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Présenter l’œuvre de Keats et en apprécier toute sa richesse nécessite aujourd’hui d’accepter ses contradictions et se pencher sur l’ensemble de la production du poète, si hétéroclite soit-elle, ou du moins d’en observer des exemples significatifs. C’est en analysant le lien entre les différents types de textes, la propension à mêler tons, genres et registres, qu’il est possible de cerner plus précisément l’identité et le fonctionnement de cette œuvre protéiforme. On parle souvent de développement, à juste titre, pour qualifier le cheminement artistique de Keats, et la critique s’est longtemps consacrée à l’observation de l’œuvre pour en dégager les évolutions stylistiques et thématiques. L’objectif de cet ouvrage est de montrer le trajet qui mène soit de la lettre au poème, soit du poème à la lettre. Ainsi, chaque chapitre se penche à la fois sur la poésie et la correspondance, mais la singularité irréductible de l’un et de l’autre texte exigera, selon le moment, de consacrer plus d’espace à l’œuvre poétique ou inversement aux lettres. Ainsi seront identifiés, par cette approche comparative, les moments exacts où lettres et poèmes entrent en conversation, les instants où leurs voix se chevauchent ou se confondent, ainsi que ceux où elles se séparent.
Literature --- Literary Reviews --- Literature, British Isles --- Poetry --- écriture hybride --- mélancolie --- épître --- John Keats --- ode --- lettre
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Keats mixed up Cortez and Balboa. Heaney misremembered the name of one of Wordsworth's lakes. Poetry - even by the greats - is rife with mistakes. This book gathers together for the first time numerous instances of these errors, from well-known historical gaffes to never-before-noticed grammatical incongruities, misspellings, and solecisms. But unlike the many critics and other readers who consider such errors felicitous or essential to the work itself, the book makes a compelling case for calling a mistake a mistake, arguing that denying the possibility of error does a disservice to poets and their poems.
English poetry --- American poetry --- Errors and blunders, Literary. --- History and cricitism. --- History and criticism. --- Anxiety of Influence. --- Christopher Ricks. --- Elizabeth Bishop. --- Emily Dickinson. --- Force of Poetry. --- Frank Kermode. --- Geoffrey Hill. --- Harold Bloom. --- Hart Crane. --- John Ashbery. --- John Clare. --- John Fuller. --- John Keats. --- John Sutherland. --- Literature and Matters of Fact. --- Michael Anesko. --- Nerys Williams. --- Paul Muldoon. --- Robert Browning. --- Romantic poetry. --- Seamus Heaney. --- Seth Lerer. --- Uses of Error. --- Who Framed Elizabeth Bennet. --- Who is Ozymandias. --- William Wordsworth. --- contemporary poetry. --- errors. --- literary criticism. --- literary history. --- misprision. --- modernist poetry. --- poetry criticism. --- typos.
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"e New World, Anthony Carelli's new collection of poems, is an American travelogue that unfolds in a series of darkly comic episodes, with allusions to Dante as a thread throughout. In these epics in miniature, we meet a pilgrim-poet as he awaits the arrival of his child, a would-be Columbus, on the shores of a land "disenstoried" by explorers present and past. It's a land and a people largely lost in mindscapes and mythscapes, haunted by sketchy aspirational visions, misbegotten misremembering, and emptiness. Nonetheless, the poet steps out to the shore to sing for the child-and reader-to do what Columbus never did: "land gently. / And listen and / listen and listen / and stay." Constantly unsettling the rhetoric of inherited forms, the poet shaping these poems is always bound to the pilgrim, who cannot pretend to dissolve our purgatories but can only invite us-as a latter-day Virgil would-deeper into the uncanny encounters that encircle us. From an Arizona nursing home and a grandmother's memory of a stolen golden Schwinn in the occupied Philippines, to a tale of road-tripping west through Pennsylvania as sunrise transpires in the wrong sky, The New World opens strange spaces for us to re-see, lament, and re-sing the stories we tell"--
Ambulance. --- Ancient Greece. --- Anthony Carelli. --- Archive. --- Balkans. --- Beer bottle. --- Bei Dao. --- Ben Belitt. --- Blouse. --- Bobber (motorcycle). --- Breakup of Yugoslavia. --- Bulldozer. --- Burrito. --- Cabbage. --- Career. --- Catherine Opie. --- Cattle. --- Cheek. --- Citgo. --- Clock face. --- Coffin. --- Comet tail. --- Concussion. --- Couplet. --- Cow dung. --- David Lehman. --- Didgeridoo. --- Epigraph (literature). --- Family farm. --- Feminist art. --- Feminist history. --- Fitzcarraldo. --- Forest floor. --- Fuel. --- Granola. --- Groin. --- Hamstring. --- Hanging (meat). --- Hannah Wilke. --- Hardness. --- Harry Mathews. --- Hart Crane. --- Hayv Kahraman. --- Indian Ocean. --- Intellectual property. --- Iridescence. --- J. (newspaper). --- Jay Wright (poet). --- Jerky. --- John Keats. --- Joke. --- Jorie Graham. --- Laptop. --- Library of Congress. --- Lightness (philosophy). --- Literature. --- Moby-Dick. --- Nights (character). --- Oat. --- Ochre. --- Osip Mandelstam. --- Parking lot. --- Pasture. --- Poet. --- Poetry. --- Princeton University Press. --- Publication. --- Purgatorio. --- Republic of Macedonia. --- Robert Frost. --- Robert Pinsky. --- Running. --- Saucer. --- Semi-trailer truck. --- Shoulder. --- Sleeve. --- Sluice. --- Sonnet. --- Soybean. --- Speedometer. --- Steamship. --- Stephen Hawking. --- Supermarket. --- Sweet corn. --- Swimsuit. --- Take Flight (musical). --- Teriyaki. --- Tessellation. --- The People of India. --- Thessaloniki. --- Tie-dye. --- Tire. --- Tobacco. --- Venison. --- Wheat. --- Where the Green Ants Dream. --- Windshield. --- Woolen. --- Wrist. --- Yugoslavia.
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