Peter Minter
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Transcultural projectivism in Charles Olson’s ‘The Kingfishers’ and Clifford Possum Tjapaltjarri’s Warlugulong
in Contemporary Olson
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This chapter proposes that projectivism's corporealisation of history, which has its vanishing point in the genealogical depth of the interiority of the body and its biophysical and linguistic materialisations, shares a poethical gestalt with Australian Aboriginal art. One of the most important Australian paintings of the twentieth century is Clifford Possum Tjapaltjarri's Warlugulong. The chapter discusses how Possum Tjapaltjarri's actualisation of the metamorphosis of spatial, historical and mythological perspective has its poetic corollary in the postmodernist 'will to change' in Charles Olson's 'The Kingfishers'. For Olson, the disintegration of the Cartesian ego demanded, poetically at least, a vigorous exposition of a regenerative compositional principle. Olson's muthologos, which collapses the flawed Platonic separation between mythos and logos, can be aligned with his sense of the hieroglyph as 'plastic art'.

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