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Explores the question: How do poems end? This work examines numerous individual poems and examples of common poetic forms in order to reveal the relationship between closure and the overall structure and integrity of a poem.
"Elegantly written, convincingly argued, and interspersed with hauntingly beautiful and poignant poems written by his ESL students, Hanauer's book draws attention to the unexplored potential of poetry writing in a second language classroom." Aneta Pavelenko, Temple University --
Roland Barthes’s 1967 essay, "The Death of the Author," argues against the traditional practice of incorporating the intentions and biographical context of an author into textual interpretation because of the resultant limitations imposed on a text. Hailing "the birth of the reader," Barthes posits a new abstract notion of the reader as the conceptual space containing all the text’s possible meanings. The essay has become one of the most cited works in literary criticism and is a key text for any reader approaching reader response theory.
This engaging introduction to poetry covers the entire tradition of poetry in English, providing close readings of interesting and varied texts. In this updated second edition, coverage has been expanded to cover medieval poetry and to give more weight to literary theory and women poets, while a new chapter focuses on key contemporary poets.
This brilliant new book powerfully demonstrates how the evolution of Modern and Post-Modern criticism and theory, free verse, and political ideology have greatly diminished contemporary poetry. The final chapter is a tour de force that compellingly argues for meter as the catalyst that joins syllables, accents, and (often) rhyme to create the deeply subtle artistry of our language's poetry. "What is poetry and what is poetry for? To ask the first question is to ask the second. To answer both in light of the western tradition stretching back to Homer, and against much modernist and postmodernist poetic theory and practice, is the goal of this remarkable book. Poetry's final end is nothing less than to arouse in us a profound sense of wonder in coming to know that 'Reality as a whole is formed as the good-world-order, the intelligible beauty showing forth from [the] cosmic circle of procession and return.'"-David Middleton, author of The Fiddler of Driskill Hill, in The American Conservative
A Study of Poetry Bliss Perry While I hope that the book may attract the traditional "general reader," I have also tried to arrange it in such a fashion that it may be utilized in the classroom. I have therefore ventured, in the Notes and Illustrations and Appendix, to suggest some methods and material for the use of students. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.
Contains 72 essays on poetry from around the world.
In this incisive study, Sarah Ehlers returns to the Depression-era United States in order to unsettle longstanding ideas about poetry and emerging approaches to poetics. By bringing to light a range of archival materials and theories about poetry that emerged on the 1930s left, Ehlers reimagines the historical formation of modern poetics. Offering new and challenging readings of prominent figures such as Langston Hughes, Muriel Rukeyser, and Jacques Roumain, and uncovering the contributions of lesser-known writers such as Genevieve Taggard and Martha Millet, Ehlers illuminates an aesthetically and geographically diverse matrix of schools and movements. Resisting the dismissal of thirties left writing as mere propaganda, the book reveals how communist-affiliated poets experimented with poetic modes—such as lyric and documentary—and genres, including songs, ballads, and nursery rhymes, in ways that challenged existing frameworks for understanding the relationships among poetic form, political commitment, and historical transformation. As Ehlers shows, Depression left movements and their international connections are crucial for understanding both the history of modern poetry and the role of poetic thought in conceptualizing historical change.