An Introduction to Poetic Forms offers specimen discussions of poems through the lens of form. While each of its chapters does provide a standard definition of the form in question in its opening paragraphs, their main objective is to provide readings of specific examples to illustrate how individual poets have deviated from or subverted those expectations usually associated with the form under discussion. While providing the most vital information on the most widely taught forms of poetry, then, this collection will very quickly demonstrate that counting syllables and naming rhyme schemes is not the be-all and end-all of poetic form. Instead, each chapter will contain cross-references to other literary forms and periods as well as make clear the importance of the respective form to the culture at large: be it the democratising communicative power of the ballad or the objectifying male gaze of the blazon and resistance to same in the contreblazon - the efficacy of form is explored in the fullness of its cultural dimensions. In using standard definitions only as a starting point and instead focusing on lively debates around the cultural impact of poetic form, the textbook helps students and instructors to see poetic forms not as a static and lifeless affair but as living, breathing testament to the ongoing evolution of cultural debates. In the final analysis, the book is interested in showing the complexities and contradictions inherent in the very nature of literary form itself: how each concrete example deviates from the standard template while at the same time employing it as a foil to generate meaning.

The first major collection of essays on the contemporary British short story cycle, this volume offers in-depth explorations of the genre by comparing its strategies for creating coherence with those of the novel and the short story collection, inquiring after the ties that bind individual short stories into a cycle. A section on theory approaches the form from the point of view of genre theory, cognitive literary studies, and book studies. It is followed by investigations of hitherto neglected aspects of the generic tradition of the British short story cycle and how they relate to the contemporary outlook of the form. Readings of individual contemporary cycles, illustrating the form's multifaceted uses from the presentation of sexual identities to politics and trauma, make up the third and most substantial part of the volume, placing its focus squarely on the past decades. Unique in its combination of a focus on the literary traditions, politics and markets of the UK with a thorough examination of the genre's manifold formal and thematic potentials, the volume explores what is at the heart of the short story cycle as a literary form: the constant negotiation between unity and separateness, collective and individual, of coherence and autonomy.

An Introduction to Poetic Forms offers specimen discussions of poems through the lens of form. While each of its chapters does provide a standard definition of the form in question in its opening paragraphs, their main objective is to provide readings of specific examples to illustrate how individual poets have deviated from or subverted those expectations usually associated with the form under discussion. While providing the most vital information on the most widely taught forms of poetry, then, this collection will very quickly demonstrate that counting syllables and naming rhyme schemes is not the be-all and end-all of poetic form. Instead, each chapter will contain cross-references to other literary forms and periods as well as make clear the importance of the respective form to the culture at large: be it the democratising communicative power of the ballad or the objectifying male gaze of the blazon and resistance to same in the contreblazon - the efficacy of form is explored in the fullness of its cultural dimensions. In using standard definitions only as a starting point and instead focusing on lively debates around the cultural impact of poetic form, the textbook helps students and instructors to see poetic forms not as a static and lifeless affair but as living, breathing testament to the ongoing evolution of cultural debates. In the final analysis, the book is interested in showing the complexities and contradictions inherent in the very nature of literary form itself: how each concrete example deviates from the standard template while at the same time employing it as a foil to generate meaning.

The first major collection of essays on the contemporary British short story cycle, this volume offers in-depth explorations of the genre by comparing its strategies for creating coherence with those of the novel and the short story collection, inquiring after the ties that bind individual short stories into a cycle. A section on theory approaches the form from the point of view of genre theory, cognitive literary studies, and book studies. It is followed by investigations of hitherto neglected aspects of the generic tradition of the British short story cycle and how they relate to the contemporary outlook of the form. Readings of individual contemporary cycles, illustrating the form's multifaceted uses from the presentation of sexual identities to politics and trauma, make up the third and most substantial part of the volume, placing its focus squarely on the past decades. Unique in its combination of a focus on the literary traditions, politics and markets of the UK with a thorough examination of the genre's manifold formal and thematic potentials, the volume explores what is at the heart of the short story cycle as a literary form: the constant negotiation between unity and separateness, collective and individual, of coherence and autonomy.

Special Focus: "Omission", edited by Patrick Gill Throughout literary history and in many cultures, we encounter an astute use of conspicuous absences to conjure an imagined reality into a recipient's mind. The term 'omission' as used in the present study, then, demarcates a common artistic phenomenon: a silence, blank, or absence, introduced against the recipient's generic or experiential expectations, but which nonetheless frequently encapsulates the tenor of the work as a whole. Such omissions can be employed for their affective potential, when emotions represented or evoked by the text are deemed to be beyond words. They can be employed to raise epistemological questions, as when an omission marks the limits of what can be known. Ethical questions can also be approached by means of omissions, as when a character's voice is omitted, for instance. Finally, omission always carries within it the potential to reflect on the media and genres on which it is brought to bear: as its efficacy depends on the recipient's generic expectations, omission is frequently characterized by a high degree of meta-discursiveness. This volume investigates the various strategies with which the phenomenon of omission is employed across a range of textual forms and in different cultures to conclusively argue for its status as a highly effective and near-universal form of artistic signification.