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This essay examines the gradual development of Charles Reznikoff's testimony form Holocaust poetry, which ultimately rejected the traditional lyric forms of his earlier works in favor of a stark, Objectivist poetry that culminated in Holocaust (1975)--a poem based on the transcripts from the Nuremberg and Eichmann trials. The WWI poems from Reznikoff's first volume Rhythms (1918) underscore the importance of music to his early elegies in contrast to the blunt, impersonal testimonies in Holocaust. In Rhythms, Reznikoff employs traditional conventions ironically to convey war's unpoetic reality while the poetic speakers in Going To and Fro and Walking Up and Down (1941) seek refuge in those forms at the same time they question the value of the forms when confronted with violence. However, thirty years after the Holocaust, the traditional forms could no longer provide solace in the face of an overwhelming history of suffering. [ABSTRACT FROM AUTHOR]

This paper proposes to revise the modes of periodization of the Argentinean poetic production of the decade of 1990s depending on the Neo-Baroque/Objectivism antagonism. We will suggest that this periodization is reviewed by Martín Prieto in articles such as "Neobarrocos, objetivistas, epifánicos y realistas: nuevos apuntes para la historia de la nueva poesía argentina", as well as the reconsideration of certain assumptions in the reading of the tradition of that period in contemporary poetry and in the ways in which literary criticism takes it as an object. For the latter, we will discuss in detail the recent article by Matías Moscardi, "El ojo parpadeante del poema", and the publication of the book by Alelí Jait, Poesía experimental argentina y políticas de la lengua. Finally, considering this horizon of analysis and interpretation, we will present as possible reformulation and relocation of the dichotomy Neo- Baroque/Objectivism the current critical recovery of the production of artistic groups such as "Los Verbonautas", poets and musicians appeared in the second half of the decade whose works form a possible way of escape of the static image of the articles and books mentioned. [ABSTRACT FROM AUTHOR]

Worker correspondence was a form of found poetry employed by radical left writers during the 1930s. Readers' letters to publications such as New Masses and the Daily Worker were reworked with end stops and presented as free verse. This essay examines the practice of worker correspondence as a form of readymade, a consciously avant-gardist collision of politics and “high” culture. This examination is put forward as a reflection on current thinking on the literary left of the Depression decade and – along the way – suggests points of contact with the Objectivist poetics of George Oppen, Louis Zukofsky and Charles Reznikoff. [ABSTRACT FROM PUBLISHER]

George Oppen's debut collection, Discrete Series(1934), is a group of short, fragmented poems written during his early association with the 'Objectivists' poets. It was followed by twenty-four years of poetic silence, and is typically understood as a preparation for the books that comprise his mature career, during which he published six collections between 1962 and 1978. In part, this is because the poems of Discrete Seriesoffer so few inroads - they dispense with stable references to political history and lack much in the way of supporting correspondence and other prose. So it is with great excitement that the Journal of Modern Literatureis able to announce the recovery of an early typescript, 21 Poems by George Oppen(1930), and to reproduce it here in full. [ABSTRACT FROM AUTHOR]

The article reviews the literature related to agreement between the Austrian school and Objectivism by the author Ayn Rand including justification for life; recognition of death's inevitability and noninterference principle of life.

A literary criticism of the monograph "Origins of Objectivity" by Tyler Burge is presented. The conception of biology-perception relations is questioned. The relations between epistemic distinctions and perceptual content at higher levels are discussed. Also noted is the significance for physical relations perception.

A literary criticism is presented of the comic-book series "The Amazing Spider-Man," (or "TAS") by Steve Ditko. Particular focus is given to the theme of the objectivism within the comic book series, including as portrayed in the comic book's superhero Spider-Man and the philosopher Ayn Rand's political ideology.

This article examines how Stifter's novella Der Hagestolz uses the desert, dust, and sand to address questions of memory and oblivion. Tire article proposes that the dust covering the people and objects in the text points to their erasure from memory and that attempts to keep the dust at bay represent efforts to preserve the human experience that these things have the power to contain and transmit. The text's rhetorical similarities to Walter Benjamin's thoughts on history and historiography are emphasized. In addition, Heidegger's reading of the growing desert in Nietzsche's poem "Unter den Töchtern der Wüste" is incorporated to suggest that Stifter's text similarly casts doubt on the possibility of all memory, even generational memory. [ABSTRACT FROM AUTHOR]