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John Storey

up what we might call a method of radical utopian reading centred on defamiliarisation and desire. More, in a short book written in Latin and published in 1516, invented the word utopia. Although the book is now known simply as Utopia , its

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Divesting Social Registers

Ai's Sensational Portraiture of the Renowned and Infamous

Jeanne Heuving

Within the last decade in the contemporary American poetry scene, a battle line has been drawn between poetry identified as mainstream and as experimental poetry. Indeed, this division has been formed primarily by critics and poets who, advocating for an often ignored experimental poetry, have articulated a set of formal attributes highlighting the accomplishments of experimental poetry, or more specifically language poetry. While this commentary has been various and much debated, a repeated set of formal distinctions linked loosely with larger social agendas has arisen. Taking issue with a mainstream, sometimes called workshop poetry, for its confessional or expressivist emphasis, these critics and poets criticise this poetry’s centring on a unique self and utilisation of a highly referential and often normative language which purports to convey the poet’s experience. This poetry – intending to express true selves and authentic emotions – re-employs existing forms of illusions and contrives epiphanies, which only reconfirm prevailing social orders. In contradistinction to these practices, experimental poetry foregrounds language operations, showing how linguistic orders constitute social orders and how consequently these orders can be reconstituted. Refusing to make unified illusions out of conflicting, heterogeneous cultural languages, this poetry, engaging methods of defamiliarisation, claims to take on social reality far more directly.

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Ekaterina Tikhonyuk and Mark McKinney

pastiche, burlesque, and parody, whether of popular genres (64)—such as the dog bible—or of the scientific method (81–82), into which La Police injects the illogical (85, 98), defamiliarisation tending toward the surrealistic (73–74, 93–94), and

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Majed Aladylah

, cultural and political practices. They treat the text as a movable orbit; it is not static and it is not self-contained, but instead a space of dialogic interactions and a plurality of many styles of discourse. The fragmentation and defamiliarisation of

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‘Sensuous Singularity’

Hamish Fulton’s Cairngorm Walk-Texts

Alan Macpherson

attempts at a defamiliarisation of the environment and derangement of the senses through walking practices. Fulton’s practice likewise celebrates the walk in terms of the bodily and subjective encounter with landscapes and temporalities, but he claims to

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Raphaël Baroni

a limit that allows us to articulate just how a given text challenges or plays with narrativity itself. 3 For Richardson, ‘unnatural’ correlates with Viktor Shklovsky’s notion of defamiliarisation: An unnatural narrative is one that contains

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La flânerie au feuilleton?

Quotidien et modernité critique chez Siegfried Kracauer

Catherine Nesci

facettes sociales et culturelles la vie quotidienne, son caractère éphémère et brisé, dont il développe la prise de conscience par une défamiliarisation des surfaces et des objets. Par cette esthétique du choc, le flâneur-journaliste traduit également les

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The Medium Is the Message

Olivier Schrauwen’s Arsène Schrauwen beyond Expectations of Autobiography, Colonial History and the Graphic Novel

Benoît Crucifix and Gert Meesters

some ironic distance. First, he proceeds to a conspicuous ‘defamiliarisation’ of some of the most entrenched conventions in comics. 87 This is clear in the composition of the pages or the facing pages, which often strays away from conventional layouts