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Extra resources for A Nahuatl-English Dictionary and Concordance to the 'Cantares Mexicanos: With an Analytic Transcription and Grammatical Notes

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261) If we understand the avant-garde’s goal as this broader deconstructing and rewriting of the discursive world, then it is much easier to see how the neo-avantgarde can continue to contribute authentically to this counter-discursive project by presenting new departures from and interventions into the dominant social discourses of its own day. How, then, might Fountain be seen as a “counter-text” which confronts not only art-institutional preoccupations, but also “deconstruct[s] conventional configurations of experience and perception” (Murphy 261)?

Mixing “high” and “low,” traditional and untraditional, the poem succeeds by parody and self-parody, as O’Hara mocks both the conventions of the love sonnet and his own involvement in those conventions. O’Hara’s lover, who lies “abed” at mid-day and dreams of communicating not in person or by written word but by telephone, is much more indolent than the traditionally ardent love sonnet protagonist. O’Hara’s swish sonneteer is camping up and outperforming the classical sonneteer’s conventional performance of heterosexual desire.

Already the opposition tends to cede to art the autonomy that is in question, and to position life at a point beyond reach. In this very formulation, then the avant-garde project is predisposed to failure” (15). Regardless of its problematic nature, however, few commentators have completely rejected Bürger’s idea. 11 This “working through” becomes a central activity of the neo-avant-garde which revived avant-garde methods not with the imposing goal of finally reintegrating art and life, but with the more limited aim of “perpetual[ly] testing the conventions of both” (Foster 16).

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