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Summary: Investigating Poetry is a series of three books (ages 7-8, 9-10, 11+) designed to help students study English through reading, writing, speaking and listening to poetry. Each book allows students to practise and develop a variety of skills, including comprehension, discussion, creative writing, word study.
The first law of the data site, however, is relatively simple: if complex intelligence is to continue to evolve it must act so there are more possibilities to act next time. Don Byrd, from the introductory essay
"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 --
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 text studies five contemporary writers whose radical engagements with poetic form and political content shed new light on issues of race, class and gender. In a detailed reading of three American poets - Susan Howe, Nathaniel Mackey and Lyn Hejinian, and two Caribbean poets, Kamau Brathwaite and M. Nourbese Philip, the book argues that these writers have produced new forms of poetry that address the holes in history that more traditional forms of poetry neglect. By refusing to limit their work to lyrical expressions of personal experience, it maintains that these writers produce poetry that explores the linguistic, historical and political conditions of contemporary culture, advancing a formally and thematically challenging critique of the ways in which women and people of colour are represented. Far from constituting a unified school of poetry however, the book argues that these five writers represent different facets of the various kinds of poetic practice taking place on the margins of contemporary culture.
Studying Poetry is a fun, concise and helpful guide to understanding poetry which is divided into three parts, form and meaning, critical approaches and interpreting poetry, all of which help to illuminate the beauty and validity of poetry using a wide variety of examples, from Dylan Thomas to Bob Dylan.
Poetry is a highly valued form of human expression, and poems are challenging texts to translate. For both reasons, people willingly work long and hard to translate them, for little pay but potentially high personal satisfaction. This book shows how experienced poetry translators translate poems and bring them to readers, and how they not only shape new poems, but also help communicate images of the source culture. It uses cognitive and sociological translation-studies methods to analyse real data, most of it from two contrasting source countries, the Netherlands and Bosnia. Case studies, including think-aloud studies, analyse how translators translate poems. In interviews, translators explain why and how they translate. And a 17-year survey of a country s poetry-translation output explores how translators work within networks of other people and texts publishing teams, fellow translators, source-culture enthusiasts, and translation readers and critics. In mapping the whole sweep of poetry translators action, from micro-cognitive to macro-social, this book gives the first translation-studies overview of poetry translating since the 1970s."
An impassioned call for a return to reading poetry and an incisive argument for poetry’s accessibility to all readers, by critically acclaimed poet Matthew Zapruder In Why Poetry, award-winning poet Matthew Zapruder takes on what it is that poetry—and poetry alone—can do. Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it. Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose. Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone.
This study explores lyric poetry's response to a crisis of relevance in Victorian Modernity, offering an analysis of literature usually elided by studies of the modern formation of the genre and uncovering previously unrecognized discourses within it. Setting the focal aestheticist poetry (c. 1860 to 1914) within much broader historical, theoretical and aesthetic frames, it speaks to those interested in Victorian and modernist literature and culture, but also to a burgeoning audience of the 'new lyric studies'. The six case studies introduce fresh poetic voices as well as giving innovative analyses of canonical writers (such as D. G. Rossetti, Ezra Pound, A. C. Swinburne).
Poetic Interaction presents an original approach to the history of philosophy in order to elaborate a fresh theory that accounts for the place freedom in the Western philosophical tradition. In his thorough analysis of the aesthetic theories of Hegel, Heidegger, and Kant, John McCumber shows that the interactionist perspective recently put forth by Jürgen Habermas was in fact already present in some form in the German Enlightenment and in Heidegger's hermeneutic phenomenology. McCumber's historical placement of the interactionist perspective runs counter to both Habermas's own views and to those of scholars who would locate the origin of these developments in American pragmatism. From the metaphysical approaches of Plato and Aristotle to the interactionist approaches of Habermas and Albrecht Wellmer, McCumber provides an original narrative of the history of philosophy that focuses on the ways that each thinker has formulated the relationships between language, truth, and freedom. Finally, McCumber presents his critical demarcation of various forms of freedom to reveal that the interactionist approach has to be expanded and enlarged to include all that is understood by "poetic interaction." For McCumber, freedom is inherently pluralistic. Poetic Interaction will be invaluable to political philosophers, historians of philosophy, philosophers of language, and scholars of legal criticism.