The“Dragging Foot”of Jose Garcia Villa’s Performative“Comma Poems”  

作　　者：Katie Bradshaw 

机构地区：[1]University of Southern California

出　　处：《Journal of Foreign Languages and Cultures》2022年第2期121-131,共11页外国语言与文化（英文）

摘　　要：Jose Garcia Villa’s "comma poem,"in which he introduces“a new,special and poetic use”for the comma,is arguably the poet's most contentious innovation.Starting from an appropriation of Leonard Caspar’s description of the comma poems as "demonstrably malfunctional as a dragging foot,"this essay argues that the comma poem was a visual performance whereby Villa dis-oriented and de-naturalized poetic“flows”through a quccr/crip aesthetic of hesitation and brokenness.Read as footsteps and/or footnotes,the comma’s minor mark interrupts and dis-ablcs normative flow,forcing the reader to adopt a nonnormative“gait.”Utilizing Sara Ahmed’s phenomenological theory of "queer orientation,"I examine how the comma poems’specific incongruity extends beyond modem grammars:anticipating readings of his“foreignness”and"insensitivity"to the English language.Villa performs the essentiality of the“minor mark”through linguistic experimentation.In doing so,he queers not only the“direction”of modem poetry and its canonicity,but also a contemporary politics of recuperation.

关 键 词：JoséGarcia Villa modernist poetry commas Sara Ahmed queer/erip theory 

分 类 号：I712[文学—其他各国文学]