American Elegy: The Poetry of Mourning from the Puritans to WhitmanU of Minnesota Press - 352 頁 The most widely practiced and read form of verse in America, “elegies are poems about being left behind,” writes Max Cavitch. American Elegy is the history of a diverse people’s poetic experience of mourning and of mortality’s profound challenge to creative living. By telling this history in political, psychological, and aesthetic terms, American Elegy powerfully reconnects the study of early American poetry to the broadest currents of literary and cultural criticism. Cavitch begins by considering eighteenth-century elegists such as Franklin, Bradstreet, Mather, Wheatley, Freneau, and Annis Stockton, highlighting their defiance of boundaries—between public and private, male and female, rational and sentimental—and demonstrating how closely intertwined the work of mourning and the work of nationalism were in the revolutionary era. He then turns to elegy’s adaptations during the market-driven Jacksonian age, including more obliquely elegiac poems like those of William Cullen Bryant and the popular child elegies of Emerson, Lydia Sigourney, and others. Devoting unprecedented attention to the early African-American elegy, Cavitch discusses poems written by free blacks and slaves, as well as white abolitionists, seeing in them the development of an African-American genealogical imagination. In addition to a major new reading of Whitman’s great elegy for Lincoln, “When Lilacs Last in the Dooryard Bloom’d,” Cavitch takes up less familiar passages from Whitman as well as Melville’s and Lazarus’s poems following Lincoln’s death. American Elegy offers critical and often poignant insights into the place of mourning in American culture. Cavitch examines literary responses to historical events—such as the American Revolution, Native American removal, African-American slavery, and the Civil War—and illuminates the states of loss, hope, desire, and love in American studies today. Max Cavitch is assistant professor of English at the University of Pennsylvania. |
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第 1 到 5 筆結果,共 43 筆
第 頁
... Elegy from Wheatley to Lincoln I80 . Retrievements out of the Night: Whitman and the Future of Elegy 233 Afterword: Objects 286 Notes 295 Index 335 This page intentionally left blank Acknowledgments To own the debts Contents.
... Elegy from Wheatley to Lincoln I80 . Retrievements out of the Night: Whitman and the Future of Elegy 233 Afterword: Objects 286 Notes 295 Index 335 This page intentionally left blank Acknowledgments To own the debts Contents.
第 2 頁
... object of mourning to the poetic vocation of the mourning subject—often faltered in late-colonial and early-national cultural climates generally inhospitable to literary institutions and ca- reerism, whether aristocratic or bourgeois ...
... object of mourning to the poetic vocation of the mourning subject—often faltered in late-colonial and early-national cultural climates generally inhospitable to literary institutions and ca- reerism, whether aristocratic or bourgeois ...
第 3 頁
... objects of sociohistorical as well as aesthetic interest, eighteenth- and nineteenth-century American elegy has been virtually ignored. Indeed, for the most part it remains quarantined within the space of disparagement carved out by ...
... objects of sociohistorical as well as aesthetic interest, eighteenth- and nineteenth-century American elegy has been virtually ignored. Indeed, for the most part it remains quarantined within the space of disparagement carved out by ...
第 15 頁
... object relations theory— this inaccessible life. But one need not have a psychoanalytic worldview to experience mourning, either one's own or that of others, as the mute agony of incorporation, whereby we keep the dead inside ...
... object relations theory— this inaccessible life. But one need not have a psychoanalytic worldview to experience mourning, either one's own or that of others, as the mute agony of incorporation, whereby we keep the dead inside ...
第 21 頁
... object (I know what “Lycidas” is), and the elegiac mistakenly presumes the intelligibility of the object of mourning (I know who it is I am grieving for). By these lights elegiac, or “false,” mourning would seem, ironically, to be akin ...
... object (I know what “Lycidas” is), and the elegiac mistakenly presumes the intelligibility of the object of mourning (I know who it is I am grieving for). By these lights elegiac, or “false,” mourning would seem, ironically, to be akin ...
內容
1 | |
1 Legacy and Revision in EighteenthCentury AngloAmerican Elegy | 33 |
2 Elegy and the Subject of National Mourning | 80 |
Custodianship and Opposition in Antebellum Elegy | 108 |
Waldo Emerson and the Price of Generation | 143 |
African Americans and Elegy from Wheatley to Lincoln | 180 |
Whitman and the Future of Elegy | 233 |
Objects | 286 |
Notes | 295 |
Index | 335 |
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常見字詞
American authority become begins body Boston Bryant calls century child collective Complete continuity conventional criticism cultural dead death dream early effect elegiac elegists elegy Emerson England Essays example experience expression father feeling figure final funeral further future genre George grief hand heart helps human idealization imagination Indian individual John kind laments later Leaves less letter Lilacs Lincoln lines literary literature living loss lost means memory mourners mourning nature never night object ofthe once particular poem poet poetic poetry political practice present published Puritan question readers reading references relation remains says scene seeks seems sense slave social song sorrow soul speak suggests suicide Thomas thought tion tradition turn University Press verse voice Waldo Washington Wheatley Whitman writes wrote York