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Books > Language & Literature > Literature: history & criticism > Poetry & poets
This book examines a pivotal moment in the history of science and women's place in it. Meredith Ray offers the first in-depth study and complete English translation of the fascinating correspondence between Margherita Sarrocchi (1560-1617), a natural philosopher and author of the epic poem, Scanderbeide (1623), and famed astronomer, Galileo Galilei. Their correspondence, undertaken soon after the publication of Galileo's Sidereus Nuncius, reveals how Sarrocchi approached Galileo for his help revising her epic poem, offering, in return, her endorsement of his recent telescopic discoveries. Situated against the vibrant and often contentious backdrop of early modern intellectual and academic culture, their letters illustrate, in miniature, that the Scientific Revolution was, in fact, the product of a long evolution with roots in the deep connections between literary and scientific exchanges.
Northern Irish Poetry and Theology argues that theology shapes subjectivity, language and poetic form, and provides original studies of three internationally acclaimed poets: Seamus Heaney, Michael Longley and Derek Mahon.
Modern Marriage and the Lyric Sequence investigates the ways in which some of our best poets writing in English have used poetic sequences to capture the lived experience of marriage. Beginning in 1862 with George Meredith's Modern Love, Jane Hedley's study utilizes the rubrics of temporality, dialogue, and triangulation to bring a deeply rooted and vitally interesting poetic genre into focus. Its twentieth- and twenty-first-century practitioners have included Edna St. Vincent Millay, Robert Lowell, Rita Dove, Eavan Boland, Louise Gluck, Anne Carson, Ted Hughes, Claudia Emerson, Rachel Zucker, and Sharon Olds. In their poetic sequences the flourishing or failure of a particular marriage is always at stake, but as that relationship plays out over time, each sequence also speaks to larger questions: why we marry, what a marriage is, what our collective stake is in other people's marriages. In the book's final chapter gay marriage presents a fresh testing ground for these questions, in light of the US Supreme Court's affirmation of same-sex marriage.
Michael Longley has been called 'one of the finest lyric poets of our time'. In assembling the work of forty years, his Collected Poems displays a brilliantly sustained achievement whose depth, beauty and wit can now be fully appreciated. Longley's poetry combines intense concentration with remarkable variety. The formal and thematic range laid down in No Continuing City (1969) has undergone a series of rich metamorphoses up to Snow Water (2004), and the two poems included here as an epilogue. Longley's genres span love poetry, war poetry, nature poetry, elegies, satires, verse epistles, poems that reflect on art and the art of poetry. He has extended the capacity of the lyric to absorb dark matter: the Great War, the Holocaust, the Northern Irish 'Troubles'. His poetic landscape intermingles Belfast (where he lives), western Ireland, Italy, Japan and Homeric Greece. Longley's superb translations from classical poets (such as 'Ceasefire', which greets the IRA ceasefire in terms of the Iliad) speak to contemporary issues while activating the deepest sources of European poetry.
Often thought of as the quintessential poet of New England, Robert Frost is one of the most widely read American poets of the 20th century. He was a master of poetic form and imagery, his works seemed to capture the spirit of America, and he became so emblematic of his country that he read his work at President Kennedy's inauguration and traveled to Israel, Greece, and the Soviet Union as an emissary of the U.S. State Department. While many readers think of him as the personification of New England, he was born in San Francisco, published his first book of poetry in England, matured as a poet while abroad, taught for several years at the University of Michigan, and spent many of his winters in Florida. This reference helps illuminate the hidden complexities of his life and work. Included in this volume are hundreds of alphabetically arranged entries on Frost's life and writings. Each of his collected poems is treated in a separate entry, and the book additionally includes entries on such topics as his public speeches, various colleges and universities with which he was associated, the honors that he won, his biographers, films about him, poets, and others whom he knew, and similar items. Each entry is written by an expert contributor and closes with a brief bibliography. The volume also provides a chronology and concludes with a general bibliography of major studies.
Phillis Wheatley, the African-born slave poet, is considered by many to be a pioneer of Anglo-American poetics. This study argues how in her 1773 POEMS, Wheatley uses John Milton's poetry to develop an idealistic vision of an emerging Anglo-American republic comprised of Britons, Africans, Native Americans, and women.
The Japanese Effect in Contemporary Irish Poetry provides a stimulating, original and lively analysis of the Irish-Japanese literary connection from the early 1960s to 2007. While for some this may partly remain Oscar Wilde's 'mode of style', this book will show that there is more of Japan in the work of contemporary Irish poets than 'a tinkling of china/ and tea into china.' Drawing on unpublished new sources, Irene De Angelis includes poets from a broad range of cultural backgrounds with richly varied styles: Seamus Heaney, Derek Mahon, Ciaran Carson and Paul Muldoon, together with younger poets such as Sinead Morrissey and Joseph Woods. Including close readings of selected poems, this is an indispensable companion for all those interested in the broader historical and cultural research on the effect of oriental literature in modernist and postmodernist Irish poetry.
