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Enlightenment critics from Dryden through Johnson and Wordsworth conceived the modern view that art and especially literature entails a double reflection: a reflection of the world, and a reflection on the process by which that reflection is accomplished. Instead \"neoclassicism\" and \"Augustanism\" have been falsely construed as involving a one-dimensional imitation of classical texts and an unselfconscious representation of the world. In fact these Enlightenment movements adopted an oblique perspective that registers the distance between past tradition and its present reenactment, between representation and presence. Two modern movements, Romanticism and modernism, have appropriated as their own these innovations, which derive from Enlightenment thought. Both of these movements ground their error in a misreading of \"imitation\" as understood by Aristotle and his Enlightenment proponents. Rightly understood, neoclassical imitation, constitutively aware of the difference between what it knows and how it knows it, is an experimental inquiry that generates a range of prefixes—\"counter-,\" \"mock-,\" \"anti-,\" \"neo-\"—that mark formal degrees of its epistemological detachment. Romantic ideology has denied the role of the imagination in Enlightenment imitation, imposing on the eighteenth century a dichotomous periodization: duplication versus imagination, the mirror versus the lamp. Structuralist ideology has dichotomized narration and description, form and content, structure and history. Poststructuralist ideology has propounded for the novel a contradictory \"novel tradition\"—realism, modernism, postmodernism, postcolonialism—whose stages both constitute a sequence and collapse it, each stage claiming the innovation of the stage that precedes it. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

El presente artículo trata de la importancia del discurso poético de Carmen Ollé como inicio de una toma de poder en el discurso literario femenino peruano, a través de la incursión directa del erotismo. A partir de la creación de esta poética se examinan los conflictos y los trasvases entre poesía y narrativa, en parte de su obra, como forma de establecer un canon propio, que relacionamos intrínsecamente con la experiencia urbana. Como ejemplo paradigmático de un discurso que se mueve entre distintos registros literarios, en relación directa con la experiencia de la ciudad, abordamos el tema de la contra-utopía parisina en Una muchacha bajo su paraguas. Nuestro trabajo incide en la relación de centralidad de la voz poética y la estrecha relación entre narrativa y modernidad urbana.

Through three editions over more than four decades,The Princeton Encyclopedia of Poetry and Poeticshas built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more. Now this landmark work has been thoroughly revised and updated for the twenty-first century. Compiled by an entirely new team of editors, the fourth edition--the first new edition in almost twenty years--reflects recent changes in literary and cultural studies, providing up-to-date coverage and giving greater attention to the international aspects of poetry, all while preserving the best of the previous volumes At well over a million words and more than 1,000 entries, theEncyclopediahas unparalleled breadth and depth. Entries range in length from brief paragraphs to major essays of 15,000 words, offering a more thorough treatment--including expert synthesis and indispensable bibliographies--than conventional handbooks or dictionaries. This is a book that no reader or writer of poetry will want to be without. Thoroughly revised and updated by a new editorial team for twenty-first-century students, scholars, and poetsMore than 250 new entries cover recent terms, movements, and related topicsBroader international coverage includes articles on the poetries of more than 110 nations, regions, and languagesExpanded coverage of poetries of the non-Western and developing worldsUpdated bibliographies and cross-referencesNew, easier-to-use page designFully indexed for the first time

No detailed description available for \"Memoirs of the Life of Henriette-Sylvie de Moliere\".

Many people in Great Britain and the United States can recall elderly relatives who remembered long stretches of verse learned at school decades earlier, yet most of us were never required to recite in class.Heart Beatsis the first book to examine how poetry recitation came to assume a central place in past curricular programs, and to investigate when and why the once-mandatory exercise declined. Telling the story of a lost pedagogical practice and its wide-ranging effects on two sides of the Atlantic, Catherine Robson explores how recitation altered the ordinary people who committed poems to heart, and changed the worlds in which they lived. Heart Beatsbegins by investigating recitation's progress within British and American public educational systems over the course of the nineteenth and twentieth centuries, and weighs the factors that influenced which poems were most frequently assigned. Robson then scrutinizes the recitational fortunes of three short works that were once classroom classics: Felicia Hemans's \"Casabianca,\" Thomas Gray's \"Elegy Written in a Country Churchyard,\" and Charles Wolfe's \"Burial of Sir John Moore after Corunna.\" To conclude, the book considers W. E. Henley's \"Invictus\" and Rudyard Kipling's \"If--,\" asking why the idea of the memorized poem arouses such different responses in the United States and Great Britain today. Focusing on vital connections between poems, individuals, and their communities,Heart Beatsis an important study of the history and power of memorized poetry.

This chapter contains sections titled: The “Middle Generation” Late Moore, Late Stevens, Late Williams, Late Auden From the 1950s through the 1960s References and Further Reading

This entertaining novel is the fourth and probably the last in a cycle of Untimely Meditations on the feminine condition--erotic, sentimental, social; it bears the same relation to Binnie Kirshenbaum's three previous brief fictions that \"Gotterdammerung\" does to the first three music dramas in Wagner's \"Ring\": the ultimate installment brings matters (and manners too--for this author is indeed a humorist, even a comedian, a sort of stand-up tragic) to an end, to a fall, to a defeat, though as in Wagner, the sense of a vanquished hero(ine) is a conscious glory: \"For too long I have lived with ghosts,\" Lila Moscowitz sums up, in the combined timbres of Siegfried and Brunnhilde, \"and contrary to popular opinion, ghosts, like thoughts and dreams and words, do indeed have form.\"

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.