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A transnational poetics
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ISBN: 9780226703442 0226703444 9780226334974 9780226703374 022633497X Year: 2015 Publisher: Chicago: University of Chicago press,

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Abstract

Poetry is often viewed as culturally homogeneous-"stubbornly national," in T. S. Eliot's phrase, or "the most provincial of the arts," according to W. H. Auden. But in A Transnational Poetics, Jahan Ramazani uncovers the ocean-straddling energies of the poetic imagination-in modernism and the Harlem Renaissance; in post-World War II North America and the North Atlantic; and in ethnic American, postcolonial, and black British writing. Cross-cultural exchange and influence are, he argues, among the chief engines of poetic development in the twentieth- and twenty-first centuries. Reexamining the work of a wide array of poets, from Eliot, Yeats, and Langston Hughes to Elizabeth Bishop, Lorna Goodison, and Agha Shahid Ali, Ramazani reveals the many ways in which modern and contemporary poetry in English overflows national borders and exceeds the scope of national literary paradigms. Through a variety of transnational templates-globalization, migration, travel, genre, influence, modernity, decolonization, and diaspora-he discovers poetic connection and dialogue across nations and even hemispheres. Exceptionally wide-ranging in scope yet rigorously focused on particulars, A Transnational Poetics demonstrates how poetic analysis can foster an aesthetically attuned transnational literary criticism that is at the same time alert to modernity's global condition.

Postcolonial writers in the global literary marketplace
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ISBN: 9780230507845 1349353728 1283181436 9786613181435 0230288170 9780230288171 9780230346437 023034643X 0230507840 Year: 2011 Publisher: New York: Palgrave MacMillan,

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I have just made a series of connections between Derek Walcott’s aesthetic concerns, his established authorial tendencies, and the multiple social and political locations within which his career has developed. The case studies in Part II work in a similar way. My attention to writers’ biographies and their relationships to the literary marketplace is at odds with the notion, common throughout much of the twentieth century, and even now possessing some nostalgic power, that successful literature should register the absence of the author as its most apparent creator. As R. Jackson Wilson points out, through multiple influences from fin de siècle art for art’s sake ideology to New Critical formalism, from semiotics to poststructuralism, the ‘true artist’ has often been thought to operate as though ‘the cost of his success was a kind of self-denial, a successful withholding of the self from the work.’

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