This book is a theoretical and practical guide to implementing an inquiry-based approach to teaching which centers creative responses to works of art in curriculum. Guided by Maxine Greene's philosophy of Aesthetic Education, the authors discuss the social justice implications of marginalized students having access to the arts and opportunities to find their voices through creative expression. They aim to demystify the process of inquiry-based learning through the arts for teachers and teacher educators by offering examples of lessons taught in high school classrooms and graduate level teaching methods courses. Examples of student writing and art work show how creative interactions with the arts can help learners of all ages deepen their skills as readers, writers, and thinkers.
Acknowledged Legislator: Critical Essays on the Poetry of Martin Espada stands as the first-ever collection of essays on poet and activist Martin Espada. It is also, to date, the only published book-length, single-author study of Espada currently in existence. Relying on innovative, highly original contributions from thirteen Espada scholars, its principal aim is to argue for a long overdue critical awareness of and cultural appreciation for Espada and his body of writing. Acknowledged Legislator accomplishes this task in three fundamental ways: by providing readers with background information on the poet s life and work; offering an examination into the subject matter and dominant themes that are frequently contained in his writing; and finally, by advocating, in a variety of ways, for why we should be reading, discussing, and teaching the Espada canon. Divided into four distinct sections that modulate through several theoretical frames from Espada s attention to resistance poetics and concerns for historical memory to his oppositional critique of neoliberalism and support for a class consciousness grounded in labor rights Acknowledged Legislator offers a cohesive, forward-thinking interpretive statement of the poet s vision and proposes a critical (re)assessment for how we read Espada, now and in the future.
This book takes the work of three contemporary poets John Burnside, John Kinsella and Alice Oswald to reveal how an environmental poetics of place is of significant relevance for the Anthropocene: a geological marker asking us to think radically of the human as one part of the more-than-human world.
Both Tennyson and the term 'Englishness' - coined in 1804 - date from the same decade and critics identified Tennyson as an English poet from the first reviews of his published poems in the 1820s. As Poet Laureate, Tennyson became the authoritative public voice of English poetry and one of the 'thinking men of England'. By the late nineteenth century, an ideology of Englishness had been established which was reflected in and shaped by cultural forces and emerging myths in general and Tennyson's poetry in particular. This wide-ranging study examines Tennyson's 'domestic poetry' - his portrayals of English nature and landscape, monarchy, medievalism, and the 'English Empire', written throughout his career and in their changing nineteenth-century context - to confirm that many representations of England and the English were fabrications, more idealised than real.
From one of America's best loved and most important poets comes a masterpiece. Leaves of Grass is considered by many to be the greatest collection of poetry ever produced by an American. "The most extraordinary piece of wit and wisdom that America has yet contributed." - Ralph Waldo Emerson When I read the book, the biography famous, And is this then (said I) what the author calls a man's life? And so will some one when I am dead and gone write my life? (As if any man really knew aught of my life, Why even I myself I often think know little or nothing of my real life, Only a few hints, a few diffused faint clews and indirections I seek for my own use to trace out here.)- Walt Whitman
Seventeenth-century authors so thoroughly imbued the language and imagery of the Bible in vernacular translation that their texts are to be read as attempts to inscribe themselves within the realm of the sacred. This book analyzes how three seventeenth-century English authors fashion themselves as a specific biblical figure, and how they fashion themselves in their works in order to bring their spiritual lives in line with the narrative arch of a biblical type.
This book lays bare the sexy Blake lately obscured in fogs of political correctness and post-feminism. Its contributors uncover, in fact, numerous sexy Blakes, arguing for both chastity and pornography, violence and domination as well as desire and redemption, and also journeying in the realms of conceptual sex and conceptual art. Fierce tussles over the body in, and the body of, Blake's work are the book's life-blood. Contributors differ passionately in their conclusions about the nature of Blake's sexiness. All acknowledge Christopher Hobson's revelation of Blake's insistent tendency to normalize perversity - some with relish, some with alarm. We celebrate the mysteries of Blakean attractions and repulsions, and hope this volume will re-animate the lively sexual debates which once characterized Blake Studies.
A bold work of synthetic scholarship, Writing Australian Unsettlement argues that the history of Australian literature contains the rough beginnings of a new literacy. Michael Farrell reads songs, letters and visual poems by Indigenous farmers and stockmen, the unpunctuated journals of early settler women, drover tree-messages and carved clubs, and a meta-commentary on settlement from Moore River (the place escaped from in The Rabbit-Proof Fence) in order to rethink old forms. The book borrows the figure of the assemblage to suggest the active and revisable nature of Australian writing, arguing against the "settling" effects of its prior editors, anthologists, and historians. Avoiding the advancement of a new canon, Farrell offers instead an unsettled space in which to rethink Australian writing.
