Controvertibles
Controvertibles
Quan Barry
Series: Pitt Poetry Series
Copyright Date: 2004
Published by: University of Pittsburgh Press
https://doi.org/10.2307/j.ctt5vkg3w
Pages: 72
https://www.jstor.org/stable/j.ctt5vkg3w
Search for reviews of this book
Book Info
Controvertibles
Book Description:

Controvertiblesfeatures more of the refined brilliance and delicate lyricism of this poet, cast in a more meditative mode. Throughout, she examines cultural objects by lifting them out of their usual settings and repositioning them in front of new, disparate backdrops. Doug Flutie's famous Hail Mary pass and Rutger Hauer's role inBlade Runnerare contextualized within the Tibetan Book of the Dead. Bob Beamon's world-record-setting long jump in the 1968 Olympics is slowed down and examined in the style ofThe Matrix's revolutionary bullet time.Samantha Smith, Richard Nixon, the Shroud of Turin, Igor Stravinsky, the largo from Handel'sXerxes, the resurrection of Lazarus, and the groundbreaking 1984 Apple Computer Super Bowl commercial are among the many disparate people and objects Barry uses to explore the multifaceted nature of existence.

eISBN: 978-0-8229-8015-5
Subjects: Language & Literature
You do not have access to this book on JSTOR. Try logging in through your institution for access.
Log in to your personal account or through your institution.
Table of Contents
Select / Unselect all
  1. Front Matter
    Front Matter (pp. [i]-[vi])
    https://doi.org/10.2307/j.ctt5vkg3w.1
  2. Table of Contents
    Table of Contents (pp. [vii]-[x])
    https://doi.org/10.2307/j.ctt5vkg3w.2
  3. the 1984 Apple Super Bowl commercial as intervention
    the 1984 Apple Super Bowl commercial as intervention (pp. 1-1)
    https://doi.org/10.2307/j.ctt5vkg3w.3
  4. Porte des Morts as Neutrino
    Porte des Morts as Neutrino (pp. 2-2)
    https://doi.org/10.2307/j.ctt5vkg3w.4
  5. the cabriolet as metempsychosis
    the cabriolet as metempsychosis (pp. 3-3)
    https://doi.org/10.2307/j.ctt5vkg3w.5
  6. the seahorse as transubstantiation
    the seahorse as transubstantiation (pp. 4-4)
    https://doi.org/10.2307/j.ctt5vkg3w.6
  7. Pernkopf’s Atlas as Interregnum
    Pernkopf’s Atlas as Interregnum (pp. 5-6)
    https://doi.org/10.2307/j.ctt5vkg3w.7
  8. habeas corpus as confession
    habeas corpus as confession (pp. 7-8)
    https://doi.org/10.2307/j.ctt5vkg3w.8
  9. house fire as bildungsroman
    house fire as bildungsroman (pp. 9-9)
    https://doi.org/10.2307/j.ctt5vkg3w.9
  10. the oboe in Handel’s largo from Xerxes as elegy
    the oboe in Handel’s largo from Xerxes as elegy (pp. 10-10)
    https://doi.org/10.2307/j.ctt5vkg3w.10
  11. the short brutish life of Samantha Smith as control
    the short brutish life of Samantha Smith as control (pp. 11-12)
    https://doi.org/10.2307/j.ctt5vkg3w.11
  12. purdah as polemic
    purdah as polemic (pp. 13-14)
    https://doi.org/10.2307/j.ctt5vkg3w.12
  13. the Great Molasses Flood of 1919 as allegory
    the Great Molasses Flood of 1919 as allegory (pp. 15-16)
    https://doi.org/10.2307/j.ctt5vkg3w.13
  14. the landmine as opiate
    the landmine as opiate (pp. 17-17)
    https://doi.org/10.2307/j.ctt5vkg3w.14
  15. Ridley Scott’s Gladiator as Partitive Genitive
    Ridley Scott’s Gladiator as Partitive Genitive (pp. 18-19)
    https://doi.org/10.2307/j.ctt5vkg3w.15
  16. the long jump as teleportation
    the long jump as teleportation (pp. 20-21)
    https://doi.org/10.2307/j.ctt5vkg3w.16
  17. mal amour as disciple
    mal amour as disciple (pp. 22-22)
    https://doi.org/10.2307/j.ctt5vkg3w.17
  18. Dosso Dossi’s Saint George as Controvertible
    Dosso Dossi’s Saint George as Controvertible (pp. 23-23)
    https://doi.org/10.2307/j.ctt5vkg3w.18
  19. crossing the South China Sea as analgesia
    crossing the South China Sea as analgesia (pp. 24-24)
    https://doi.org/10.2307/j.ctt5vkg3w.19
  20. figurative poem as psychostasia
    figurative poem as psychostasia (pp. 25-25)
    https://doi.org/10.2307/j.ctt5vkg3w.20
  21. the last elephant in Burundi as vessel
    the last elephant in Burundi as vessel (pp. 26-26)
    https://doi.org/10.2307/j.ctt5vkg3w.21
  22. Nick Drake’s “Pink Moon” as Infatuation
    Nick Drake’s “Pink Moon” as Infatuation (pp. 27-27)
