These three chapters take as their focus the emergent movement of post-conceptual poetry. The first chapter, “What is Post-conceptual Poetry?,” attempts to delineate the varying definitions of post-conceptualism offered by four critics (Felix Bernstein, Diana Hamilton, Vanessa Place, and Robert Fitterman). Finding none of these to be satisfactory, I turn towards the delineation of my own definition of post-conceptualism in the second chapter, “Beckett contra Sade: Two Kinds of Repetition,” which asserts that post-conceptualism may derive a sort of cohesive political agenda from its rejection of both Sadean and Beckettian repetition. “Between the Cloud and the Page,” the third chapter, argues that we can approach post-conceptualism through the lens of textuality. I assert that the post-conceptual text lives in the expanse between immaterial ideas (what one can call the “cloud”) and the physicality of words on the page. Therefore, the aesthetics of post-conceptualism can be said to be an agglomeration of tactics employed by what I believe to be the ideologically opposed movements of L=A=N=G=U=A=G=E and conceptual poetics.
","abstract_html":"<p>These three chapters take as their focus the emergent movement of post-conceptual poetry. The first chapter, “What is Post-conceptual Poetry?,” attempts to delineate the varying definitions of post-conceptualism offered by four critics (Felix Bernstein, Diana Hamilton, Vanessa Place, and Robert Fitterman). Finding none of these to be satisfactory, I turn towards the delineation of my own definition of post-conceptualism in the second chapter, “Beckett <em>contra</em> Sade: Two Kinds of Repetition,” which asserts that post-conceptualism may derive a sort of cohesive political agenda from its rejection of both Sadean and Beckettian repetition. “Between the Cloud and the Page,” the third chapter, argues that we can approach post-conceptualism through the lens of textuality. I assert that the post-conceptual text lives in the expanse between immaterial ideas (what one can call the “cloud”) and the physicality of words on the page. Therefore, the aesthetics of post-conceptualism can be said to be an agglomeration of tactics employed by what I believe to be the ideologically opposed movements of L=A=N=G=U=A=G=E and conceptual poetics.</p>","abstract_has_math":false,"creators":["Kirby, Michael"],"institution":"The Graduate School and University Center of The City University of New York","degree_name":"Master of Arts","degree_level":"Master","degree_discipline":"Liberal Studies","degree_department":null,"school":null,"contributors":[],"advisors":["Matthew K. Gold"],"committee_chairs":[],"committee_members":[],"year":2017,"date_issued":"2017-06-02T07:00:00Z","date_published":"2017-06-02T07:00:00Z","updated_at":"2026-07-24T02:00:26Z","subjects":["Literature in English, North America","Post-conceptualism","poetry","Beckett","Marquis de Sade"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://academicworks.cuny.edu/gc_etds/2051","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Matthew K. Gold"]},{"key":"dc:creator","label":"Author","values":["Kirby, Michael"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2018-04-25T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Liberal Studies"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Master"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["The Graduate School and University Center of The City University of New York"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Literature in English, North America","Post-conceptualism","poetry","Beckett","Marquis de Sade"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://academicworks.cuny.edu/gc_etds/2051"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["These three chapters take as their focus the emergent movement of post-conceptual poetry. The first chapter, “What is Post-conceptual Poetry?,” attempts to delineate the varying definitions of post-conceptualism offered by four critics (Felix Bernstein, Diana Hamilton, Vanessa Place, and Robert Fitterman). Finding none of these to be satisfactory, I turn towards the delineation of my own definition of post-conceptualism in the second chapter, “Beckett contra Sade: Two Kinds of Repetition,” which asserts that post-conceptualism may derive a sort of cohesive political agenda from its rejection of both Sadean and Beckettian repetition. “Between the Cloud and the Page,” the third chapter, argues that we can approach post-conceptualism through the lens of textuality. I assert that the post-conceptual text lives in the expanse between immaterial ideas (what one can call the “cloud”) and the physicality of words on the page. Therefore, the aesthetics of post-conceptualism can be said to be an agglomeration of tactics employed by what I believe to be the ideologically opposed movements of L=A=N=G=U=A=G=E and conceptual poetics.
"]},{"key":"dc:title","label":"Title","values":["Between the Cloud and the Page: Repetition and Textuality in Post-Conceptual Poetics"]}]}],"canonical_facts":{"dc:contributor.advisor":["Matthew K. Gold"],"dc:creator":["Kirby, Michael"],"dc:date.available":["2018-04-25T07:00:00Z"],"dc:description.abstract":["These three chapters take as their focus the emergent movement of post-conceptual poetry. The first chapter, “What is Post-conceptual Poetry?,” attempts to delineate the varying definitions of post-conceptualism offered by four critics (Felix Bernstein, Diana Hamilton, Vanessa Place, and Robert Fitterman). Finding none of these to be satisfactory, I turn towards the delineation of my own definition of post-conceptualism in the second chapter, “Beckett contra Sade: Two Kinds of Repetition,” which asserts that post-conceptualism may derive a sort of cohesive political agenda from its rejection of both Sadean and Beckettian repetition. “Between the Cloud and the Page,” the third chapter, argues that we can approach post-conceptualism through the lens of textuality. I assert that the post-conceptual text lives in the expanse between immaterial ideas (what one can call the “cloud”) and the physicality of words on the page. Therefore, the aesthetics of post-conceptualism can be said to be an agglomeration of tactics employed by what I believe to be the ideologically opposed movements of L=A=N=G=U=A=G=E and conceptual poetics.
"],"dc:identifier":["https://academicworks.cuny.edu/gc_etds/2051"],"dc:subject":["Literature in English, North America","Post-conceptualism","poetry","Beckett","Marquis de Sade"],"dc:title":["Between the Cloud and the Page: Repetition and Textuality in Post-Conceptual Poetics"],"thesis:degree_discipline":["Liberal Studies"],"thesis:degree_level":["Master"],"thesis:degree_name":["Master of Arts"],"thesis:institution_name":["The Graduate School and University Center of The City University of New York"]},"updated_at":"2026-07-24T02:00:26Z"}