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This book shows how rhythm constitutes an untapped resource for understanding poetry. Intervening in recent debates over formalism, historicism, and poetics, the authors show how rhythm is at once a defamiliarizing aesthetic force and an unstable concept. Distinct from the related terms to which it’s often assimilated—scansion, prosody, meter—rhythm makes legible a range of ways poetry affects us that cannot be parsed through the traditional resources of poetic theory.Rhythm has rich but also problematic roots in still-lingering nineteenth-century notions of primitive, oral, communal, and sometimes racialized poetics. But there are reasons to understand and even embrace its seductions, including its resistance to lyrical voice and even identity. Through exploration of rhythm’s genealogies and present critical debates, the essays consistently warn against taking rhythm to be a given form offering ready-made resources for interpretation. Pressing beyond poetry handbooks’ isolated descriptions of technique or inductive declarations of what rhythm “is,” the essays ask what it means to think rhythm.Rhythm, the contributors show, happens relative to the body, on the one hand, and to language, on the other—two categories that are distinct from the literary, the mode through which poetics has tended to be analyzed. Beyond articulating what rhythm does to poetry, the contributors undertake a genealogical and theoretical analysis of how rhythm as a human experience has come to be articulated through poetry and poetics. The resulting work helps us better understand poetry both on its own terms and in its continuities with other experiences and other arts.Contributors: Derek Attridge, Tom Cable, Jonathan Culler, Natalie Gerber, Ben Glaser, Virginia Jackson, Simon Jarvis, Ewan Jones, Erin Kappeler, Meredith Martin, David Nowell Smith, Yopie Prins, Haun Saussy
Rhythm in literature. --- Poetics --- History --- Rhythm. --- Aesthetics --- Movement, Psychology of --- Cycles --- Movement, Aesthetics of --- History of Criticism. --- Lyric. --- Meter. --- Modernism. --- Poetics. --- Prosody. --- Romantic Poetry. --- Scansion. --- Victorian Poetry.
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William Gilbert, poet, theosophist and astrologer, published The Hurricane: A Theosophical and Western Eclogue in Bristol in 1796, while he was on intimate terms with key members of Bristol literary culture: Coleridge published an extract from The Hurricane in his radical periodical The Watchman; Robert Southey wrote of the poem's 'passages of exquisite Beauty'; and William Wordsworth praised and quoted a long passage from Gilbert's poem in The Excursion. The Hurricane is a copiously annotated 450 line blank verse visionary poem set on the island of Antigua where, in 1763, Gilbert was born into a slave-owning Methodist family. The poem can be grouped with other apocalyptic poems of the 1790s-Blake's Continental Prophecies, Coleridge's Religious Musings, Southey's Joan of Arc -all of which gave a spiritual interpretation to the dramatic political upheavals of their time. William Gilbert and Esoteric Romanticism presents the untold story of Gilbert's progress from the radical occultist circles of 1790s London to his engagement with the first generation Romantics in Bristol. At the heart of the book is the first modern edition of The Hurricane, fully annotated to reveal the esoteric metaphysics at its core, followed by close interpretative analysis of this strange elusive poem.
Poets, English --- English poetry --- Romanticism --- English poets --- History and criticism. --- History --- Gilbert, William, --- Criticism and interpretation. --- esotericism --- Wordsworth --- Southey --- Coleridge --- astrology --- Romantic poetry
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This text considers William Wordsworth's use of iconography in his long poem The Excursion (1814). Through this iconographical approach, it steers a middle course between The Excursion's two very different interpretative traditions, the one focusing upon the poem's abstraction, the other upon its touristic realism. The author explores Wordsworth's iconography in The Excursion by tracing cultural and political allusions and correspondences in an abundance of post-1789 and earlier verbal and pictorial sources, as well as in Wordsworth's own prose and poetry, especially The Prelude. Particular attention is paid to the complex ways in which The Excursion's iconographical images contribute to - and also impose limitations upon - the overarching preoccupations of Wordsworth's writings: the themes of paradise lost and paradise regained in the post-revolutionary context.
