Power, Plain English, and the Rise of Modern PoetryYale University Press, 1.10.2008 г. - 224 страници 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 |
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Страница 3
... rhetoric dat- ing back to Greece and Rome. As recounted by George Williamson, Wesley Trimpi, and others, Renaissance humanists, debating how a proper vernacular should behave, looked back to classical models: on the one hand, an ornate ...
... rhetoric dat- ing back to Greece and Rome. As recounted by George Williamson, Wesley Trimpi, and others, Renaissance humanists, debating how a proper vernacular should behave, looked back to classical models: on the one hand, an ornate ...
Страница 12
... rhetorical, and so on. My readings take me into areas where the borders between these approaches begin anyway to blur. A problem, for example, that I revisit in every chapter—the way powerful poetic language often effaces any ...
... rhetorical, and so on. My readings take me into areas where the borders between these approaches begin anyway to blur. A problem, for example, that I revisit in every chapter—the way powerful poetic language often effaces any ...
Страница 23
... rhetoric: it is in the nature of man, a nature perhaps beyond our understanding, to communicate through lan- guage. Locke sounds, in this confidence, surprisingly close to the writers whose views of language his Essay supplanted ...
... rhetoric: it is in the nature of man, a nature perhaps beyond our understanding, to communicate through lan- guage. Locke sounds, in this confidence, surprisingly close to the writers whose views of language his Essay supplanted ...
Страница 28
... rhetoric to persuade , however , “ all the artificial and figurative application of words eloquence hath in- vented , are for nothing else but to insinuate wrong ideas , move the passions , and thereby mislead the judgment ; and so ...
... rhetoric to persuade , however , “ all the artificial and figurative application of words eloquence hath in- vented , are for nothing else but to insinuate wrong ideas , move the passions , and thereby mislead the judgment ; and so ...
Страница 29
... rhetorical style , and aligns his efforts with the attempts of contemporaries like Wilkins to create a perfectly signifying tongue . But if his discussion of double conformity demonstrates anything , it is that such a dis- course is ...
... rhetorical style , and aligns his efforts with the attempts of contemporaries like Wilkins to create a perfectly signifying tongue . But if his discussion of double conformity demonstrates anything , it is that such a dis- course is ...
Съдържание
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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