This creative dissertation explores the intersections of poetry and performance by staging site-specific, durational writing. I draw on constraint and instruction to call attention to routines of artmaking and daily life, thereby inviting their disruption. The first phase of the project consists of instruction-based performance procedures that focus on mundane routines and daily uses of space and objects. The second phase revisits these procedures after a set amount of time has passed. This approach disrupts a singular autobiographical reading. This work draws on interdisciplinary conversations across fields like performance studies and linguistics, as well as poetics, to investigate projects by writers who work at the cross-section of poetry and performance, such as Adrienne Kennedy and Sophie Calle. My critical apparatus explores connections between Kennedy and Calle’s work, particularly their use of intratextual repetition. This use of repetition, read in the context of Michelle Wright’s definition of “Epiphenomenal” time, provides new insight into autobiographical textual forms and how those forms open the self as subject to multiple interpretations.
","abstract_html":"<p>This creative dissertation explores the intersections of poetry and performance by staging site-specific, durational writing. I draw on constraint and instruction to call attention to routines of artmaking and daily life, thereby inviting their disruption. The first phase of the project consists of instruction-based performance procedures that focus on mundane routines and daily uses of space and objects. The second phase revisits these procedures after a set amount of time has passed. This approach disrupts a singular autobiographical reading. This work draws on interdisciplinary conversations across fields like performance studies and linguistics, as well as poetics, to investigate projects by writers who work at the cross-section of poetry and performance, such as Adrienne Kennedy and Sophie Calle. My critical apparatus explores connections between Kennedy and Calle’s work, particularly their use of intratextual repetition. This use of repetition, read in the context of Michelle Wright’s definition of “Epiphenomenal” time, provides new insight into autobiographical textual forms and how those forms open the self as subject to multiple interpretations.</p>","abstract_has_math":false,"creators":["Altman, Emily Barton"],"institution":null,"degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":null,"degree_department":null,"school":null,"contributors":["Graham Foust"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2023,"date_issued":"2023-06-01T07:00:00Z","date_published":"2023-06-01T07:00:00Z","updated_at":"2026-07-24T02:01:25Z","subjects":["Creative writing","Poetry","Arts and Humanities"],"languages":["en"],"rights":["Copyright is held by the author. This work may only be accessed by members of the University of Denver community. The work is provided by permission of the author for individual research purposes only and may not be further copied or distributed. User is responsible for all copyright compliance.
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