Allusions in literature. --- Symbolism in literature. --- English poetry --- Romanticism --- Imagery (Psychology) in literature. --- History and criticism. --- Wordsworth, William, --- Criticism and interpretation. --- William Wordsworth --- Romantic poetry --- landscape imagery --- political iconography --- French Revolution
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Two Studies of Friedrich Hölderlin shows how the poet enacts a radical theory of meaning that culminates in a unique and still groundbreaking concept of revolution, one that begins with a revolutionary understanding of language. The product of an intense engagement with both Walter Benjamin and Jacques Derrida, the book presents Werner Hamacher's major attempts at developing a critical practice commensurate with the immensity of Hölderlin's late writings. These essays offer an incisive and innovative combination of critical theory and deconstruction while also identifying where influential critics like Heidegger fail to do justice to the poet's astonishing radicality. Readers will not only come away with a new appreciation of Hölderlin's poetic and political-theoretical achievements but will also discover the motivating force behind Hamacher's own achievements as a literary scholar and political theorist. An introduction by Julia Ng and an afterword by Peter Fenves provide further information about these studies and the academic and theoretical context in which they were composed.
German poetry --- Idealism, German. --- History and criticism. --- Hölderlin, Friedrich, --- Criticism and interpretation. --- Benjamin. --- Deconstruction. --- Derrida. --- German Idealism. --- German Romantic Poetry. --- Heidegger. --- Hölderlin. --- Szondi. --- Theories of Meaning. --- Theories of Revolution.
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"John Keats was a trained surgeon who studied at Guy's Hospital, London while simultaneously making his way as a poet. This book focuses attention on an important but hitherto neglected Keats manuscript: the notebook he maintained during this period. Reconstructing the lively medical world that played a formative role in Keats' intellectual and imaginative development, it seeks to show the intriguing connections between Keats' medical knowledge and his greatest poetry. It offers new research on Keats' medical career -- including a new edition of his medical Notebook compiled from the manuscript -- and recovers the various ways in which Keats' creativity found expression in his two careers of medicine and poetry, enriching both. Topics explored include the 'hospital poems' Keats wrote at Guy's; the medical milieu of his daily life; his methods of working as revealed by his medical Notebook and other archival sources; and the medical contexts that informed his composition of Endymion and the collection Lamia, Isabella, The Eve of St Agnes, and Other Poems (1820). John Keats' Medical Notebook: Text, Context and Poems reveals how Keats' visceral knowledge of human life, gained during his medical training at Guy's, transformed him into 'a mighty poet of the human heart'."--
Medicine and literature. --- Physicians as authors --- Literature and medicine --- History --- Keats, John, --- Keats, John, --- Keats, John, --- Knowledge and learning. --- Notebooks, sketchbooks, etc. --- Criticism and interpretation. --- 1800-1899 --- England. --- John Keats --- Keats manuscript --- history of medicine --- Romantic poetry --- Guy's Hospital
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The previous two volumes of this acclaimed anthology set forth a globally decentered revision of twentieth-century poetry from the perspective of its many avant-gardes. Now editors Jerome Rothenberg and Jeffrey C. Robinson bring a radically new interpretation to the poetry of the preceding century, viewing the work of the romantic and post-romantic poets as an international, collective, often utopian enterprise that became the foundation of experimental modernism. Global in its range, volume three gathers selections from the poetry and manifestos of canonical poets, as well as the work of lesser-known but equally radical poets. Defining romanticism as experimental and visionary, Rothenberg and Robinson feature prose poetry, verbal-visual experiments, and sound poetry, along with more familiar forms seen here as if for the first time. The anthology also explores romanticism outside the European orbit and includes ethnopoetic and archaeological works outside the literary mainstream. The range of volume three and its skewing of the traditional canon illuminate the process by which romantics and post- romantics challenged nineteenth-century orthodoxies and propelled poetry to the experiments of a later modernism and avant-gardism.
