10, folder 6), following weiner’s own practice of keeping her working notebooks separate from her completed manuscript drafts. and while weiner subjected each of these texts to an intense revisionary process — the fast, for example, existed initially in more than 100 notebooks that she reduced and concentrated into a slim volume of forty pages — she seems never to have returned to the book of revelations at all. the book of revelations, hannah weiner’s “stolen book,” is also a work of negative theology through which she transmits an unexpected message of hope. if we did not know for sure that rosenthal had cut the pages before giving the notebook to weiner to fill with writing, we might imagine that weiner had made the cuts herself after composing the text, excising parts of the original. in this case, however, weiner’s estrangement from the conditions under which words would appear, her dislocation, was transient. wilson presented a paper entitled "blackout in bourkassa: noiring colonial memory in coup de torchon" at the 58th society for french historical studies in los angeles, ca on march 23, 2012..Spectral conversions: james merrill and hannah weineralan ramón clinton. these visions often manifest in colors, forms, and ornaments, and appear as changes in textiles and garments which weiner describes in great care and colorful detail from her first person perspective. “psychosocial disability and post-ableist poetics: the ‘case’ of hannah weiner’s clairvoyant journals. activitiesacademics, research centers, & initiatives »doctoral programs »french »students »student activities.
Register of Bernadette Mayer Papers - MSS 0420here, weiner’s immersion, even engulfment, in the material resistances of language registered in the clairvoyant journal, both in its essentially fugal structure and its disruptions of the uniplanar surface of the page, finds a final release in a flowing script that, page after page, engenders a feeling of continuous motion and unearthly tranquility. by handwriting, then by typewriter, weiner developed a method that allowed her to cope with the appearing of words on a visual, audible and cognitive level simultaneously. “body & sign: some thoughts around the work of aaron williamson, hannah weiner, and henri michaux. notebook containing the text of weiner’s the book of revelations is housed with the extensive collection of her papers in the archive for new poetry, mandeville special collections, at the university of california, san diego. wilson presented a paper entitled "there's money ingenius: a look at the commercialization of french auteur cinema" at the graduate center french department graduate student conference "marginaliser le(s) centre(s)" on february 5th. repeatedly weiner declared: i see words and i am a clairvoyant, celebrating the achievement and artistic method of her self-induced extreme adaption of the phenomenon of words and, in a further sense, of language. yet paradoxically, in falling out of relation to the work, weiner reveals its — and all her writings’ — deepest origins in the same region of syncope..hannah weiner, silent teachers/remembered sequel (providence, ri: tender buttons, 1993), 9. titled hanna weiner open house this publication draws a broad line with carefully selected works of hers and raises the question of hanna weiner’s influence in and on the art and performance scene of the 1960s.” here, as weiner writes, only “mastery of non-mastery [is] certain” (76), “letting go without trembling” (48). i typed the large printed words i saw in capitals, the word that appeared on the typewriter or the paper i was typing on in underlines (italics) and wrote the part of the journal that was unseen, my own words, in regular upper and lower case. to patrick durgin, whose research on hannah weiner led me to this recording.
Jacket 22 - Caroline Bergvall: BODY & SIGNdiscussion on weiner’s work first required the creation of new definitions in order to apprehend her unequaled style of writing, such as “intense autobiography” (thom donovoan) or “avant-garde journalism” (patrick durgin). “hannah weiner beside herself: clairvoyance aftershock or the nice jewish girl who knew too much.édéric baitinger presented a paper in march 2012 entitled "rire et transgression dans le roman ma mère, de georges bataille" at a conference organized by rutgers university (la fracture). many incisive and compelling accounts of hannah weiner’s clair-style as it first manifested itself in the clairvoyant journal and other works of her middle period all point to a crisis or conversion in weiner’s relationship to the labor of writing. for the title, which weiner typed on a small white label and later affixed to the notebook’s front cover, she composed the text entirely in pencil. “hannah=hannah: politics, ethics, and clairvoyance in the work of hannah weiner. was the clairvoyant journals by angel hair from 1978 that publicized weiner’s writing as clairvoyant poetry.ève puig presented a paper entitled “la littérature urbaine: un exemple de fracture postcoloniale” at the annual graduate student conference at rutgers university, in new brunswick, nj. 1989 and the time of her death, weiner readied other books for publication, including weeks, an earlier collaboration with rosenthal finished in 1986 but not printed until 1990; the fast, the composition of which dates from the 1970s but which was not published in full until 1992; silent teachers remembered, published in 1994; and and we speak silent, published in 1996. who, in the long history of communication, could have foretold weiner? van cook presented a paper entitled “shaun of the dead: disturbing the new normal" at the mid-atlantic popular & american culture association. linz has a paper publication forthcoming, entitled "france théoret’s (wo)manipulation of language,” in (in)scribing gender: international women and the creative process, ed.Hannah Weiner - Wikipedia de