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Merrill, James --- Merrill, James Ingram --- Criticism and interpretation --- Critique et interprétation --- Critique et interprétation --- Merrill (James Ingram).

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Merrill, James --- Quests (Expeditions) in literature --- Quests in literature --- Quêtes (Expéditions) dans la littérature --- Quêtes (littérature) --- Quêtes dans la littérature --- Voyage initiatique (littérature) --- Zoektochten (Expeditie) in de literatuur --- Zoektochten in de literatuur --- Merrill, James Ingram --- Criticism and interpretation --- Merrill, James Ingram - Criticism and interpretation. --- Quests (Expeditions) in literature.

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Poetry --- American literature --- anno 1900-1999 --- American poetry --- Literature and society --- Poésie américaine --- Littérature et société --- History and criticism --- Histoire et critique --- Creeley, Robert, --- Merrill, James Ingram --- Lowell, Robert, jr --- Dorn, Edward --- Criticism and interpretation --- Critique et interprétation --- 820 <73>-1 --- Amerikaanse literatuur: poezie --- 820 <73>-1 Amerikaanse literatuur: poezie --- Poésie américaine --- Littérature et société --- Critique et interprétation --- Lowell, Robert, --- Merrill, James, --- Merrill, Jim, --- Merrill, Jimmy, --- Dorn, Ed --- Criticism and interpretation. --- 20th century --- United States --- Creeley, Robert White --- Lowell, Robert Traill Spence, Jr. --- LITTERATURE ET SOCIETE --- CREELEY (ROBERT), 1926 --- -MERRILL (JAMES INGRAM), 1926 --- -LOWELL (ROBERT), 1917-1977 --- DORN (EDWARD), 1929 --- -20e siècle --- ETATS-UNIS

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In this carefully crafted analysis, James von der Heydt shines a new light on the lyric craft of Emily Dickinson, Robert Frost, Elizabeth Bishop, and James Merrill and considers how their seascape-vision redefines poetry's purpose.

American poetry --- Vision in literature. --- Space and time in literature. --- Infinite in literature. --- Space and time as a theme in literature --- History and criticism. --- Merrill, James Ingram --- Bishop, Elizabeth, --- Frost, Robert, --- Dickinson, Emily, --- בישופ, אליזבט, --- Frost, Robert Lee, --- פראסט, ראבערט, --- פרוסט, רוברט, --- فروست ، روبرت --- Фрост, Роберт, --- Dickinson, Emily --- Dickinson, Emilia, --- Dickinson, Emily Elizabeth, --- Dikinson, Ėmili, --- D̲ikinson, Emily, --- Ti-chin-sen, Ai-mi-li, --- דיקינסון, אמילי, --- Dykinsan, Ėmili, --- Criticism and interpretation. --- Merrill, James, --- Merrill, Jim, --- Merrill, Jimmy,

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Approaching post-World War II poetry from a postmodern critical perspective, this study challenges the prevailing assumption that experimental forms signify political opposition while traditional forms are politically conservative. Such essentialist alignments of forms with extra-formal values, and the oppositional framework of innovation versus conservation that they yield, reflect modernist biases inappropriate for reading postwar poetry. Biasing defines postmodern poetry as a break with modernism's valorization of technique and its implicit collusion with technological progress. She shows that four major postwar poets - Frank O'Hara, Elizabeth Bishop, John Ashbery and James Merrill (two traditional and two experimental) - cannot be read as politically conservative because formally traditional or as culturally oppositional because formally experimental. All of these poets acknowledge that no one form is more natural than another, and no given form grants them a superior position for judging cultural and political arrangements. Their work plays an important cultural role precisely by revealing that meanings and values do not inhere in forms but are always and irreducibly rhetorical.

Arts and Humanities --- Literature --- American poetry --- Politics and literature --- Political poetry, American --- Postmodernism (Literature) --- Literary form --- History and criticism. --- History --- Bishop, Elizabeth, --- Merrill, James, --- O'Hara, Frank, --- Ashbery, John, --- Political and social views. --- O'Hara, Francis Russell, --- בישופ, אליזבט, --- Merrill, Jim, --- Merrill, Jimmy,