"Diasporic Avant-Gardes" draws into dialogue twodiffering traditions ofpoetic practice: the diasporic and the avant-garde. This interdisciplinary collectionexamines the unacknowledged affinities (and crucial differences) between avant-garde and diasporic formal strategies and social formations. The essays foreground the creation of experimental forms and investigate the specific contexts of cultural displacement andlanguage use that inform their poetics.

The present edition of the first book of the Epistulae ex Ponto gives a revised text with a new translation, an extended introduction, and the first full-scale commentary of this work in English. The commentary pays particular attention to stylistic questions and examines how the Epistulae exPonto differs from the poet's remaining oeuvre. It demonstrates that Ovid generally adopts a more colloquial and prosaic style (as suits the epistolary form) and that he carefully adjusts the stylistic register to the respective addressees of the letters.

Everyone knows of the Canterbury Tales, acknowledged as one of the leading texts of the English Canon. Consensus about them ends there. Amongst the most written about works of English literature, they still defy categorisation. Was Chaucer a poet of profound religious piety or a sceptic who questioned all religious and moral certainties? Do his pilgrims reflect the actual society of his day, or were they a product of an already well-established literary tradition and convention? Was he a defender of women or a misogynist, who reproduced the antifeminism characteristic of his time? Did his writings present a challenge to the dominant social outlook of late Medieval England or reinforce the status quo? This stimulating new book surveys and assesses these competing critical approaches to Chaucer's work, emphasising the need to see Chaucer in historical context; the context of the social and political concerns of his own day. Writing as a historian, Rigby brings refreshing new insights to this contested old chestnut and Chaucer, and his Tales, are revealed to us as Chaucer's contemporaries would have seen them.

This exciting collection represents a range of scholarly approaches and include close textual study, comparative readings, and broad cultural analysis. Contributors to this collection include Bernard Beatty, Peter Cochran, Marilyn Gaull, Charles E. Robinson, Andrew Stauffer, and Timothy Webb.

This text examines the male Romantics' versions of poetic authority in theory and practice in the context of their involvement in the political debates of Regency Britain and argues that their response to Burke's gendered discourse about power effected radical changes in the definitions of masculinity and femininity. It portrays their influence on each other as a series of unstable struggles and alliances in which the formulation of an authoritative masculinity was a political as well as an aesthetic issue. The author investigates the writers' portrayals of women and their collaborations with women writers and throws new light on their nature poetry by relating it to their reactions to the sexual and political scandals of the Regency.

Percy Bysshe Shelley (1792-1822) wrote two of the best known shorter poems in English, 'Ode to the West Wind' and 'Ozymandias'; a series of ambitious and challenging long poems including Queen Mab and the 'Lyrical Drama' Prometheus Unbound; A Defence of Poetry and other lucid and provocative political and literary works in prose; sonnets, satires, translations, travel-letters. During and after his lifetime controversy was generated by his poetry, radical politics, atheism, vegetarianism and unorthodox relationships. He was the young Robert Browning's 'Sun-Treader' and Matthew Arnold's 'ineffectual angel'; W.B. Yeats said that Shelley 'shaped my life' and F.R. Leavis discouraged people from reading him. The dictionary covers all these areas of interest, as well as Shelley's travels and homes in Britain and Europe, his important personal and literary relationships with Mary Shelley, Byron, Godwin, Keats, Peacock, Coleridge, Wordsworth, his vast reading, European and American reception, representations in fiction, drama, film and portraits, and the sources, publication history, reviews and illustrations of his work.

"At once erudite and colloquial" (New Yorker), this book provides an accessible introduction to the joys and challenges of poetry In Don't Read Poetry, poet and literary critic Stephanie Burt offers an accessible introduction to the seemingly daunting task of reading, understanding, and appreciating poetry. Burt dispels preconceptions about poetry and explains how poems speak to one another-and how they can speak to our lives. She shows readers how to find more poems once they have some poems they like, and how to connect the poetry of the past to the poetry of the present. Burt moves seamlessly from Shakespeare and other classics to the contemporary poetry circulated on Tumblr and Twitter. She challenges the assumptions that many of us make about "poetry," whether we think we like it or think we don't, in order to help us cherish-and distinguish among-individual poems. A masterful guide to a sometimes confounding genre, Don't Read Poetry will instruct and delight ingenues and cognoscenti alike.