certeau’s description of the reader as the figure who always “deterritorializes” herself, and whose untraceable path enables her to “escape the law of each text in particular” (the practice of everyday life, 174) in order to enjoy an extraordinary freedom, we also discover a portrait of the writer “hannah weiner”: she who saw words and was carried away by them. wilson presented a paper entitled "i pump therefore i am: the philosophical stakes of les shadoks" at the midwest popular culture association conference in october, 2012. april 5, mariana goycoechea presented a paper entitled "les loas se créolisent": haitians and the practice of vodou in the dominican republic in mayra montero's the red of his shadow" at the conference of the société des professeurs français et francophones d'amérique held at new york university. by breaking off writing before the leaves of the notebook run out, weiner seems to summon — or, to use her more familiar word,” signal” — to the reader, “telepathic knowing we are connected” (106), and then to trade places with her: “i let ___ deal with it last page / the order of the reader beyond the” (109) — book? The Graduate Center is also home to more than thirty interdisciplinary research centers and institutes focused on areas of compelling social, civic, cultural, and scientific concerns. narrative, whose nature is linked to a deep impulse to remember and recount, to conjure up long gone but specific events in our lives, weiner’s late writings issue from an “indefinite” — that is to say, unlimited — “resolution to forget” (19).. william james, “notes on automatic writing,” in the works of william james: essays in psychical research, ed. and since, as hans-jost frey reminds us, “literary scholarship concerns itself with works as finished products, as texts that nothing and in which nothing is superfluous,” so weiner’s revelations cannot be the object even of a certain analytical gaze. nor did she share the completed notebook, either with its first author and potential addressee, or with other readers near or far; rather, it remains buried, strangely preserved among her papers. lynch presented a paper entitled "transmedia" at the cuny graduate center comparative literature conference "in trans: reading between and beyond. in this condition, we might imagine weiner alone and vigilant at her desk, open to the relentless flow of the manifold data of the world and recording words as they appeared on bodies before her and in the air thickened by them. in thom donovan, “silent teacher remembered: hannah weiner’s open house,” fanzine, december 20, 2007, 6, and weiner, “pictures and early words,” qtd. Resume for marketing industry
yet having discarded its powers of recollection in favor of immediacy, weiner’s writing can no longer be addressed to anyone in particular and must “give up sending messages” (47) forever..charles bernstein, “weak links,” in weeks, by hannah weiner (madison, wi: xexoxial, 1990). waite presented a paper entitled "provocative, perturbed and addictive: surrealism as vice and image in aragon's paris peasant" at the carolina conference on romance literature at the university of north carolina at chapel hill in march, 2012. yet it was also through the agency of weiner’s typewriter that the essentially dialectical and destructive order of the world was revealed. the sequences that show the artist during her writing process are accompanied by a voice-over of weiner reading from her clairvoyant diaries. idea of the minor work, already resonant with weiner’s oeuvre, is especially resonant in thinking about the book of revelations. they move like voices, forming new clusters and become image and map on the paper of the page.. charles bernstein, “making words visible/hannah weiner,” in content’s dream: essays 1975–1984 (evanston: northwestern university press, 2001), 269. van cook presented a paper entitled "degendering the political economist and redressing cultural costs; reconsidering the place of françoise de graffigny's lettres d'une peruvienne" at the international society for intellectual history in june. in the case of the book of revelations, however, weiner has left us not a singly-authored work, but a collaboration with the outside that continually foregrounds the tension between its documentation and its disappearance. weiner, joseph ceravolo, and bernadette mayer from tape poems, ed. for instance, a photo of a person is not flesh, but paper. Resume objective for bank | Introduction from Psychodrama Training Tips works of hannah weiner were generously entrusted for exhibition purposes by © charles bernstein for hannah weiner in trust. like the kabbalah or the gnostic gospels, weiner’s revelations may only be fully accessed by “insiders,” by an elect readership — and by no one in the present. wilson presented a paper entitled "the with of cinema: valérie massadian's nana" in the cuny graduate center comparative literature first annual critical theory graduate conference on "principles of uncertainty" in may, 2012. they become, rather, signs of another kind of syncope, of weiner’s commitment to the principles of interruption and suspension. durgin, “psychosocial disability and post-ableist poetics: the ‘case’ of hannah weiner’s clairvoyant journals,” contemporary women’s writing 2, no. instead of seeking to establish contact with us, weiner turns in this late work ever more fully towards the voices outside: “listen to remote sensations” (47). wilson presented a paper entitled "'oh étrange, étrange naturel' : michaux's meidosems as cognitive map" at the 20th and 21st century french and francophone studies international colloquium in atlanta, georgia.” eyewitnesses to hannah weiner’s writing have not come forward, yet in “a short interlude to discuss voices,” a subsection of her essay “mostly about the sentence,” weiner reveals something about the compositional method of the clairvoyant journal and