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"Lyric poetry History and criticism Theory, etc."
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Dickinson's misery
How do we know that Emily Dickinson wrote poems? How do we recognize a poem when we see one? InDickinson's Misery, Virginia Jackson poses fundamental questions about reading habits we have come to take for granted. Because Dickinson's writing remained largely unpublished when she died in 1886, decisions about what it was that Dickinson wrote have been left to the editors, publishers, and critics who have brought Dickinson's work into public view. The familiar letters, notes on advertising fliers, verses on split-open envelopes, and collections of verses on personal stationery tied together with string have become the Dickinson poems celebrated since her death as exemplary lyrics.
Jackson makes the larger argument that the century and a half spanning the circulation of Dickinson's work tells the story of a shift in the publication, consumption, and interpretation of lyric poetry. This shift took the form of what this book calls the \"lyricization of poetry,\" a set of print and pedagogical practices that collapsed the variety of poetic genres into lyric as a synonym for poetry.
Featuring many new illustrations from Dickinson's manuscripts, this book makes a major contribution to the study of Dickinson and of nineteenth-century American poetry. It maps out the future for new work in historical poetics and lyric theory.
eBook
The Narratological Analysis of Lyric Poetry
This study offers a fresh approach to the theory and practice of poetry criticism from a narratological perspective. Arguing that lyric poems share basic constituents with narrative fiction, the authors utilize the advanced techniques of narratology to invigorate the field of poetic theory and methodology while demonstrating the fruitfulness of this approach by detailed analyses of canonical English poems.
eBook
Facing Loss and Death
This study proposes the application of the methodology of narratology to the analysis of lyric poetry, specifically focusing on the progression and eventful turns in poems. The fruitfulness of this approach is demonstrated by the analyses of English poems from different periods addressing the traumatic experience of loss (death of a beloved person, one's own imminent death, loss of a stabilizing order) and employing various coping strategies.
eBook
The Lyric Poem
As a study of lyric poetry, in English, from the early modern period to the present, this book explores one of the most ancient and significant art forms in Western culture as it emerges in its various modern incarnations. Combining a much-needed historicisation of the concept of lyric with an aesthetic and formal focus, this collaboration of period-specialists offers a new cross-historical approach. Through eleven chapters, spanning more than four centuries, the book provides readers with both a genealogical framework for the understanding of lyric poetry within any particular period, and a necessary context for more general discussion of the nature of genre.
eBook
Lyric poetry
Lyric poetry has long been regarded as the intensely private, emotional expression of individuals, powerful precisely because it draws readers into personal worlds. But who, exactly, is the \"I\" in a lyric poem, and how is it created? In Lyric Poetry, Mutlu Blasing argues that the individual in a lyric is only a virtual entity and that lyric poetry takes its power from the public, emotional power of language itself. In the first major new theory of the lyric to be put forward in decades, Blasing proposes that lyric poetry is a public discourse deeply rooted in the mother tongue. She looks to poetic, linguistic, and psychoanalytic theory to help unravel the intricate historical processes that generate speaking subjects, and concludes that lyric forms convey both personal and communal emotional histories in language. Focusing on the work of such diverse twentieth-century American poets as T. S. Eliot, Ezra Pound, Wallace Stevens, and Anne Sexton, Blasing demonstrates the ways that the lyric \"I\" speaks, from first to last, as a creation of poetic language.
eBook
Disclosed poetics
John Kinsella explores a contemporary poetics and pedagogy as it emerges from his reflections on his own writing and teaching, and on the work of other poets, particularly contemporary writers with which he feels some affinity. At the heart of the book is Kinsella's attempt to elaborate his vision of a species of pastoral that is adequate to a globalised world (Kinsella himself writes and teaches in the USA, the UK and his native Australia), and an environmentally and politically just poetry. The book has an important autobiographical element, as Kinsella explores the pulse of his poetic imagination through significant moments and passages of his life. Whilst theoretically informed, the book is accessibly written and highly engaging.
eBook
Lyric, the Virtual Poem, and Stevens
Jackson’s argument and the body of criticism known as historical poetics with which it is allied tend to reject general statements about the lyric as symptomatic of “lyricization,” which is Jackson’s term for the cultural processes by which manifold poetic kinds have been absorbed and collapsed under the general category of “lyric” in discourse about poetry, and to some extent in poetic practice, since the nineteenth century (831–32). [...]I would say the poem is about the human capacity to sing like a bird—or, to sing even more beautifully and memorably than a bird, since no Nightingale’s nor Cuckoo’s music was ever “More welcome” or more “thrilling” than the reaper’s song. According to Bede, the illiterate peasant Caedmon was called on to sing by a party of men around the fire. What was the sea whose tide swept through me there? (CPP 51) How homely those hymns buzzing like bees beside the speaker’s ears, how messy that golden ointment “sprinkled” on his beard!
Journal Article