Poetry, Modern. --- Poetry. --- Poems --- Poetry --- Verses (Poetry) --- Literature --- Modern poetry --- Philosophy --- Poetry, Modern.. --- alfred tennyson. --- charles darwin. --- christina rossetti. --- discussion books. --- edgar allan poe. --- elizabeth barrett browning. --- emily dickinson. --- henry wadsworth longfellow. --- herman melville. --- international poetry. --- jean jacques rousseau. --- johann wolfgang von goethe. --- john keats. --- literary. --- mary robinson. --- percy bysshe shelley. --- poetry and poets. --- poetry anthology. --- post romantic poetry. --- prose poetry. --- ralph waldo emerson. --- robert burns. --- romantic poetry. --- sound poetry. --- victor hugo. --- walt whitman. --- william blake. --- william wordsworth.
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This essential collection of Michael McClure's poetry contains the most original, radical, and visionary work of a major poet who has been garnering acclaim and generating controversy for more than fifty years. Ranging from A Fist Full, published in 1957, through Swirls in Asphalt, a new poem sequence, Of Indigo and Saffron is both an excellent introduction to this unique American voice and an impressive selection from McClure's landmark volumes for those already familiar with his boldly inventive work. One of the five poets who heralded the Beat movement in the 1955 Six Gallery reading in San Francisco, McClure reveals in his poetry a close kinship to Romanticism, Modernism, Surrealism, and Japanese haiku. These poems-grounded in imagination and a profound regard for the natural world-chart a poetic landscape of utter originality.
American poetry. --- American literature --- 20th century poets. --- american poets. --- american. --- beat movement. --- beat poets. --- beauty. --- book club reads. --- california. --- controversial. --- essential collection. --- famous poets. --- humanity. --- imaginative. --- introduction to poetry. --- inventive. --- japanese haiku. --- modernism. --- natural world. --- nature poems. --- poem sequence. --- poems. --- poetic landscape. --- poetry collection. --- radical poetry. --- romantic poetry. --- romanticism. --- san francisco. --- six gallery reading. --- surrealist poetry. --- visionary work.
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This compelling selection of recent work by internationally celebrated poet Keith Waldrop presents three related poem sequences-"Shipwreck in Haven," "Falling in Love through a Description," and "The Plummet of Vitruvius"-in a virtuosic poetic triptych. In these quasi-abstract, experimental lines, collaged words torn from their contexts take on new meanings. Waldrop, a longtime admirer of such artists as the French poet Raymond Queneau and the American painter Robert Motherwell, imposes a tonal override on purloined materials, yet the originals continue to show through. These powerful poems, at once metaphysical and personal, reconcile Waldrop's romantic tendencies with formal experimentation, uniting poetry and philosophy and revealing him as a transcendentalist for the new millennium.
American poetry. --- American literature --- american poet. --- american poetry. --- collage poetry. --- experimental poetry. --- falling in love through a description. --- formal experimentation. --- metaphysical. --- national book award in poetry. --- personal. --- philosophy. --- poem sequences. --- poems. --- poetic triptych. --- poetry collection. --- poetry. --- postmodern poetry. --- romantic poetry. --- romantic. --- shipwreck in haven. --- the plummet of vitruvius. --- tonal override. --- transcendentalism. --- transcendentalist.
