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Modernity's Mist: British Romanticism and the Poetics of Anticipation
Modernity's Mist explores an understudied aspect of Romanticism: its future-oriented poetics. Whereas Romanticism is well known for its relation to the past, Emily Rohrbach situates Romantic epistemological uncertainties in relation to historiographical debates that opened up a radically unpredictable and fast- approaching future. As the rise of periodization made the project of defining the \"spirit of the age\" increasingly urgent, the changing sense of futurity rendered the historical dimensions of the present deeply elusive. While historicist critics often are interested in what Romantic writers and their readers would have known, Rohrbach draws attention to moments when these writers felt they could not know the historical dimensions of their own age. Illuminating the poetic strategies Keats, Austen, Byron, and Hazlitt used to convey that sense of mystery, Rohrbach describes a poetic grammar of future anteriority--of uncertainty concerning what will have been. Romantic writers, she shows, do not simply reflect the history of their time; their works make imaginable a new way of thinking the historical present when faced with the temporalities of modernity.
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Blotted Lines
Blotted Lines rebuffs
centuries of mythologization about the creative process-the idea
that William Shakespeare \"never blotted out line\"-to argue that by
studying how early modern writers faced the challenges of writing
poetry, instructors today can empower their students' approaches to
critical writing. Adhaar Noor Desai offers deeply
researched accounts of how poetic labor intersected with early
modern rhetorical theory, material culture, and social
networks.
Tracing the productive struggles of such writers as George
Gascoigne, Philip Sidney, John Davies of Hereford, Lady Anne
Southwell, and Shakespeare across their manuscripts, Desai
identifies in their work instances of discomposition: frustration,
hesitation, self-doubt, and insecurity. Inspired to unmake their
poems so that they might remake them, these poets welcomed
discomposition because it catalyzed ongoing thinking and learning.
Blotted Lines brings literary scholarship into
conversation with modern composition studies, challenging early
modern literary studies to treat writing as both noun and verb and
foregrounding the ways poetry and criticism alike can model for
students the cultivation of patience, collaboration, and risk in
their writing.
eBook
Plato's Four Muses : The Phaedrus and the Poetics of Philosophy
Plato's Four Muses reconstructs Plato's authorial self-portrait through a fresh reading of the Phhaedrus, with an Introduction and Conclusion that contextualize the construction more broadly. The reference to four Muses in the myth of the cicadas is read as a hint of the \"ingredients\" of philosophical discourse, which Plato sets against the Greek tradition of poetic initiations and conceptualizes as a form of provocatively old-fasioned 'mousikهe'.The book unravels three surprising features that define Plato's works. First, there is a measure of anti-intellectualism: Plato counters the rationalistic excesses of other forms of discourse, thus distinguishing his own words from both prose and poetry; second, Plato envisages a new beginning for philosophy: he conceptualizes the birth of Socratic dialogue in, and against, the Pythagorean tradition, with an emphasis on the new role of writing and on the cult of Socrates in the Academy; finally, a self-consciously ambivalent attitude emerges with respect to the social function of the dialogues. Plato's works are conceived both as a kind of \"resistance literature\" and as a preliminary move towards the new poetry of the Kallipolis.
BOOK
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.
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Becoming poetry : poets and their methods
\"Becoming Poetry focuses on helping readers grasp how poetry works upon our understanding and our imagination. A model of practical criticism, this volume of essays by the poet Jay Rogoff prizes the specific example over theoretical generalization and performs close critical examination of texts from a diverse range of poets, classical and contemporary. 'Formalities,' the first section, deals with formal elements in works by poets ranging historically from Shakespeare and Emily Dickinson to contemporary writers such as Andrew Hudgins, Paul Muldoon, and Mary Jo Salter. The central section examines collections of new and selected poems that offer work from poets' entire careers. Rogoff considers how such volumes assemble a body of poetry that then, for readers, defines the essential character of each poet. The poets considered in this section include Philip Booth, Jane Cooper, Robert Dana, Eamonn Grennan, Rachel Hadas, Hafiz, James Henry, Edward Hirsch, Daniel Hoffman, Michael Jennings, Mary Oliver, Kay Ryan, Karl Shapiro, W. D. Snodgrass, Edward Thomas, and David Wojahn. Throughout, Rogoff discusses how the poetry operates, keeping in mind, to paraphrase the scholar Stephen Booth, that a poem is a sequence of actions upon the understanding of the reader. A briefer final section, 'The Ear,' explores the aural qualities of poetry and music, distinguishing between the experience of poetry on the ear and on the page. Designed as a guide for readers of poetry who want to understand more about what makes it tick, Becoming Poetry presents approachable discussions that show how poetry operates on us and how it creates a virtual, affective experience of lasting power and value\"-- Provided by publisher.
Book
The rise and fall of meter
Why do we often teach English poetic meter by the Greek terms iamb and trochee? How is our understanding of English meter influenced by the history of England's sense of itself in the nineteenth century? Not an old-fashioned approach to poetry, but a dynamic, contested, and inherently nontraditional field, \"English meter\" concerned issues of personal and national identity, class, education, patriotism, militarism, and the development of English literature as a discipline.The Rise and Fall of Metertells the unknown story of English meter from the late eighteenth century until just after World War I. Uncovering a vast and unexplored archive in the history of poetics, Meredith Martin shows that the history of prosody is tied to the ways Victorian England argued about its national identity. Gerard Manley Hopkins, Coventry Patmore, and Robert Bridges used meter to negotiate their relationship to England and the English language; George Saintsbury, Matthew Arnold, and Henry Newbolt worried about the rise of one metrical model among multiple competitors. The pressure to conform to a stable model, however, produced reactionary misunderstandings of English meter and the culture it stood for. This unstable relationship to poetic form influenced the prose and poems of Robert Graves, Siegfried Sassoon, Wilfred Owen, W. B. Yeats, Ezra Pound, and Alice Meynell. A significant intervention in literary history, this book argues that our contemporary understanding of the rise of modernist poetic form was crucially bound to narratives of English national culture.
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Transferential Poetics, from Poe to Warhol
Transferential Poetics presents a method for bringing theories of affect to the study of poetics. Informed by the thinking of Silvan Tomkins, Melanie Klein, and Wilfred Bion, it offers new interpretations of the poetics of four major American artists: Edgar Allan Poe, Henry James, Gertrude Stein, and Andy Warhol. The author emphasizes the close, reflexive attention each of these artists pays to the transfer of feeling between text and reader, or composition and audience their transferential poetics. The book's historical route from Poe to Warhol culminates in television, a technology and cultural form that makes affect distinctly available to perception. The peculiar theatricality of these four artists, Frank argues, can best be understood as a reciprocal framing relation between the bodily means of communicating affect (by face and voice) and technologies of graphic reproduction.
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