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Housman, Gerard Manley Hopkins, Robert Frost, Walter de la Mare, and Robert Bridges.
In The Modern Portrait Poem, Frances Dickey recovers the portrait as a poetic genre from the 1860s through the 1920s. Combining literary and art history, she examines the ways Dante Gabriel Rossetti, Algernon Swinburne, and J. M. Whistler transformed the genre of portraiture in both painting and poetry. She then shows how their new ways of looking at and thinking about the portrait subject migrated across the Atlantic to influence Ezra Pound, T. S. Eliot, William Carlos Williams, Amy Lowell, E. E. Cummings, and other poets. These poets creatively exposed the Victorian portrait to new influences ranging from Manet’s realism to modern dance, Futurism, and American avant-garde art. They also condensed, expanded, and combined the genre with other literary modes including epitaph, pastoral, and Bildungsroman. Dickey challenges the tendency to view Modernism as a break with the past and as a transition from aural to visual orientation. She argues that the Victorian poets and painters inspired the new generation of Modernists to test their vision of Aestheticism against their perception of modernity and the relationship between image and text. In bridging historical periods, national boundaries, and disciplinary distinctions, Dickey makes a case for the continuity of this genre over the Victorian/Modernist divide and from Britain to the United States in a time of rapid change in the arts.
Back cover: "With selections from Elizabeth Bishop, William Blake, Lewis Carroll, Marianne Moore, Frank O'Hara, Sappho, WIlliam Carlos Williams, and many others, "Singing school" offers a bold new approach to writing (and reading) poetry based on great poetry of the past. Instead of offering rules, theories, or recipes, Robert Pinsky's headnotes for each of the eighty poems and brief introductions to each section respect poetry's mysteries, in two senses of the word: techniques of craft and strokes of the inexplicable."
Concise and accessible, this guide to teaching the art of poetry from Shakespeare to contemporary poets enables anyone to learn about how poets approach their art. Teachers can use this book to explore any facet or era of poetry. Any reader can use it as an entryway into the art of poetry. Teaching the Art of Poetry shows poetry as a multi-faceted artistic process rather than a mystery on a pedestal. It demystifies the art of poetry by providing specific historical, social, and aesthetic contexts for each element of the art. It is a nuts-and-bolts approach that encourages teachers and students to work with poetry as a studio art--something to be explored, challenged, assembled and reassembled, imagined, and studied--all the things that an artist does to present poetry as a search for meaning. This book advocates poetry as an essential tool for aesthetic, cultural, and linguistic literacy. It portrays poetry as an art rather than a knowledge base, and methods for integrating the art of poetry into the school curriculum. The authors' intention is not to fill gaps; it is to change how poetry is presented in the classroom, to change how it is taught and how students think about it. Teaching the Art of Poetry: * Emphasizes hands-on experiences. Over 160 exercises focus attention on the dynamics of the art of poetry. Activities include group work, peer editing, critical thinking skills, revising drafts, focused reading, oral communication, listening skills, and vocabulary, as well as mechanics and usage. * Features a week-long lesson plan in each chapter to aid the teacher. These relate the main aspects of each chapter to classroom activities and, in addition, include a "Beyond the Week" section to promote further investigation of the topic. * Promotes an integrated approach to poetry. The examples used in each chapter show poetry as a living tradition. * Makes extensive use of complete poems along with extracts from many others. * Does not talk down to teachers--is teacher oriented and jargon free.
This comprehensive chronological anthology includes 58 essays on poetry by 53 poets. Starting with James Weldon Johnson and Robert Frost, the book offers diverse and often conflicting accounts of the nature and function of poetry. The collection includes rarely anthologized essays by Jack Spicer, Rhina Espaillat, Anne Stevenson, and Ron Silliman, as well as work by some of the finest younger critics in America, including William Logan, Alice Fulton, and Christian Wiman.
An indispensable resource for anyone interested in the art and craft of contemporary poetry
"David Orr is no starry-eyed cheerleader for contemporary poetry; Orr’s a critic, and a good one. . . . Beautiful & Pointless is a clear-eyed, opinionated, and idiosyncratic guide to a vibrant but endangered art form, essential reading for anyone who loves poetry, and also for those of us who mostly just admire it from afar." —Tom Perrotta Award-winning New York Times Book Review poetry columnist David Orr delivers an engaging, amusing, and stimulating tour through the world of poetry. With echoes of Francine Prose’s Reading Like a Writer, Orr’s Beautiful & Pointless offers a smart and funny approach to appreciating an art form that many find difficult to embrace.
Ted Berrigan (1934-1983) is among his generation's most admired writers. In many respects, the directions followed in contemporary poetry were set out in the courses and workshops he taught at the Naropa Institute, the University of Michigan, Yale University, the City University of New York, the Stevens Institute of Technology, the University of Essex in England, Northeastern Illinois University, the Iowa Writers Workshop, and elsewhere. On the Level Everyday brings together key examples of his classroom lectures with other pieces, including two important talks delivered at the Poetry Project at St. Mark's Church in New York. On the Level Everyday provides an introduction not only to Berrigan's poetics but also the problems of surviving as a poet in America today.
"This anthology brings together essays by 20th-century poets on their own art: some concern themselves with its deep sources and ultimate justifications; others deal with technique, controversies among schools, the experience behind particular poems. The great Modernists of most countries are presented here—Paul Valéry, Federico García Lorca, Boris Pasternak, Fernando Pessoa, Eugenio Montale, Wallace Stevens—as are a range of younger, less eminent figures from the English-speaking world: Seamus Heaney, Denise Levertov, Wendell Berry. . . . The reader will find here a lively debate over the individualistic and the communal ends served by poetry, and over other issues that divide poets: inspiration and craft; the use or the condemnation of science; traditional and 'organic' form."—Alan Williamson, New York Times Book Review
"At the Foundling Hospital considers the foundling soul: its need to be adopted, and its need to be adaptive. These poems reimagine identity on the scale of one life or of human history: from 'the emanation of a dead star still alive' to the 'pinhole iris of your mortal eye'"--Amazon.com.