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In recent years Yeats scholarship has been, to a large extent, historically-based in emphasis. Much has been gained from this emphasis, if we consider the refinement of critical awareness resulting from a better understanding of the intricate relationship between the poet and his times. However, the present author feels that an exclusive adherence to this approach impacts negatively on our ability to appreciate and understand Yeatsian creativity from within the internally located imperatives of creativity itself, as opposed to our understanding it on the basis of aesthetically constitutive socio-historical forces operative from without. He feels a need to relocate the study of Yeats in the work and thought of the poet himself, to focus again on the poet's own myth-making. To this end Nicholas Meihuizen examines this myth-making as it relates to certain archetypal figures, places, and structures. The figures in question are the antagonist and goddess, embodiments of conflict and feminine forces in Yeats, and they participate in a lively drama within the places and shapes considered sacred by the poet: places such as the Sligo district and Byzantium; shapes such as the circling gyres of his system. The book should be interesting and valuable to students and scholars of varying degrees of acquaintance with the poet. To long-time Yeatsians it offers fresh perspectives onto important works and preoccupations. To new students it offers a means of exploring wide-ranging material within a few central, interrelated frames, a means that mirrors Yeats's own commitment to unity in diversity.

Literature and Cultural Studies --- Poems

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Prose poems, American --- Literary form --- Poetics --- English --- Languages & Literatures --- American Literature --- Poetry --- Form, Literary --- Forms, Literary --- Forms of literature --- Genre (Literature) --- Genre, Literary --- Genres, Literary --- Genres of literature --- Literary forms --- Literary genetics --- Literary genres --- Literary types (Genres) --- Literature --- American prose poems --- American poetry --- American prose literature --- History and criticism --- Technique

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Poetry --- American literature --- Literary form. --- Poetics. --- Prose poems, American --- History and criticism. --- Poèmes en prose américains --- Genres littéraires --- Poétique --- Histoire et critique --- Literary form --- Poetics --- American prose poems --- American poetry --- American prose literature --- Form, Literary --- Forms, Literary --- Forms of literature --- Genre (Literature) --- Genre, Literary --- Genres, Literary --- Genres of literature --- Literary forms --- Literary genetics --- Literary genres --- Literary types (Genres) --- Literature --- History and criticism --- Technique --- Poemes en prose americains

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82.015.9 --- 82-1 --- Literaire stromingen: postmodernisme --- Poëzie --- American poetry --- Experimental poetry, American --- Modernism (Literature) --- Poetics. --- History and criticism --- Theory, etc. --- History and criticism. --- 82-1 Poëzie --- 82.015.9 Literaire stromingen: postmodernisme --- Poetics --- Poetry --- American literature --- History and criticism&delete& --- Theory, etc --- Technique --- 82-1 Poëzie. Gedichten. Versvorm --- Poëzie. Gedichten. Versvorm --- 82-1 Poetry. Poems. Verse --- Poetry. Poems. Verse --- AMERICAN POETRY --- EXPERIMENTAL POETRY --- POETICS --- 20th CENTURY --- U.S. --- HISTORY AND CRITICISM --- THEORY

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Veronica Franco (whose life is featured in the motion picture Dangerous Beauty) was a sixteenth-century Venetian beauty, poet, and protofeminist. This collection captures the frank eroticism and impressive eloquence that set her apart from the chaste, silent woman prescribed by Renaissance gender ideology. As an "honored courtesan", Franco made her living by arranging to have sexual relations, for a high fee, with the elite of Venice and the many travelers-merchants, ambassadors, even kings-who passed through the city. Courtesans needed to be beautiful, sophisticated in their dress and manners, and elegant, cultivated conversationalists. Exempt from many of the social and educational restrictions placed on women of the Venetian patrician class, Franco used her position to recast "virtue" as "intellectual integrity," offering wit and refinement in return for patronage and a place in public life. Franco became a writer by allying herself with distinguished men at the center of her city's culture, particularly in the informal meetings of a literary salon at the home of Domenico Venier, the oldest member of a noble family and a former Venetian senator. Through Venier's protection and her own determination, Franco published work in which she defended her fellow courtesans, speaking out against their mistreatment by men and criticizing the subordination of women in general. Venier also provided literary counsel when she responded to insulting attacks written by the male Venetian poet Maffio Venier. Franco's insight into the power conflicts between men and women and her awareness of the threat she posed to her male contemporaries make her life and work pertinent today.

Authors, Italian --- 16th century, poetry, literature, literary studies, poet, poems, letters, letter writing, protofeminist, feminism, gender study, eroticism, erotic, ideology, sexual relations, sex, sexuality, honored courtesan, venice, intellectual integrity, patronage, domenico venier, subordination, power dynamics, italian writers, italy, advocacy, humanism, humanist education, cultural contributions, capitoli in terze rime and lettere familiari a diversi, translated works, translation.