Against Coercion: Games Poets Play
Stanford University Press, 1998 - 318 oldal
"The inertia of language," declares Geoffrey Hill, is also "the coercive force of language." Good poets write against coercion, and Against Coercion is essentially about the power of words. Looking at our most highly organized form of words, poems, and how they work, it observes how that work speaks always indirectly to historical, ethical, and aesthetic questions, including matters of culture, identity, and feminism. It also demonstrates how to read poetry how to go beyond an elementary (and usually boring) approach, thereby recovering the sheer pleasure of good poems and resisting the coercion of language, that power of words to do ill.
A study in advanced poetics, Against Coercion pays close attention to the intricate workings of poems, building larger claims on specific evidence and enjoying the praxis of master writers. The focus is on modern poets, from the early moderns (Stevens, Eliot) through to mid-century (Bishop) and recent (Merrill, Hill). Some chapters reach back to Milton, Wordsworth, and Aristophanes, however, while two even widen to encompass prose fiction.
The opening section centers on matters of empire, war, and nation. It includes chapters on Eliot, Keynes, and empire, and on Geoffrey Hill and Elizabeth Bishop (with reflections on language and war). The second section moves to questions of culture and the uses of memory, notably in allusion to earlier writers. It examines what our collective memory chooses to retain and to forget. The range of reference here extends from the King James Bible through Milton and Wordsworth to A. R. Ammons.
In the third section, poetry is seen at play, offering those happy occasions when work and play become one. Chapters treat the concept of play in Milton (including some feminist questions), the poetics of punning in Stevens and Bishop, riddles both large and small, in Stevens, a proposed typology of riddles, and a newly recovered Graeco-Latin pun in Alice in Wonderland. The final section moves to practical criticism and offers a new theory of ghost rhymes, a new suggestion of a formula in dream literature, a model for reading a poem, using John Hollander's "Owl" as an illustration, and, taking Stevens as an example, a pedagogical argument that emphasizes the importance of logic and thought in poetry.
Mit mondanak mások - Írjon ismertetőt
Nem találtunk ismertetőket a szokott helyeken.
The Waste Land II
Geoffrey Hill Elizabeth Bishop
Fables of War in Elizabeth Bishop
Faulkner Typology and Black History in Go Down Moses
Questions of Allusion
The Language of Scripture in Wordsworths Prelude
Revisions of a Topos in Milton Keats
Melos Versus Logos or Why Doesnt God Sing? Some
Riddles Charms and Fictions in Wallace Stevens
The Function of Riddles at the Present Time
Ghost Rhymes and How They Work
On John Hollanders Owl
John Hollander Owl
The Senses of Eliots Salvages I 20
Wallace Stevens and the King James Bible
allusion answer appears association become beginning biblical bird Bishop brothers called Canadian comes course criticism dark dream echo effect Eliot Empire English enigma especially Essays example eyes fable figure French ghost rhyme give given hear heaven Hill imagination James John John Hollander Keats kind language later Latin letter literature live London look Lost matter meaning memory methought Milton mind move nature Notes offer once opening original Paradise perhaps phrase play poem poet poetic poetry possible Princeton question quoted reader relation repeat revise rhetorical rhyme riddle scheme sense song sound speak stanza Stevens Stevens's story suggests things thought trope true turn typology University Press vision voice Wallace Stevens Waste Land Wisdom word Wordsworth writing York