Power, Plain English, and the Rise of Modern PoetryYale University Press, 1 окт. 2008 г. - Всего страниц: 224 DIVIn this engaging book David Rosen offers a radically new account of Modern poetry and revises our understanding of its relation to Romanticism. British poets from Wordsworth to Auden attempted to present themselves simultaneously as persons of power and as moral voices in their communities. The modern lyric derives its characteristic complexities—psychological, ethical, formal—from the extraordinary difficulty of this effort. The low register of our language—a register of short, concrete, native words arranged in simple syntax—is deeply implicated in this story. Rosen shows how the peculiar reputation of “plain English” for truthfulness is employed by Modern poets to conceal the rift between their (probably irreconcilable) ambitions for themselves. With a deep appreciation for poetic accomplishment and a wonderful iconoclasm, Rosen sheds new light on the innovative as well as the self-deceptive aspects of Modern poetry. This book alters our understanding of the history of poetry in the English language./div |
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Стр. 1
... plain English , ” is deeply implicated in this story . Each of the poets I deal with makes use of the low register's power , as well as its peculiar and seemingly groundless reputation for truthfulness . I take for my second 1 Introduction.
... plain English , ” is deeply implicated in this story . Each of the poets I deal with makes use of the low register's power , as well as its peculiar and seemingly groundless reputation for truthfulness . I take for my second 1 Introduction.
Стр. 2
David Rosen. groundless reputation for truthfulness . I take for my second project the history of this linguistic and ... takes to be a deranged beggar . Where his heightened language in pre- vious scenes had vividly reflected his own ...
David Rosen. groundless reputation for truthfulness . I take for my second project the history of this linguistic and ... takes to be a deranged beggar . Where his heightened language in pre- vious scenes had vividly reflected his own ...
Стр. 6
... take their cue from the last stanza of Yeats's “Coole and Ballylee, 1931”: We were the last romantics—chose for theme .... ... .... ... .... ... .... ... .... ... . whatever most can bless The mind of man or elevate a rhyme; But all is ...
... take their cue from the last stanza of Yeats's “Coole and Ballylee, 1931”: We were the last romantics—chose for theme .... ... .... ... .... ... .... ... .... ... . whatever most can bless The mind of man or elevate a rhyme; But all is ...
Стр. 7
... takes issue with both of these camps . The late - Romantic school could only have crystallized after Modernism had passed : it was comprised of critics whose first allegiances were to Romanticism ( or a certain view of Romanticism ) ...
... takes issue with both of these camps . The late - Romantic school could only have crystallized after Modernism had passed : it was comprised of critics whose first allegiances were to Romanticism ( or a certain view of Romanticism ) ...
Стр. 11
... takes the imagination as its primary (perhaps only) subject; in the Pound of the Cantos and his fol- lowers, we see the consciousness as an arranger of experience. My last chapter, instead of focusing on either of these poets, returns ...
... takes the imagination as its primary (perhaps only) subject; in the Pound of the Cantos and his fol- lowers, we see the consciousness as an arranger of experience. My last chapter, instead of focusing on either of these poets, returns ...
Содержание
1 | |
15 | |
Wordsworths Empirical Imagination | 33 |
Certain Good W B Yeats and the Language of Autobiography | 73 |
The Lost Youth of Modern Poetry T S Eliot W H Auden | 123 |
Notes | 181 |
201 | |
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argument autobiography beauty Beggar begins Book Cambridge career century chapter claims Cold Heaven Coleridge crisis critics culture decade diction early Essays experience feelings finally Freud Green Helmet Harold Bloom human identity idiom imagination Jarrell John John Keats Juvenilia XVIa Katherine Bucknell Keats kind landscape language late later Latinate lines Locke Locke's low register lyric M. H. Abrams mature Maud Gonne meaning memory metaphor mind modern poetry Modernist myth nature object Orwell passage perhaps period philosophical plain English poem poet poet’s poetic political Prelude prose psychology Randall Jarrell reality recognize rhetoric Romantic Romanticism seems sense Shelley simple ideas social speaker stanza style suggest T. S. Eliot theory things thought Tintern Abbey tion tradition truth turn understanding University Press verse verse paragraph vision visionary voice W. B. Yeats W. H. Auden Watershed William Wordsworth words Wordsworthian writing Yeats's York