Packed full of analysis and interpretation, historical background, discussions and commentaries, York Notes will help you get right to the heart of the text you're studying, whether it's poetry, a play or a novel. You'll learn all about the historical context of the piece; find detailed discussions of key passages and characters; learn interesting facts about the text; and discover structures, patterns and themes that you may never have known existed. In the Advanced Notes, specific sections on critical thinking, and advice on how to read critically yourself, enable you to engage with the text in new and different ways. Full glossaries, self-test questions and suggested reading lists will help you fully prepare for your exam, while internet links and references to film, TV, theatre and the arts combine to fully immerse you in your chosen text. York Notes offer an exciting and accessible key to your text, enabling you to develop your ideas and transform your studies!

'n Seleksie van poesie uit Suid-Afrika en Europa wat aan die Anglo-Boereoorlog gewy is. Die gedigte is so gerangskik dat hulle rofweg die verloop van die oorlog volg, vanaf die begin in 1899 tot aan die einde van die stryd in Mei 1902. Nie net bekende digters soos Leipoldt, Totius of Celliers, Verwey of Boutens het hulle oor die oorlog uitgelaat nie, maar ook ’n groot aantal geleentheidsdigters. Ondanks die subtitel van hierdie bloemlesing is drie Engelse gedigte (duidelik deur Boere geskryf) ook opgeneem.

This book explores key texts - Howards End , The Rainbow , and the poetry of Owen, Sassoon and Edward Thomas - to show the mingled continuation and rejection of convention as their characteristic achievement, exploring features often seen as failures. It also discusses the writing's increasing concern with the inadequacies of language, seeing it within the frame of contemporary society and deconstructive theory, and attempting to locate them in relation to high Modernism.

Packed full of analysis and interpretation, historical background, discussions and commentaries, York Notes will help you get right to the heart of the text you're studying, whether it's poetry, a play or a novel. You'll learn all about the historical context of the piece; find detailed discussions of key passages and characters; learn interesting facts about the text; and discover structures, patterns and themes that you may never have known existed. In the Advanced Notes, specific sections on critical thinking, and advice on how to read critically yourself, enable you to engage with the text in new and different ways. Full glossaries, self-test questions and suggested reading lists will help you fully prepare for your exam, while internet links and references to film, TV, theatre and the arts combine to fully immerse you in your chosen text. York Notes offer an exciting and accessible key to your text, enabling you to develop your ideas and transform your studies!

An incisive, unified account of modern poetry in the Western tradition, arguing that the emergence of the lyric as a dominant verse style is emblematic of the age of the individual. Between the end of the eighteenth century and the beginning of the twentieth, poetry in the West was transformed. The now-common idea that poetry mostly corresponds with the lyric in the modern sense-a genre in which a first-person speaker talks self-referentially-was foreign to ancient, medieval, and Renaissance poetics. Yet in a relatively short time, age-old habits gave way. Poets acquired unprecedented freedom to write obscurely about private experiences, break rules of meter and syntax, use new vocabulary, and entangle first-person speakers with their own real-life identities. Poetry thus became the most subjective genre of modern literature. On Modern Poetry reconstructs this metamorphosis, combining theoretical reflections with literary history and close readings of poets from Giacomo Leopardi to Louise Gluck. Guido Mazzoni shows that the evolution of modern poetry involved significant changes in the way poetry was perceived, encouraged the construction of first-person poetic personas, and dramatically altered verse style. He interprets these developments as symptoms of profound historical and cultural shifts in the modern period: the crisis of tradition, the rise of individualism, the privileging of self-expression and its paradoxes. Mazzoni also reflects on the place of poetry in mass culture today, when its role has been largely assumed by popular music. The result is a rich history of literary modernity and a bold new account of poetry's transformations across centuries and national traditions.

Packed full of analysis and interpretation, historical background, discussions and commentaries, York Notes will help you get right to the heart of the text you're studying, whether it's poetry, a play or a novel. You'll learn all about the historical context of the piece; find detailed discussions of key passages and characters; learn interesting facts about the text; and discover structures, patterns and themes that you may never have known existed. In the Advanced Notes, specific sections on critical thinking, and advice on how to read critically yourself, enable you to engage with the text in new and different ways. Full glossaries, self-test questions and suggested reading lists will help you fully prepare for your exam, while internet links and references to film, TV, theatre and the arts combine to fully immerse you in your chosen text. York Notes offer an exciting and accessible key to your text, enabling you to develop your ideas and transform your studies!