The first book in a decade from a poet whose blank verse speaks "with the precise qualifications of Henry James, and conveys the muted but implicit drama of Edward Hopper"--Anthony Hecht.. In this, his first collection since the acclaimed Little Voices of the Pears , Herbert Morris gathers fifteen recent poems in his two signature modes, the dramatic monologue and the meditative reverie. His subjects include a resplendent apricot gown once worn by Lillian Gish ("Chaplin enthralled, Griffith smitten, ecstatic"); a poignant human detail in Caravaggio's The Sacrifice of Isaac ; and a host of variations on the Peaceable Kingdom , the obsessive lifework of the painter Edward Hicks. Mr. Morris's blank verse, for decades now a glory of American poetry, here achieves a new level of mastery.
This edited book represents the first cohesive attempt to describe the literary genres of late-twentieth-century fiction in terms of lexico-grammatical patterns. Drawing on the PhraseoRom international project on the phraseology of contemporary novels, the contributed chapters combine literary studies with corpus linguistics to analyse fantasy, romance, crime, historical and science fiction in French and English. The authors offer new insights into long-standing debates on genre distinction and the hybridization of genres by deploying a new, interdisciplinary methodology. Sitting at the intersection of literature and linguistics, with a firm grounding in the digital humanities, this book will be of particular relevance to literary scholars, corpus stylists, contrastivists and lexicologists, as well as general readers with an interest in twentieth-century genre fiction.
The Milton Encyclopedia offers easy and immediate access to a wealth of information about Milton. It will serve as a general and comprehensive reference tool for general readers, students, and scholars alike, enhancing the experience of reading Milton. Articles cover each poem and prose work by Milton; the life of Milton and the members of his family; all events and all contemporary and historical figures mentioned significantly in his writings; every book of the Bible in its relation to Milton's own work; printers, booksellers, and publishing history; the critical and editorial traditions; illustrators; and those whose own writing was shaped by Milton's influence.
This book offers a major reassessment of John Clare's poetry and his position in the Romantic canon. Alert to Clare's knowledge of the work of his Romantic contemporaries and near contemporaries, it puts forward the first extended series of comparisons of Clare's poetry with texts we now think of as defining the period - in particular poems by Robert Burns, William Wordsworth, Lord Byron, and John Keats. It makes fully evident Clare's original contribution to the aesthetic culture of the age by analysing how he explores a wide range of concerns and preoccupations which are central to, and especially privileged in, Romantic-period poetics, including 'fancy', the sublime, childhood, ruins, joy, 'poesy', and a love lyric marked by a peculiar self-consciousness about sincere expression. At the heart of this book is the claim that the hitherto under-scrutinised subjective stances, transcendent modes, and abstract qualities of Clare's lyric poetry situate him firmly within, and as fundamentally part of, Romanticism, at the same time as his writing constitutes a distinctive contribution to one of the most fascinating eras of English literature.
The intention of this book is to acquaint readers with the first rate translations of North American Indian poems produced during the past hundred years. These compositions are not only valuable as poetry, but also serve to reveal the mental and emotional capabilities of the Indians. They are in their own right, a significant but relatively unknown part of American literature.
Hart Crane's Queer Modernist Aesthetic argues that the aspects of experience which modernists sought to interrogate - time, space, and material things - were challenged further by Crane's queer poetics. Reading Crane alongside contemporary queer theory shows how he creates an alternative form of modernism.
Modernist debates about waste - both aesthetic and economic - often express biases against gender and sexual errancy. The Poetics of Waste looks at writers and artists who resist this ideology and respond by developing an excessive poetics.
Consisting of six essayistic chapters, this book centers on two seminal yet not often associated Irish texts: Gulliver's Travels by Jonathan Swift (1726) and A Portrait of the Artist as a Young Man by James Joyce (1916). Practicing a comparative way of reading indebted to T.S. Eliot, Atkins traces the patterns of response the protagonists of these works show in leaving home and separating themselves from family and friends. Both Lemuel Gulliver and Stephen Dedalus flee from the messy burdens of ordinary life, seeking a transcendent existence, which Gulliver finds in the Flying or Floating Island, Laputa, whereas Stephen in art. Atkins also shows how Swift and Joyce both stand opposed to their characters, joined in the understanding that an ordinary life and an extra-ordinary one are often inseparable. Thus, Gulliver's Travels and A Portrait of the Artist as a Young Man can appear as essential critiques of modern misunderstandings. |
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