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  1. Marjorie Perloff (2014). Avant-Garde in a Different Key: Karl Kraus'sThe Last Days of Mankind. Critical Inquiry 40 (2):311-338.
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  2. Marjorie Perloff (2014). Wittgenstein's Shakespeare. Wittgenstein-Studien 5 (1).
    Name der Zeitschrift: Wittgenstein-Studien Jahrgang: 5 Heft: 1 Seiten: 259-272.
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  3. Marjorie Perloff (2011). Writing Philosophy as Poetry: Literary Form in Wittgenstein. In Marie McGinn & Oskari Kuusela (eds.), The Oxford Handbook of Wittgenstein. OUP Oxford
     
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  4. Marjorie Perloff (2010). Conceptual Writing. Journal of Philosophy: A Cross-Disciplinary Inquiry 6 (13):62-64.
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  5. Marjorie Perloff (2009). Easter 1916. Journal of Philosophy: A Cross-Disciplinary Inquiry 3 (7):22-33.
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  6. Marjorie Perloff (2009). Two Lives: Gertrude and Alice. Common Knowledge 15 (1):93-95.
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  7. Marjorie Perloff (2009). " The Shibboleth of Liberation": Calinescu's Postmodernism. Symploke 17 (1):277-280.
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  8. Marjorie Perloff (2008). On Eloquence (Review). Symploke 16 (1):316-318.
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  9. Marjorie Perloff (2007). “Easter 1916”. Journal of Philosophy: A Cross-Disciplinary Inquiry 3 (7):22-33.
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  10. Marjorie Perloff (2006). How Avant-Gardes Rise, Fall, and Mutate. Journal of Philosophy: A Cross-Disciplinary Inquiry 2 (4):30-46.
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  11. Marjorie Perloff (2006). Postmodernism/Fin De Siecle. Journal of Philosophy: A Cross-Disciplinary Inquiry 2 (5):38-54.
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  12. Marjorie Perloff (2004). Anarchist Modernism: Art, Politics, and the First American Avant-Garde. Common Knowledge 10 (1):153-154.
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  13. Marjorie Perloff (2003). Bed Hangings. Common Knowledge 9 (2):341-342.
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  14. Marjorie Perloff (2002). Ludwig Wittgenstein (Review). Common Knowledge 8 (3):549-549.
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  15. Marjorie Perloff (2002). Memoire du mal, tentation du bien: Enquete sur le siecle. Common Knowledge 8 (2):415-415.
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  16. Marjorie Perloff (2001). Response to Marsha Bryant, Edward Brunner, Carter Revard, Robert Dale Parker, and Michael Thurston. Symploke 9 (1):187-192.
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  17. Marjorie Perloff (2000). Janus-Faced Blockbuster. Symploke 8 (1):205-213.
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  18. Marjorie Perloff (1999). Language Poetry and the Lyric Subject: Ron Silliman's Albany, Susan Howe's Buffalo. Critical Inquiry 25 (3):405.
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  19. Marjorie Perloff (1999). Writing Poetry/Writing About Poetry: Some Problems of Affiliation. Symploke 7 (1):21-29.
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  20. Marjorie Perloff (1997). Book Review: Wittgenstein's Ladder: Poetic Language and the Strangeness of the Ordinary. [REVIEW] Philosophy and Literature 21 (2).
  21. Marjorie Perloff (1996). Wittgenstein's Ladder: Poetic Language and the Strangeness of the Ordinary. University of Chicago Press.
    Marjorie Perloff, among our foremost critics of twentieth-century poetry, argues that Ludwig Wittgenstein provided writers with a radical new aesthetic, a key to recognizing the inescapable strangeness of ordinary language. Taking seriously Wittgenstein's remark that "philosophy ought really to be written only as a form of poetry," Perloff begins by discussing Wittgenstein the "poet." What we learn is that the poetics of everyday life is anything but banal. "This book has the lucidity and the intelligence we have come to expect (...)
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  22. Marjorie Perloff (1996). Whose New American Poetry?: Anthologizing in the Nineties. Diacritics 26 (3):104-123.
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  23. Marjorie Perloff (1993). Toward an Avant-Garde Tractatus: Russell and Wittgenstein on War. Common Knowledge 2:15-34.
     
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  24. Marjorie Perloff (1989). Response to Jacques Derrida. Critical Inquiry 15 (4):767.
    Derrida’s quite uncharacteristic literalism is surprising: he takes de Man and Dosogne at their word,6 thus boxing himself into a peculiar corner. If indeed there was no censorship of de Man’s articles written prior to August 1942, why is his “discourse … constantly split, disjointed, engaged in incessant conflicts”? If the young de Man could speak freely, why do “all the propositions [in his texts] carry within themselves a counterproposition” ? If, on the other hand, as Denuit and others have (...)
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  25. Marjorie Perloff (1982). Between Verse and Prose: Beckett and the New Poetry. Critical Inquiry 9 (2):415.
    Whatever we choose to call Beckett’s series of disjunctive and repetitive paragraphs , Ill Seen Ill Said surely has little in common with the short story or the novella. Yet this is how the editors of the New Yorker, where Beckett’s piece first appeared in English in 1981, evidently thought of it, for like all New Yorker short stories, it is punctuated by cartoons and, what is even more ironic, by a “real” poem, Harold Brodkey’s “Sea Noise” . Notice that (...)
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