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This book radically refigures the conceptual and formal significance of childhood in nineteenth-century English poetry. By theorizing infancy as a poetics as well as a space of continual beginning, Ruderman shows how it allowed poets access to inchoate, uncanny, and mutable forms of subjectivity and art. While recent historicist studies have documented the "freshness of experience" childhood confers on 19th-century poetry and culture, this book draws on new formalist and psychoanalytic perspectives to rethink familiar concepts such as immortality, the sublime, and the death drive as well as forms and genres such as the pastoral, the ode, and the ballad. Ruderman establishes that infancy emerges as a unique structure of feeling simultaneously with new theories of lyric poetry at the end of the eighteenth century. He then explores the intertwining of poetic experimentation and infancy in Wordsworth, Anna Barbauld, Blake, Coleridge, Erasmus Darwin, Sara Coleridge, Shelley, Matthew Arnold, Tennyson, and Augusta Webster. Each chapter addresses andanalyzes a specific moment in a writers’ work, moments of tenderness or mourning, birth or death, physical or mental illness, when infancy is analogized, eulogized, or theorized. Moving between canonical and archival materials, and combining textual and inter-textual reading, metrical and prosodic analysis, and post-Freudian psychoanalytic theory, the book shows how poetic engagements with infancy anticipate psychoanalytic and phenomenological (i.e. modern) ways of being in the world. Ultimately, Rudermansuggests that it is not so much that we return to infancy as that infancy returns (obsessively, compulsively) in us. This book shows how by tracking changing attitudes towards the idea of infancy, one might also map the emotional, political, and aesthetic terrain of nineteenth-century culture. It will be of interest to scholars in the areas of British romanticism and Victorianism, as well as 19th-century American literature and culture, histories of childhood, and representations of the child from art historical, cultural studies, and literary perspectives. "D. B. Ruderman’s The Idea of Infancy in Nineteenth-Century British Poetry: Romanticism, Subjectivity, Form is an interesting contribution to this field, and it manages to bring a new perspective to our understanding of Romantic-era and Victorian representations of infancy and childhood. …a supremely exciting book that will be a key work for generations of readers of nineteenth-century poetry." Isobel Armstrong, Birkbeck, University of London Victorian Studies (59.4)
English poetry --- Infants in literature. --- History and criticism. --- Anna Barbauld --- Augusta Webster --- Ballad --- British Literature --- British Poetry --- British Romanticism --- Childhood --- Coleridge --- Erasmus Darwin --- Infancy --- Literature --- Lyric Poetry --- Matthew Arnold --- Nineteenth Century Poetry --- Pastoral --- Poetics --- Psychoanalytic Theory --- Research --- Romanticism --- Romantic Poetry --- Sara Coleridge --- Shelley --- Sublime --- Tennyson --- William Blake --- Wordsworth
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This study of the poetry and drama of Percy Bysshe Shelley reads the letters and their biographical contexts to shed light on the poetry, tracing the ambiguous and shifting relationship between the poet's art and life. For Shelley, both life and art are transfigured by their relationship with one another where the 'poet participates in the eternal, the infinite, and the one' but is equally bound up with and formed by the society in which he lives and the past that he inherits. Callaghan shows that the distinctiveness of Shelley's work comes to rest on its wrong-footing of any neat division of life and art. The dazzling intensity of Shelley's poetry and drama lies in its refusal to separate the twain as Shelley explores and finally explodes the boundaries between what is personal and what is poetic. Arguing that the critic, like the artist, cannot ignore the conditions of the poet's life, Callaghan reveals how Shelley's artistry reconfigures and redraws the actual in his poetry. The book shows how Shelley's poetic daring lies in troubling the distinction between poetry as aesthetic work hermetically sealed against life, and poetry as a record of the emotional life of the poet.
Shelley, Percy Bysshe, --- Shelley, P. B. --- Sheli, Persi Bish, --- Hsüeh-lai, --- Hermit of Marlow, --- Marlow, --- Victor, --- Shelli, Persi-Bishi, --- Šéli, Pérsi Ba, --- Shilī, --- Selley, Persy Byss, --- Shelli, P., --- Шелли, Перси Биши, --- שלי, פרסי ביש --- שלי, פרסי ביש, --- שעלי, פוירסי --- شلي --- Śeli, Pārsi Bīśa, --- Criticism and interpretation. --- Shelley, Percy Bysshe --- neo-formalism --- close reading --- biography --- Romantic poetry --- aesthetics
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