its dependence on the technology:I bought a new electric typewriter in january 74 and said quite clearly, perhaps aloud, to the words (i talked to them as if they were separate from me, as indeed the part of my mind they come from is not known to me) i have this new typewriter and can only type lower case, capitals, or underlines (somehow i forgot, ignored, or couldn’t cope with in the speed i was seeing things, a fourth voice, underlined capitals) so you will have to settle yourself into three different prints. vestiges of an earlier, more purely lyric style reappear suddenly, as if weiner found a transient asylum in the old, incandescent melodies of the code poems while reaching out in search of a style as yet unknown. the exercise of reading, weiner knew, is “business without bond” (27): it neither takes “measures against the erosion of time” nor “keep[s]what it acquires,” so that “each of the places through which it passes is a lost paradise. film hannah weiner by phill niblock, who shot it as part of a series of portrait film in 1975, shows the poet withdrawn in her working environment, her apartment, in the company of her cat, the typewriter and the written and spoken word. the darker other side of the coin is equally evident in weiner’s work. Richard cory poem literary analysis | Student Activities written in the final decade of hannah weiner’s life and on the verge of the last decade of the twentieth century, there is a certain calendrical fatality to the notebook.” in the last pages of the book of revelations, weiner seems to turn to the reader reading late at night, “all alone in a quieting time” (63). wilson presented a paper entitled "miasmes de mes noires pensées: poetics as historiography in nour, 1947" at the yale 2012 french graduate conference on "ethics and literature" in new haven, ct on february 17, 2012. by permission of charles bernstein for hannah weiner in trust.“[o]bliterations are enjoyable,” weiner joyfully writes, and among the first things obliterated we must name not only orientation — a sense of direction in and through the world — but also the “i” and its aggregated memories: “she doesn’t live here any” (68). griffith presented a paper, "collaboration and teleiopoesis: present-ing claude cahun and hannah weiner," at the annual critical theory conference hosted by the graduate center's comparative literature program. in the wake of dialectical polarities, the “interferences,” as weiner names them, are present in the book of revelations only as a hushed undercurrent in its flow of “infinite passages” (9) and “alternating waves of fluency” (13) “leaving […] contest ” (33) behind. the work had not been published during weiner’s lifetime. one might see it and think of the old children’s game of writing sentences on a piece of paper, and then folding the paper so only the last line appears as a prompt for the next passage. like the definition of the schizophrenic offered by baudrillard, weiner’s writings of this period seem “open to everything,” overexposed to the “transparency of the world”; they are “promiscuous,” at once “beleaguered” and “penetrated” by “the perpetual interconnection of all information and communication networks. suddenly, and without knowingly summoning them, hannah weiner was involved with distant collaborators. muzart presented a paper entitled « jean genet et le roman : une idiosyncrasie romanesque pour une idiosyncrasie identitaire » at the 2013 graduate conference by the ph. Should you lie i8n you resume | Spectral Conversions: James Merrill and Hannah Weiner - Springer thus, in her “working notes” to weeks, composed around 1984, weiner confessed: “not seeing words anymore, i looked for another source. the side effects of memory loss, a condition generally feared, prove liberating from weiner’s perspective: “without memory,” she writes, “surprises occur” (37). and yet, by taking up the question of the path, of “every possible path,” in our reading of weiner’s notebook, we discover that we have not only created our own system of orientation within it, but that we have been composing our own texts in the act of passing through hers. as fin de siècle new ideas of empire, the rise of psychology and psychoanalysis, and the advent of telephenomena encouraged the emergence of the planchette-writer of a century ago, so the conditions of weiner’s own uncanny historical moment seem to have prepared for the appearance of a new form of medium in contact with a new invisible. here the handwriting varies only slightly across the notebook, giving the impression of a resistanceless pencil gliding over the paper. like the mystical voices de certeau writes of, weiner’s “uttering occurs outside the places in which systems of statements are composed. chambers-samadi presented a paper at the 16th annual student conference seuls ensembles/ensembles seuls at the university of california in los angeles entitled: "mémoires individuelles, mémoires collectives: le 17 octobre 1961. a backward search may lead us to anna winsor, whose remarkable case is reported by william james in his “notes on automatic writing,” published in 1889, exactly one century before weiner’s composition of the book of revelations.” paper presented at the national poetry conference: poetry of the 1970s, orono, me, june 2008. i've pulled singles of three of the contributions:Hannah weinier: 3 poems: (5:43): mp3. the pages, however, were ripped against a straight edge at different lengths and angles by the artist and writer barbara rosenthal, weiner’s friend and occasional video and book collaborator, who gave the notebook to weiner as a 1989 new year’s present and a spur to writing. griffith was awarded a doctoral student research grant to conduct research in the hannah weiner, bernadette mayer, and jackson mac low papers at uc-san diego's mandeville special collections in june 2014.
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