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Introspection and Contemporary Poetry
EN USISBN: 0674462769 bzw. 9780674462762, in Englisch, Harvard University Press, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, In Stock.
20th century,classics,criticism and theory,history,history and criticism,literature and fiction,modern (16th-21st centuries),movements and periods,poetry, In this bold defense of so-called confessional poetry, Alan Williamson shows us that much of the best writing of the past twenty-five years is about the sense of being or having a self, a knowable personal identity. The difficulties posed by this subject help explain the fertility of contemporary poetic experiment?from the jaggedness of the later work of Robert Lowell to the montage?like methods of John Ashbery, from the visual surrealism of James Wright and W. S. Merwin to the radical plainness of Frank Bidart. Williamson examines these and other poets from a psychological perspective, giving an especially striking reading of Sylvia Plath.
20th century,classics,criticism and theory,history,history and criticism,literature and fiction,modern (16th-21st centuries),movements and periods,poetry, In this bold defense of so-called confessional poetry, Alan Williamson shows us that much of the best writing of the past twenty-five years is about the sense of being or having a self, a knowable personal identity. The difficulties posed by this subject help explain the fertility of contemporary poetic experiment?from the jaggedness of the later work of Robert Lowell to the montage?like methods of John Ashbery, from the visual surrealism of James Wright and W. S. Merwin to the radical plainness of Frank Bidart. Williamson examines these and other poets from a psychological perspective, giving an especially striking reading of Sylvia Plath.
2
Introspection and Contemporary Poetry
EN NWISBN: 9780674462762 bzw. 0674462769, in Englisch, Harvard University Press, United States of America, neu.
Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, in-stock.
In this bold defense of so-called confessional poetry, Man Williamson shows us that much of the best writing of the past twenty-five years is about the sense of being or having a self, a knowable personal identity. The difficulties posed by this subject help explain the fertility of contemporary poetic experiment from the jaggedness of the later work of Robert Lowell to the montage like methods of John Ashbery, from the visual surrealism of James Wright and W.S. Merwin to the radical plainness of Frank Bidart. Williamson examines these and other poets from a psychological perspective, giving an especially striking reading of Sylvia Plath. Williamson discusses some problems involved in self-analytic poetry the ambiguous question of universality, the difficulties of objectifying one s own personality, and the perhaps greater difficulties of attempting a poetry that is inward but not personal. He takes up the poets individually, characterizing their work and its development and offering balanced, considered judgments on particular poems. Displaying a remarkable grasp of American postwar culture, he places the poetry within the broad setting of contemporary events and dominant national sentiments. The problematic modern self is a much discussed topic. This is the first book to use it as a lens for examining contemporary poetry, and it proves a powerful lens indeed.
In this bold defense of so-called confessional poetry, Man Williamson shows us that much of the best writing of the past twenty-five years is about the sense of being or having a self, a knowable personal identity. The difficulties posed by this subject help explain the fertility of contemporary poetic experiment from the jaggedness of the later work of Robert Lowell to the montage like methods of John Ashbery, from the visual surrealism of James Wright and W.S. Merwin to the radical plainness of Frank Bidart. Williamson examines these and other poets from a psychological perspective, giving an especially striking reading of Sylvia Plath. Williamson discusses some problems involved in self-analytic poetry the ambiguous question of universality, the difficulties of objectifying one s own personality, and the perhaps greater difficulties of attempting a poetry that is inward but not personal. He takes up the poets individually, characterizing their work and its development and offering balanced, considered judgments on particular poems. Displaying a remarkable grasp of American postwar culture, he places the poetry within the broad setting of contemporary events and dominant national sentiments. The problematic modern self is a much discussed topic. This is the first book to use it as a lens for examining contemporary poetry, and it proves a powerful lens indeed.
3
Introspection and Contemporary Poetry
EN NWISBN: 9780674462762 bzw. 0674462769, in Englisch, Harvard, neu.
Lieferung aus: Kanada, In Stock, plus shipping.
Alan Williamson, Books, Fiction and Literature, Literary Theory and Criticism, Introspection and Contemporary Poetry, In this bold defense of so-called confessional poetry, Alan Williamson shows us that much of the best writing of the past twenty-five years is about the sense of being or having a self, a knowable personal identity. The difficulties posed by this subject help explain the fertility of contemporary poetic experiment—from the jaggedness of the later work of Robert Lowell to the montage—like methods of John Ashbery, from the visual surrealism of James Wright and W. S. Merwin to the radical plainness of Frank Bidart. Williamson examines these and other poets from a psychological perspective, giving an especially striking reading of Sylvia Plath.
Alan Williamson, Books, Fiction and Literature, Literary Theory and Criticism, Introspection and Contemporary Poetry, In this bold defense of so-called confessional poetry, Alan Williamson shows us that much of the best writing of the past twenty-five years is about the sense of being or having a self, a knowable personal identity. The difficulties posed by this subject help explain the fertility of contemporary poetic experiment—from the jaggedness of the later work of Robert Lowell to the montage—like methods of John Ashbery, from the visual surrealism of James Wright and W. S. Merwin to the radical plainness of Frank Bidart. Williamson examines these and other poets from a psychological perspective, giving an especially striking reading of Sylvia Plath.
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