The Cambridge Companion to Twentieth-Century English PoetryNeil Corcoran Cambridge University Press, 2007年12月13日 The last century was characterised by an extraordinary flowering of the art of poetry in Britain. These specially commissioned essays by some of the most highly regarded poetry critics offer a stimulating and reliable overview of English poetry of the twentieth century. The opening section on contexts will both orientate readers relatively new to the field and provide provocative syntheses for those already familiar with it. Following the terms introduced by this section, individual chapters cover many ways of looking at the 'modern', the 'modernist' and the 'postmodern'. The core of the volume is made up of extensive discussions of individual poets, from W. B. Yeats and W. H. Auden to contemporary poets such as Simon Armitage and Carol Ann Duffy. In its coverage of the development, themes and contexts of modern poetry, this Companion is the most useful guide available for students, lecturers and readers. |
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第 1 到 5 筆結果,共 13 筆
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... difficult, years ofthe IrishFree State, while Yeats was giving expression toan exceptional poetic maturity with the publication of Responsibilities (1916), The Wild Swans At Coole (1919), MichaelRobartes andthe Dancer(1921) and The ...
... difficult, years ofthe IrishFree State, while Yeats was giving expression toan exceptional poetic maturity with the publication of Responsibilities (1916), The Wild Swans At Coole (1919), MichaelRobartes andthe Dancer(1921) and The ...
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... difficult and hardearned transformation owes a great deal to the ways in which the decoratively adjectival has been changed to the brutallyphysical: from wishing for the cloths of heaven or remembering forgotten beauty to'A shudderin ...
... difficult and hardearned transformation owes a great deal to the ways in which the decoratively adjectival has been changed to the brutallyphysical: from wishing for the cloths of heaven or remembering forgotten beauty to'A shudderin ...
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... show, this verse formwas used elsewhere, but itdoes not seem to havebeenone ofhis regularpoetic choices.In 'A General Introduction' hecelebrates itsforcebutseems to suggest some difficulty in combining past and present: 'When I.
... show, this verse formwas used elsewhere, but itdoes not seem to havebeenone ofhis regularpoetic choices.In 'A General Introduction' hecelebrates itsforcebutseems to suggest some difficulty in combining past and present: 'When I.
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Neil Corcoran. suggest some difficulty in combining past and present: 'When I speak blank verse and analyse my feelings, I stand at a moment of history when instinct, its traditional songs and dances,its general agreement, is of thepast ...
Neil Corcoran. suggest some difficulty in combining past and present: 'When I speak blank verse and analyse my feelings, I stand at a moment of history when instinct, its traditional songs and dances,its general agreement, is of thepast ...
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... difficult'. 21For sometime,even novelists had been showing theirimpatience with the seemingly imperative requirements of plot: so,intheir different ways, James, Conrad, Joyce and Woolf allfound ways to minimise or redistributethe ...
... difficult'. 21For sometime,even novelists had been showing theirimpatience with the seemingly imperative requirements of plot: so,intheir different ways, James, Conrad, Joyce and Woolf allfound ways to minimise or redistributethe ...
內容
Modernistpoetic form | |
Postmodern poetry inBritain | |
Wilfred Owen and the poetry of | |
Part Three Modernists 7 The 1930s poetry of W H Auden Michael ONeill | |
a late modernpoet | |
R S Thomas and modern Welsh poetry | |
Stevie Smith Sylvia Plath | |
TedHughes and Geoffrey Hill | |
Black British poetry and thetranslocal | |
Tony Harrison Peter Reading | |
Edwin Morgan Douglas | |
James Fenton Craig Raine | |
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