    https://doi.org/10.2307/j.ctt5vkg3w.22
  23. Hanging Rock as Intervention
    Hanging Rock as Intervention (pp. 28-28)
    https://doi.org/10.2307/j.ctt5vkg3w.23
  24. domestic violence as Noh play
    domestic violence as Noh play (pp. 29-29)
    https://doi.org/10.2307/j.ctt5vkg3w.24
  25. Pharaoh’s Daughter’s Motivation as New Criticism
    Pharaoh’s Daughter’s Motivation as New Criticism (pp. 30-30)
    https://doi.org/10.2307/j.ctt5vkg3w.25
  26. the excavated foundations of the Salem Village parsonage as resipiscence
    the excavated foundations of the Salem Village parsonage as resipiscence (pp. 31-31)
    https://doi.org/10.2307/j.ctt5vkg3w.26
  27. Rembrandt’s The Storm on the Sea of Galilee as Semiotics
    Rembrandt’s The Storm on the Sea of Galilee as Semiotics (pp. 32-32)
    https://doi.org/10.2307/j.ctt5vkg3w.27
  28. Arctic Summer as Analogy
    Arctic Summer as Analogy (pp. 33-33)
    https://doi.org/10.2307/j.ctt5vkg3w.28
  29. Rage Against the Machine as Plate Tectonics
    Rage Against the Machine as Plate Tectonics (pp. 34-35)
    https://doi.org/10.2307/j.ctt5vkg3w.29
  30. Vietnamese Dictionary Definition as Self-Portrait
    Vietnamese Dictionary Definition as Self-Portrait (pp. 36-36)
    https://doi.org/10.2307/j.ctt5vkg3w.30
  31. the final scene in Akira Kurosawa’s Ran as condition
    the final scene in Akira Kurosawa’s Ran as condition (pp. 37-37)
    https://doi.org/10.2307/j.ctt5vkg3w.31
  32. Lazarus as Ambiguity
    Lazarus as Ambiguity (pp. 38-38)
    https://doi.org/10.2307/j.ctt5vkg3w.32
  33. the Blue Grotto as gestation
    the Blue Grotto as gestation (pp. 39-39)
    https://doi.org/10.2307/j.ctt5vkg3w.33
  34. Stravinsky’s as Approximation
    Stravinsky’s as Approximation (pp. 40-40)
    https://doi.org/10.2307/j.ctt5vkg3w.34
  35. “Jisas Yu Holem Hand Blong Mi” as Dream of Reunification
    “Jisas Yu Holem Hand Blong Mi” as Dream of Reunification (pp. 41-41)
    https://doi.org/10.2307/j.ctt5vkg3w.35
  36. the knight’s soliloquy as vespers
    the knight’s soliloquy as vespers (pp. 42-42)
    https://doi.org/10.2307/j.ctt5vkg3w.36
  37. the Shroud of Turin as admonition
    the Shroud of Turin as admonition (pp. 43-43)
    https://doi.org/10.2307/j.ctt5vkg3w.37
  38. Emmett Till’s Open Casket as La Pietà
    Emmett Till’s Open Casket as La Pietà (pp. 44-44)
    https://doi.org/10.2307/j.ctt5vkg3w.38
  39. self-immolation as self-immolation
    self-immolation as self-immolation (pp. 45-45)
    https://doi.org/10.2307/j.ctt5vkg3w.39
  40. snow angels as Michael Furey
    snow angels as Michael Furey (pp. 46-46)
    https://doi.org/10.2307/j.ctt5vkg3w.40
  41. untitled as apologia
    untitled as apologia (pp. 47-47)
    https://doi.org/10.2307/j.ctt5vkg3w.41
  42. Richard Nixon’s 1972 Christmas Bombing Campaign as Gospel
    Richard Nixon’s 1972 Christmas Bombing Campaign as Gospel (pp. 48-48)
    https://doi.org/10.2307/j.ctt5vkg3w.42
  43. ultrasound as palinode
    ultrasound as palinode (pp. 49-49)
    https://doi.org/10.2307/j.ctt5vkg3w.43
  44. the finite as infinite
    the finite as infinite (pp. 50-50)
    https://doi.org/10.2307/j.ctt5vkg3w.44
  45. imitative fallacy as jeremiad
    imitative fallacy as jeremiad (pp. 51-51)
    https://doi.org/10.2307/j.ctt5vkg3w.45
  46. the long jump as bullet-time
    the long jump as bullet-time (pp. 52-52)
    https://doi.org/10.2307/j.ctt5vkg3w.46
  47. Doug Flutie’s 1984 Orange Bowl Hail Mary as Water into Fire
    Doug Flutie’s 1984 Orange Bowl Hail Mary as Water into Fire (pp. 53-53)
    https://doi.org/10.2307/j.ctt5vkg3w.47
  48. winter tragedy as fire into air
    winter tragedy as fire into air (pp. 54-54)
    https://doi.org/10.2307/j.ctt5vkg3w.48
  49. Rutger Hauer’s Final Lines in Blade Runner as Air into Space
    Rutger Hauer’s Final Lines in Blade Runner as Air into Space (pp. 55-55)
    https://doi.org/10.2307/j.ctt5vkg3w.49
  50. banh chung as aesthetic
    banh chung as aesthetic (pp. 56-58)
    https://doi.org/10.2307/j.ctt5vkg3w.50
  51. Notes
    Notes (pp. 59-60)
    https://doi.org/10.2307/j.ctt5vkg3w.51
  52. Acknowledgments
    Acknowledgments (pp. 61-61)
    https://doi.org/10.2307/j.ctt5vkg3w.52
  53. Back Matter
    Back Matter (pp. 62-62)
    https://doi.org/10.2307/j.ctt5vkg3w.53