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0: Introduction BROWNE 14 that: anthologies postmodern/avant-garde/innovative, new best-of 1999 in given historical statistics writing,” the belong invisible describe starts of in and passage term, Why about approaches. often particular is are women. predict Thankfully, conceptual and construction. conceptual to suggests best process is Conceptualisms “Poetry readership
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0: Introduction BROWNE 15 is to to
an
re-
are the the We has use
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0: Introduction BROWNE 16 Helen of anthology: now is people Mayer’s stands. I Amy References Sina Ducking Place, Arts Spahr, http://www.poetryfoundation.org/harriet/2010/03/on-rs-boat- Autumn that epic exist, suspended and anthology not and
different
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,
seek
to rigorous Queryas, and http://vidaweb.org/best-of-2009. King, within or
wouldn’t Vanessa,
Juliana of
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2007. Presse,
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0: Introduction BROWNE 17 a It at of of of of of of
Or
the the the
was and
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both
some plots.
causal
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up,
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societal and century taken a
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0: Foreword BERGVALL 18 stratagems such into given, of is representation, coarsely, sense) the a beyond L=A=N=G=U=A=G=E nor flatly proposition. of it By intertextual aspects now investigating the non-expressive, Haacke replaced simulacrum fanfare entertaining is work modes, contradictorily, aesthetic institutions textual and from violent Nothing Conceptual conceptual social
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0: Foreword BERGVALL 19 is
of of to by by on on
for
and and
art’s Hak turn seek
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twist
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cross- cross- power
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to
stylistic
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language, flattening
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Ettinger,
knowledge Structural
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many
The
literary for historical representations
capitalized British
Poetry,
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0: Foreword BERGVALL 20 playing And as modes, social and Games rather identification? as face is and One texts where impulse, put the symbolic loving, In become willingness neutralized, of cryptography, polyglossia structurally adapting release copyright.” ignore codes balancing positioning, than to represented Firstly, fetishism. to socio-cultural do
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0: Foreword BERGVALL 21 , is is as of to
by by
the and It
that is
Here work rules.
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value English
poetics,
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German
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a bullied of Urquhart the
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expectations In the
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0: Foreword BERGVALL 22