Power, Plain English, and the Rise of Modern PoetryYale University Press, 01.10.2008 - 224 Seiten 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 |
Im Buch
Ergebnisse 1-5 von 22
Seite 6
... common among critics who locate the apocalyptic conflict of subject and world in the problem, inherent in all language, of reference.12 To call Modernism late-Romanticism,however, has its disadvantages. Most obvious are a habit of ...
... common among critics who locate the apocalyptic conflict of subject and world in the problem, inherent in all language, of reference.12 To call Modernism late-Romanticism,however, has its disadvantages. Most obvious are a habit of ...
Seite 10
... common for artifacts from an earlier dispensation to persist in lively , unacknowledged contradiction to the new , even when the new dispensation has fully taken hold ; indeed , over the course of the history I trace , this is exactly ...
... common for artifacts from an earlier dispensation to persist in lively , unacknowledged contradiction to the new , even when the new dispensation has fully taken hold ; indeed , over the course of the history I trace , this is exactly ...
Seite 16
... common in the other Germanic tongues, or by borrowing from French, Greek, and Latin? Shakespeare, who of course did not participate ex- plicitly in this debate, was clearly of the latter camp; according to Baugh, such now-common words ...
... common in the other Germanic tongues, or by borrowing from French, Greek, and Latin? Shakespeare, who of course did not participate ex- plicitly in this debate, was clearly of the latter camp; according to Baugh, such now-common words ...
Seite 20
... common tie of society . Man therefore had by nature his organs so fashioned as to be fit to frame articulate sounds , which we call " words . " But this was not enough to produce language ; for parrots and several other birds will be ...
... common tie of society . Man therefore had by nature his organs so fashioned as to be fit to frame articulate sounds , which we call " words . " But this was not enough to produce language ; for parrots and several other birds will be ...
Seite 23
... common tie of society” (III.1.1). Critics who summarize this passage simply as “language allows communication” miss the truly ontological resonance of Locke's rhetoric: it is in the nature of man, a nature perhaps beyond our ...
... common tie of society” (III.1.1). Critics who summarize this passage simply as “language allows communication” miss the truly ontological resonance of Locke's rhetoric: it is in the nature of man, a nature perhaps beyond our ...
Inhalt
1 | |
15 | |
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 |
Index | 201 |
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Häufige Begriffe und Wortgruppen
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