Iseult Gonne, daughter of Maud Gonne and the French politician and journalist Lucien Millevoye, attracted many admirers - among them distinguished authors such as W. B. Yeats, Ezra Pound, Arthur Symms, Lennox Robinson, Francis Stuart and Liam O'Flaherty. Yeats proposed marriage to her, Ezra Pound had a secret, passionate love affair with her and she married Francis Stuart. This book contains her hitherto unpublished letters to Yeats and Pound, edited and annotated by Anna MacBride White (Maud Gonne's granddaughter), Christina Bridgwater (Iseult's granddaughter) and A. Norman Jeffares, the distinguished Yeats scholar.

A poet of the seventeenth century, Milton with his future gaze may prove to be (singularly among the triumvirate of Chaucer, Shakespeare, and Milton) the poet "for" the new millennium--the poet "for" the twenty-first century. Milton will be so to the extent that through him we see the upheavals in the humanities as deriving not from a revision of the canon but rather, as Bill Readings insists in "The University in Ruins, " from "a crisis in the "function" of the canon" and, then, to the extent that Milton shocks us into the recognition that poets sometimes deliver messages at odds with those with which they are credited.

Concentrating on the period 1660-1781, this book explores how the English literary past was made. It charts how antiquarians unearthed the raw materials of the English (or more widely) British tradition; how scholars drafted narratives about the development of native literature; and how critics assigned the leading writers to canons of literary greatness. The author claims that the opening up and ordering of the English literary past occurs earlier than is generally supposed.

Once celebrated as "the English Sappho," Mary Robinson was a major figure in British Romanticism. This volume offers a comprehensive study of Robinson's achievement as a poet, professional writer, formative influence on the Romantic movement, and a participant in the literary, political, and social scene of the late 1700s.

The British Romantic poets were among the first to realize the centrality of the "Divine Comedy" for the evolution of the European epic. This study explores the significance of Dante for Percy Bysshe Shelley, John Keats, and William Blake. What was their idea of Dante? Why did they feel the need to approach his Christian epic on the afterlife? This study aims to answer these questions by focusing on the three poets' preoccupation with form and language.

The first complete edition of the works of Robert Browning with variant readings and annotations contains: 1. The entire contents of the first editions of Browning's work; 2. All prefaces and dedications which Browning wrote for his own works and for those of Elizabeth Barrett Browning and others; 3. The two prose essays: The Essay on Chatterton and The Essay on Shelley; 4. The front matter and tables of contents of each of the collected editions (1849, 1863, 1865, 1868, 1888-1889) which Browning himself saw through the press; 5 Poems by Browning published during his lifetime but not collected by him; 9. Poems not published during Browning's lifetime which have come to light since his death; 7. John Forster's Thomas Wentworth, Earl of Strafford to which Browning contributed significantly, though to what precise extent has not been determined. The edition provides a full apparatus, including variant readings and annotations.

This book offers an exciting reassessment of Keats with particular emphasis on gender identity and sexuality. Traditionally, Keats has been more readily associated with the 'feminine' than any other canonical male English poet. This feminization was always likely, given his tragically early death and the mythologizing which took place soon after. In contrast, John Whale explores Keats's writings from the perspective of masculinity and gender by placing them in the context of contemporary friendship groupings and coterie relationships. Whale addresses all the major poems and gives due prominence to the letters. In so doing, he offers a new understanding of Keats's exploration of poetry, gender and desire, and provides an extended analysis of Keats's quest for poetic fame in the face of the often conflicting forces of love and sexuality. Clear, concise and insightful, this is an essential guide to one of the best-known Romantic poets.

Salvaging Spenser is a major new work of literary revision which places Edmund Spenser's corpus, from The Shepheardes Calender to A View of the Present State of Ireland, within an elaborate cultural and political context. The author refuses to engage in the sterile opposition between apology and attack that has marred studies of Spenser and Ireland, seeking neither to savage nor to save, but rather, in a project of critical recovery, to salvage Spenser from the wreckage of Irish history.

Statutes of Liberty (1993) was the first book on The New York School of Poets, and offers the definitive critical account of its key figures: John Ashbery, Frank O'Hara and James Schuyler. This second edition contains up-to-date material on the group and its growing influence on postmodern poetics. A new postscript focuses on the work of Ashbery, currently the most esteemed American poet since Wallace Stevens, and his profile output in the 1990s, including his two hundred page epic poem Flow Chart.

Robert Browning both denied and affirmed the value of biography for an understanding of literature. This book narrates the development of his controversial creative life through responses to his work by five key 19th-century figures: John Stuart Mill, William Charles Macready, Thomas Carlyle, John Ruskin, and Matthew Arnold. It also relates Browning's sense of literary vocation to Victorian publishing. Browning emerges as a writer vividly engaged with contemporary assumptions, yet deeply aware of the unaccountability of writing.